ME"*'* Digitized by the Internet Archive in 2014 https://archive.org/details/antiquitiesofherOObaia f * THE ANTIQUITIES O F HERCULANEUM; Tranflated from the ITALIAN, By THOMAS MARTY N, AND JOHN LETTICE, Bachelors of Divinity, and Fellows of Sidney College, Cambridge. Containing the P I C T U R E S. LONDON, Panted for S. L E A C R O F T, at the Globe, Charing-Cross. m dcc lxxiii. [ Si ] THE SUBSCRIBERS NAMES. A. r J** H E Right Reverend the Lord Birtiop of St. Afaph< Sir Anthony Thomas Abdy, of Albyns in Effex. Lady Abdy. Thomas Apperley Efquire. Reverend George Amby, B. D* Prefident of St. John's College, Cam* bridge. John Aubrey Efquire. B. Reverend Nicholas Bacon, Re&or of Coddenham and Barham in Suffolk. Reverend Mr. Bagfhaw, of Bromley in Kent. Mr. William Gregg Barnfton. William Bayntun Efquire, of Gray's Inn. Reverend Richard Beadon, Public Orator of the Univerfity of Cam- bridge. Reverend Mr. Bennet, of Emmanuel College, Cambridge. Reverend Samuel Berdmore, M. A. Herman Berens Efquire, of New-Broad-Street. • Reverend Mr. Beresford, Fellow of St. John's College, Cambridge. [A] 2 Sir [iv] SUBSCRIBERS NAMES. Sir Robert Bernard, Baronet. Nathanael Bimop Efquire, of Doctor's Commons. Reverend Samuel Blackall, Fellow of Emmanuel College. Thomas Boddington Efquire, of Clapton. James William CoilTier Efquire. Richard Bofanquet Efquire, Mincing-Lane. Matthew Boulton Efquire, of Birmingham. Shadrack Brife Efquire, of Clare in Suffolk. Mr. Frederick Browning, Fellow of King's College, Cambridge. John Browning Efquire, Matter in Chancery. Reverend Dr. Burrough, Prebendary of Peterborough, and Vicar of Wifbech. C. The Right Honourable the Earl of Carlifle. The Right Honourable Lady Clive. The Right Reverend the Lord Bifhop of Clogher. The Right Honourable the Lord Vifcount Cullen. Brigadier General Caillaud. Mr. Calvert, Fellow of Trinity Hall, Cambridge. Pveverend Mr. Graham Chappell. John Chafe Efquire, Great-Ruffel- Street, Bloomfbury. Nathanael Chauncey Efquire. John Chettoe Efquire. Gervoife Clarke Efquire. Matthew Clarke, M. D. Reverend Mr. Cleaver, of Lincoln College, Oxford. Geotge Clive Efquire. Charles Nalfon Cole Efquire. Henry Colflon, M. A. Fellow of Sidney College, Cambridge. Reverend SUBSCRIBERS NAMES. [ v ] Reverend William Cooke, B. D. Fellow of Emmanuel College. Jofeph Copley Efquire, of Southampton. Reverend Mr. Cowper, late Fellow of Bennet College, Cambridge.. Jofeph Cradock Efquire, of Gumbley in Leicefterfhire^ Claude Crefpigny, LL. D. of Camberwell. Daniel Crefpin Efquire. John Crewe Efquire, Member of Parliament for Chefhire. Richard Crofts Efquire, Member of Parliament for the Univerfity of Cambridge. D. Philip Dennis Efquire, of the Inner Temple. Reverend Mr. Difney, of St. Peter's College, Cambridge. Reverend Dr. Domvile, of Ireland. Mr. William Duefbury, of Derby. The Chapter of Durham, E. Robert Edgar Efquire, of Ipfwich. Reverend William Ellifton, D. D. Mafter of Sidney College, Cambridge. Reverend Edward Evanfon, Rector of Tewkefbury, Gloucefterihire. F. Richard Fairfield Efquire. Reverend Richard Farmer, B. D. Fellow of Emmanuel College, and of the Society of Antiquaries. Reverend James Favel, M. A. Re&or of Auchonbury in Huntingdonfhire. Richard Firmin Efquire, Catherine Hall, Cambridge* Bernard [vi] SUBSCRIBERS NAMES. Bernard Foord Eiquire. Reverend Henry Foord, Reclor of Foxholes and Heilerton, in Yorkfnire. Brigg Fountayne Efquire, of Narford in Norfolk. Reverend John Freeman, M. A. of Sidney Coliege. James Fremeaux Efquire, of Clapton, 2 fets. Mr. John Peter Fremeaux, of Clapton. G. The Right Honourable the Earl of Gainfborough. David Garrick Efquire. Reverend Laurence Gibbs, of Sidney College. Reverend Mr. Glafsbrook, Vicar of Raunds, Northamptonshire. Dr. Glynn, of Cambridge. Reverend John Gooch, D. D. Prebendary of Ely. Reverend John Gordon, D. D. Archdeacon of Lincoln. Reverend Mr. Gregory, Fellow of Trinity Hall. Steddy Grinfield, LL. B. of Trinity Hall. H. Right Honourable Lord Vifcount Hinchingbrook. Sir Thomas Hatton, Baronet. Edward Haiftwell Efquire. 'Mrs. Henley, of Docking in Norfolk. Reverend Francis Henfon, B. D. Fellow of Sidney College. Reverend John Hey, B. D. Senior Fellow of Sidney College. Thomas Hollis Efquire, F. R. and A. S. S. John Hoole Efquire. John Howard Efquire, of Cardington, Bedfordshire. Pveverend Henry Hubbard, B. D. Senior Fellow of Emmanuel College. Reverend SUBSCRIBERS NAMES. [vii] Reverend Chriftopher Hunter, M. A. Fellow of Sidney College. Reverend Julius Hutchinfon, M. A. late Fellow Commoner of Sidney College. I. William JanrTen Efquire. George Jennings Efquire, of Newfells, Herts, Member of Parliament for St. Germans. Reverend John Clement Ives, M. A. K. Thomas Kerrich Efquire, of Harlefton in Norfolk. Edward King Efquire, of Lincoln's Inn. Mr. King, of Hull. Reverend Mr. Kipling, of Emmanuel College. Reverend Mr. Knight, Rector of Stanwick, Northamptonfliire. Mr. Kriting, of Konigfberg in Pruflia. L. The Right Reverend the Lord Bifhop of Lincoln. William De Laet Efquire, Potterills near Hatfield, Herts* Chriftopher L'Anglois Efquire. John L'Anglois Efquire. Major General Laurence. Benjamin Lethieullier Efquire, Member of Parliament for Andovcn Reverend Michael Lort, B. D. Fellow of Trinity College, Cambridge, and of the Royal and Antiquary Societies. Reverend John Love, M. A. Fellow of Caius College, Cambridge. Libraries, [viii] SUBSCRIBERS NAMES Libraries, in Cambridge: r \ Caius College. Corpus Chrifti College. Chrift's College. Emmanuel College. Jeius College. St. John's College. Pembroke Hall. Sidney College. Trinity College. Trinity Hall. M. Lord Vifcount Maynard. Sir William Maynard, Baronet, late Member of Parliament for Eflex. Reverend Mr. Maddock, Rector of Great Catworth, Huntingdonfhire. Thomas March Efquire, B. A. Fellow Commoner of Sidney College. James Marriott, LL. D. His Majefty's Advocate General, and Matter of Trinity Hall, Cambridge. James Martin Efquire, 2 fets. Jofcph Martin Efquire, Member of Parliament for Gatton. Thomas Martin Efquire. Claudius Martyn, B. A. Fellow Commoner of Sidney College. John Martyn, F. R. S. late of Chelfea. Lieutenant Colonel Edward Matthew, of Mitcham, Surrey. Thomas Maunfeil Efquire. George Mercer Efquire. Robert Morris Efquire. N. His SUBSCRIBERS NAMES. N. His Grace the Duke of Northumberland. Thomas Nevile, M. A. Fellow of Jefus College, Cambridge. Mr. Francis Newbery, late Fellow Commoner of Sidney College. Andrew Newton Efquire. O. The Right Honourable the Earl of Orford. Reverend Edward Oliver, B. D. Fellow of Sidney College. P. The Right Honourable the Earl of Portfmouth. Reverend William Palgrave, LL. B. Reverend Mr. Peirfon. Thomas Pennant Efquire. Reverend Mr. Pickering, Mackworth, Derbyshire. Mr. Jofeph Pickford. Charles Pigott Efquire, of Peplow. Reverend Mr. Pitts, Great Brickhill, Bucks. Samuel Pole Efquire, Fellow Commoner of Sidney College- Reverend Dr. Powell, Archdeacon of Colchefter, anc^ Matter of St. John's College, Cambridge. Jofeph Pyke, of Cambridge, Efquire. R. Mrs. Ravaud. Reverend William Reeve, M. A. 3 fetf. ' ' Reynolds Efquire. Vol. I. [B] William [x] SUBSCRIBERS NAMES. William Henry Ricketts Efquire, of Hinton, Hants. Sir George Robinfon, Baronet, of Stretton in Leiceftermire. Thomas Ruggles Efquire, of the Inner Temple. * S. The Right Honourable the Earl of Sandwich. The Ri^ht Honourable Lord Scarfdale. The Right Honourable the Earl of Shelburne. The Right Honourable Earl Spencer. Reverend Dr. Sandby, Matter of Magdalen College, Cambridge. Luke Scrafton Efquire. Charles Scrafe Efquire, of Lincoln's Inn. William Shrive Efquire, of Clare in Suffolk. Sir George Smith, Baronet, of Queen's College, Cambridge^ John Smith Efquire, of St. Stephen's near St. Albans. John Smith Efquire, of Sydling in Dorfetfhire. Thomas Smith Efquire, of the Inner Temple. Henry Kynafton Southoufe Efquire. Reverend Mr. Spurgeon. Edward Valentine Stead Efquire, Fellow Commoner of Sidney College. John Strange Efquire, F. R. and A. S. S. 2 fets. Richard Sutton Efquire. Reverend James Swann, B. A. late of Sidney College. T. The Risht Honourable Lord Trevor. Benjamin Tate Efquire. trend James Tatterfliall, M. A. Rector of St. Paul's Covent Garden, of Streatham in Surry. Reverend SUBSCRIBERS NAMES. [ x i] Reverend John Tattermall, M. A. late of Gatton in Surry. Mr. Taylor, of Trinity Hall. Reverend Edward Thomas, M. A. F. R. and A. S. S. James Tompfon Efquire, of Peterborough. Richard Townley Efquire, of Belrleld in Lancafhire. Honourable George Townmend. Sir Clement Trafford, of Dunton Hall in Lincolnshire. Reverend Mr. Tyfon, Fellow of Bennet College, Cambridge, and of the Society of Antiquaries. Henry Vanfittart Efquire. W. Mrs. Wale, of Shelford near Cambridge. Reverend Barton Wallop, M. A. John Warde Efquire. Warren Efquire, Fellow Commoner of Emmanuel College. William Watfon Junior, M. D. Jofiah Wedgwood Efquire, of Burflem, Stafford mire. Benjamin Weft Efquire. Reverend Mr. Whately, Nonfuch Park near Epfom. James White Efquire, Lincoln's Inn. Mr. White, of Queen's College, Cambridge. Thomas Wilcox Efquire. Sir William Wifeman, Baronet. Stephen Wright Efquire, Scotland Yard. Edward Wynne Efquire, Middle Temple. Reverend Mr. Wynne, Rector of Gumbley, Leicefterfhire. Sir Watkin Williams Wynne, Baronet. THE THE EDITORS!'] PREFACE TT is now the nineteenth year [2] fince the king took a refo- JL lution of {pending fome time at Portici : He knew that fome people, who had formerly dug thereabout, had difcover- ed fomething of antiquities : he ordered the work to be con- tinued, as the difcoveries mi at once adorn the nation, and' ftimulate its genius. A theatre, a temple, fome houfes, a great number of moveables of every kind, fiatues,. pictures, inferip- [i^ They ftilethemfelves Gli Accademki, the Academicians, \jz] This volume was publiihed in 1757. Vol. I. b tioiis,. ii THE EDITORS PREFACE. tions- and coins, being; found between Porticiand Refina, bred a fufpicion that here might be the ancient city of Herculaneum\ the overthrow of which, writers mention among the events of the reign of Titus. It was imagined one city could not afford fuch plentiful difcoveries: they prompted therefore a fearch after the ancient Pompeii, The event was not unfuccefsful, and fuggefted hopes of even finding Stabiae ; but the difcoveries there did not anfwer. The prodigious multitude of thofe remains of antiquity (Rome itfelf is not in poffefiion of more), of which an hun- dredth part would be fufficient to excite admiration, are depo- fited in fome galleries of the royal palace at Portici. This treafure, of which the public has been advertifed by a catalogue [3], is now opened and given to the world in copper- plates. This publication begins with the pictures. Thefe, being the envy of the moil illuftrious mufeums, were with the greater impatience expe&ed by the curioiity of the learned : The negligence of others in preferving thofe few pieces which from time to time were firh: difcovered, renders this part of the work more interefting than it might have been otherwife. A much deeper knowledge of ancient painting will be acquired from this work, than from any former lights thrown upon the fubject. We may here trace all the different ftyles of painting left us upon record. Each volume will exhibit fomething of all the different manners of the paintings hitherto found; and [3] Printed in 1755. This is referred to in the notes upon each plate ; and the reader will find it tranflated and abridged in the enfuing preface. the THE EDITORS PREFACE. iii the fame plan will be obferved with regard to future dis- coveries. The defign of the fhort explications which accompany the plates, is to awaken the reflection of thofe readers who are difpofed to examine thefe matters themfelves. The notes will prevent any trouble to fuch as mall be contented with our thoughts. b 2 THE [ v ] THE TRANSLATORS PREFACE. "|" T is now more than five years fince the propofals for this work were firfl JL publifhed. The tranflators flattered themfelves that they were en- gaged in an undertaking, which, if it added not much to their own repu- tation, might at leaft prove acceptable to the public. The original work, befides its being in a language not univerfally read, was not then to be obtained, but eitheras a mark of royal favour, or at an enormous expenfe: and even had that rot been the cafe, yet furely it was no abfurd fuppofi- tion, that in an age fo liberal as the prefent, a competent number among perfons of rank and fortune might be found, who would be glad to fee this celebrated wort in an Englifli drefs ; and at the fame time have an opportunity of encoiraging Engliih artifts. The event, however, has not juftified the fuppofiton ; for the tranflators find themfelves much more obliged to their friends, than to thofe from whom alone they had expected fupport in fo expenfne an undertaking. But if they might not receive the favours of the great ; little did they imagine, that fuch humble members as they are of the republic of letters, could attract the refentment of crowned heads ; litte indeed did they expect, that the ferenity of the Court of the Two Sicilies and Jerufalem could be difturbed by any pub- lication of theirs, wl ich meddled not with politics, morality, or religion : yet, in thefe fuppofitions they find themfelves as much miftaken as in the firfl:; for their royal idverfary, after attempting to ftifle the work, from an imagination as falfe 2S it was ridiculous, that fo refpectable a body as the Univerfity of Cambridge itfelf was engaged in the publication ; was pub- licly pleafed, when nothing could be done that way, to order, that the book which was not to be commonly purchafed before, for fear it might become of fmallvalue if it loft its rarity, lTiould be fold at a price greatly below the prime coft ; in order, it may be prefumed, to fuperfede the tranflation, and diftrefs the tranflators by underselling them*. a The flut'y of aniquities (fays the lively and induftrious Cay/us), *s an affair of ftnte at Naples 5 and 1 fhouk' be afraid, in giving fome of thcfe precious remains to the public, left: I Notwitji- vi THE TRANSLATORS PREFACE. Notwithstanding thefe difcouragements, the tranflation and engravings are at length finifhed ; in a manner, it is hoped, that will not prove dif- pleafing to the fubfcribers, or difgraceful to the Britifh artifts. If it fhould be obferved, that all the vignettes which adorn the original, are not en- graved in the Englifh work, the tranflators prefume they may plead in ar- reft of judgement, that in juftice to their fubfcribers they were unwilling to delay the publication any longer ; and in juftice to themfelves were neceflitated not to increafe their expenfe fo much as the engraving fo con- fiderable a number of vignettes muft have done b : in truth, they are of very fmall importance, and if the fubfcribers expe&ed them, their lofs is made up by the addition of things of more confequence, for which the tranflators never engaged. A better fource of complaint the fubfcribers perhaps may find in the immoderate length and parade of the notes. The original, however, is faithfully rendered ; the tranflators not thinking thenfelves at liberty to mutilate it, or obliged to make themfelves accountable for all that is faid there : the authors have made their own apology c . The public will doubtlefs expedt from us, though ve did not article for it, fome account of the deflruclion and difcovery of Herculaneum. We mall endeavour to give them what fatisfa&ion we can upon this, and fome other points. And here we fhall not begin ab ovo, and inform our readers who Her- cules was; nor tell the whole ftory of his coming irto Italy and building the city of Herculaneum. Whoever has an inclinatbn to go fo far back,, may find thefe points difcufTed at large in the Italian voters d . The firft author who makes mention of Hercukneum is Dionyjius of Halicamajfus*. He it is who tells us, that it was built by Hercules, when he was detained in Italy for want of his fleet, which he had left in Spain. Its moft ancient inhabitants, of whom we have any certain account, were the Ofci: after them the Cumaeans, Tufcans,, and Samnites, pofiefTed it in fhould render the accefs to the cabinet at Portici more difficult than it is already: but, fince that is impofliblc, we have no terms to keep, and muft make the moft of what we can get at. Recueil d 'Anil quite 'f, vol. iii. p. 143. b Two of thefe are engraved, one at the beginning, and another at the end of this vo- lume : thefe may ferve as a fpecimen of the reft. The head-piece to the preface is a modern view of Vefuvius, the crater, and the ftreams cf lava defcending from tke mountain. c See note [3] plate viii. d Venuti, par. i. cap. i, ii, iii. Bayardi, Prodrcmo dellc AnUchita d'Elcolano, p. 2Q, &c ! Antiq. lib. i. their THE TRANSLATORS PREFACE. vii their turns. The Romans took it from the laft,' 293 years before ChrifF; an d 93 years after that, it was taken again, in the focial war, by the pro- conful Didius : from that time it was inhabited by a colony of Romans, and was a Munkipium *. Herculaneum was fituated between Naples and Pompeii, near the fea, on the banks of the Sarno, and at the foot of Vefuvius h ; between the fpot where now ftands the royal palace of Portia", and the village of Re- fina. If this tracT: of country be fo pleafant now, after fo many repeated eruptions of Vefuvius, we may well fuppofe it to have been much more fo when the great Romans retired to it, either from triumphs or bufinefs ; and ornamented it with their villas '. We need not wonder, therefore, if fo fmall a city js Herculaneum was k , mould contain a theatre, temples, and other magnifcent buildings, adorned with a great profufion of paint- ings and fculpturss, many of them certainly in a good tafte, among a much larger number of bad ones. That the newly difcovered city is really the ancient Herculaneum can- not be doubted : the infcriptions that have been found, the fituation cor- refponding fo well with that in which ancient authors 1 have placed it, and a variety of proofs which have arifen in the courfe of the difcoveries, put it beyond a doubt, All the world -mows that Herculaneum was overwhelmed by a violent eruption of Mount Vefuvius, on the ift of November, in the year of Chrift 79, and the firft of the reign of Titus. Before this, Pompeii had been entirely, and Herculaneum in great part, deltroyed by a terrible earthquake, which happened 16 years before, on the 5th of February, and lafted fe/eral days m . f Strabo, lib. v. Livy, lib. iv. cap. xix. See Venuti, p. i. ch, iii. and Obfervations fur les Antiquites (T Henulaneum, par MM. Cochin et Bellicard, pref. p. 17, &c. s Reinefti Infcript. clajf. vii. n. 15. Dionyf. lib. \. Grutcr, 400, 29, 6, Sic. h Urbes, ad nare y lays, Florus Bell. Sa?n>iit. i. 16. Formiae, Cumae, Futeoli, Neapolis, Herculaneum, Ponpeii. Seneca, £)uaell. nat. lib. vi. cap. i. & xxvi. gives it the fame fitu- ation. See alfo Ovid, Metam. xv. 7 11. Pliny, epifl.\\. 16. s Cicero fpeaks af that which the babii had there : and Seneca tells us of another belonging to Caius Caefar : '• Hie Teneris fedes, Lacedaemone gratior illi; " lie locus Herculeo nomine clarus erat." Martial, k Some ancicntauthors fpeak of Herculaneum and Pompeii as very confiderable. Pliny gives us their fituaion, by which it appears they could not be of any great extent j for Vefu- vius ihut them uron one fide, and the fea on the other. Caylus, voU ii. p. 119. 1 Dionyf.us, Strao, Patercuius, Djo, Seneca, a Seneca, nat. qae/l.\\. 1, 26. That viii THE TRANSLATORS PREFACE. That eruption of Vefuvius, in which Hereulaneum was loft, is the firfi: upon record, and fome have fuppofed that the mountain never threw out its fires before the nrft year of Titus : the truth feems to be, that Vefuvius had been fubject to eruptions from the moft ancient times, but that its fury had mbfided for many years preceding the reign of Titus. Strabo n fays, that Vefuvius is fertile, except its top, which is quite barren, and of the colour of afhes ; that ftones are found there of the fame colour,, which feem to have been broken, and burnt at different times 0 . In dig- ging near Vefuvius, about a mile from the fea, the workmen met with feveral ftrata, laying horizontally one over another, like fo many pave- ments : continuing to dig deeper, they found inferiptions mentioning the city of Pompeii ; below this they dug above 70 feet, till they came to water; and all the way found different ftrata of earth, mixed with vitri- fied and calcined ftones. If we fuppofe then, that the inferiptions relating to Pompeii, were buried in that eruption which happened in the reign of Titus, the ftrata of burnt earth below them, muft have been formed by preceding eruptions R. But however this may be, we are certain from hiftcry, that there was a moft terrible eruption of Vefuvius, which defolated Campania, in the firft year of Titus. Although the defcription which the younger Pliny has given of it r in a letter to Tacitus the hiftorian"*, i9 well known, yet we mall hardly be excufed if we do not give the fubfhnce of it. Pliny the elder, uncle of the letter-writer, and well known among the learned as a natural hiftorian, had the command of a fleet which was ftationed at Milenum : on the 23d of Auguft, about one o'clock, he, being informed that a cloud appeared of unufual fize and fhape, immediately repaired to a higher point of view, from whence he could difcern the cloud advanc- ing in height, in the form of a pine-tree r . It fometimes appeared bright, n Lib* v. See Pbilofoph. TranfaB. vol. xli. p. 238. u See al'b Diodorus Uiculus, lib., iv. Valerius Flac-.tis* Argonaut, iv. and Sifys Italicus* whofe words are : *' Sic ubi vi caeca tandem deviclus ad aftra " Evomuit paftos per faecla Vefuvius ignes, " Et pclago, et terris fufa eft vulcania peftis." See Bonnier, Memoires de Literature* torn. xv. P Bianchini Hijhria Univerfale Provata, &c. Roma 1699^ Philof*Tranfa&,. vol.. xli. p. 238. The ingenious bir IVillia?n Hamilton, K. B. the Britifh Envoy Extraordinary at Naples, has proved, not only that Vefuvius, but all Italy, was originally formed by vobanos. 1 Epiji. lib. vi. 16. • Sir/F. Hamilton* in his account of the late eruption of 1767, fays, tpt the fmoak took and THE TRANSLATORS PREFACE. <••<•• ix and fometimes black, or fpotted, according to the quantities of earth, or afties, mixed with it. He commanded a galley to be prepared, and em- barked with a defign to relieve the people of Retina, and many others ; for the more was interfperfed with a variety of pleafant villages. He failed to places which were abandoned by other people, and boldly held his courfe in the face of danger, fo compofed, as to remark diftinctly tho appearance and progrefs of this dreadful calamity. He now found that the ames beat into the mips much hotter, and in greater quantities ; and, as he drew nearer, pumice ftones, with black flints, burnt and torn up by the flames, fell upon them ; and now the hafty ebb of the fea, and ruins tumbling from the mountain, hindered their nearer approach to the fhore. He would not, however, turn back, but made the beft of his way to his friend Pomponianus, who then lay at Stabiae. In the mean time, flames i/Tued from various parts of Mount Vefuvius, and fpreading wide, and towering to a great height, made a van: blaze; the glare and horror of which were ftill increafed by the gloominefs of the night. Pliny now retired to take his reft ; but the court beyond which was his apartment, by this time was fo filled with cinders and pumice-ftones, that had he con- tinued any longer in his room, the pafTage from it would have been flop- ped up. Being awakened therefore, he quitted his own apartment, and returned to that of Pomponianus. They confulted together, whether it would be more advifeable to keep under the (helter of that roof, or retire into the fields ; for the houfe tottered to-and-fro as if it had been maken from the foundation by the frequent earthquakes. On the other hand, they dreaded the ftones; which, although, by being burnt into cinders, they had no great weight, yet fell in large quantities. But, after confi- dering the different hazards which they ran, the advice of going out pre- vailed. They covered their heads with pillows, bound with napkins ; this was their only defence againft the mower of ftones. And now, when it was day every where elfe, they were furrounded with darknefs, blacker and more difmal than night, which however was fometimos difperfed by feveral flames and eruptions from the mountain. They agreed to go far- ther in upon the more, and to look out from the neighbouring land to examine whether they might venture to fea ; but the fea continued raging the exacl (hape of a huge pine tree. Philof. Tranf. voh lviii. and fo it naturally dees in rifinr; fron) a furnace, when the air is ftill. Vol. I. c and x THE TRANSLATORS PREFACE. and tempeftuous. Then it was that Pliny, being of a corpulent and afthmatic habit, was ftifled by the fulphureous and grofs air s . Dio CaJJius 1 relates, that this eruption was accompanied by violent earthquakes, and tremendous noifes j that the afhes, flames, and fiery Hones, filled the air, earth, and fea, to the deftruclion of men, herds, and fields, and all the birds and fifties j that the fun was as it were eclipfed, and the day turned into night ; that Rome was covered with mowers of afhes, which extended even to, Africa, Syria, and Egypt; that Hercula- neum and Pompeii were deftroyed ; and,, in iliort, that the fcene was fo dreadful, and the confufion of the inhabitants fo great, thofe who were at fea running to land, thofe who were at land to fea ; thofe who were in houfes making for the fields, thofe who were in the fields for houfes - r that people thought either that chaos was returned again, or that the uni- verfal conflagration of the earth was commencing u . Dreadful as this calamity was, it appears that the cities were not buried fo fuddenly, but that the inhabitants had time to fave themfelves, and the mod valuable of their effects w ; very few bones having been hitherto found, and very little money , : plate, or any other moveables of great value x . Since the cataftrophe of Herculaneum and Pompeii, there have been twenty-feven eruptions of the mountain fo that it is not wonderful if the former of thefe cities lliould be difcovered now more than fcventy feet under the furface z . * Lord Orrery's tranflation.. « Hijl. Rom. lib. Ixvi. 0 Martial, defcnbing this cataftrophe, fays r *' Cuncla jacent flammis et trilii merfa favilla; " Nec fuperi vellent hoc licuiflfe fibi." w If they were overwhelmed by a torrent of lava, that would be fome time in approach - ing them. Pompeii is chiefly covered with afhes.. x Pbilofophical Tranfaclions, vol. xlvii. JVinchelman, part ii. y See an account of" thefe eruptions down to 1737, in the Philofophical Tranfaclions, voI.-x.Ym p. 238, &c. Of this laft there is a hiftory by Nicola di Martino, and another by Ciccio Serrao ; befits two accounts in the place referred to. For the ftate of Vefuvius in 1749, 1750, and the fubfequent eruption in (Mober 175:1, fee M. Bellicard, p. 1. In the Iviiith volume of the PbHofopbical Tranfaclions there is a very curious hiftory of the late eruption in 1767, by. the Hon. Sir W'. Hamilton. See alfo vol. lix. p. 18. There are other accounts in Recupitus de Incendiis Montis Vefuvii, Des Embrafcments du Mont Vefuve, Memoires de Literature, torn. xv. Naudeus, Paragallo, Pellegrini, Celeno, Parrino, Sic. * The depth varies in different places from about 60 to 80 feet j and in fome places more. The THE TRANSLATORS PREFACE. xi The matter under which Herculaneum lies buried is different : in fome places they find lava-, in others a kind of hard cement like mortar. The Java being liquid, all thofe parts of the city through which it directed its courfe, are as exactly filled with it, as if melted lead had been poured into them. The cement, compofed of earth and the ames of Vefuvius mixed with water, not only filled the ftreets and other open places, but even pe- netrated into the interior parts of all the buildings, without doing them any confiderable damage The firft dilcoveries were made in the year 1689; when, on opening the earth at the foot of Vefuvius, the workmen obferved regular ftrata of earth and vitrified ftone : this difpofed the owner of the ground to con- tinue the digging and, at the depth of twenty-one feet, he found fome coals, iron keys of doors, and two infcriptions, from which it appeared that the ancient city of Pompeii formerly flood there b . In the year 1711% the Duke di Belbqfi, defigning to build himfelf a villa on the fea-fhore near Portici, had a mind to cover fome of the ground rooms with plafter. He knew that fome of the inhabitants of Refma, in digging for a well, had found fragments of antique Grecian marble, and therefore ordered the workmen to continue digging as deep as the water would permit, in order to get a fufficient quantity of this marble for his plafter. Scarce had they begun their operations, when they found fome beautiful ftatues, among which was one of Hercules, in marble, and another thought to be Cleopatra : proceeding farther, they met with feveral columns of coloured alabafter, belonging to a temple of a round form, adorned on the outfide with twenty-four columns, the greateft part of which were of the yellow antique : the infide of the temple had the fame number of columns, between which were ftatues of Grecian marble, and it was paved with the yellow antique j the ftatues were fent to Vienna by the Duke di Belbofi, as a prefent to Prince Eugene of Savoy. There was alfo an infcription found, and a great quantity of African marble, out of which fome tables were made. After this, all farther fearch was difcontinued, for fear of getting into a dlfpute with the minifters of ftate d <. * Ftnuti, chap. IV. b \Me?noires de Literature, torn. xv. Ijloria Univctfale di Bianchini. Venuti, p. ii. c. i. e Betlicard fays, 17,06. d Fempf p. ii. cb. i. The Duke, it fcems, met with fome things of great value: the c 2 In xii THE TRANSLATORS PREFACE. In December, 1738, his Sicilian Majefty being at Portici, and Tome fragments of marble having been found in the well which the Duke di Relbofi had funk, the King gave orders that the bottom of it mould be diligently fearched > whereupon the workmen, entering by the hole which the Duke had made, found fragments of two equeftrian ftatues of brafs, bigger than the life, a little above the level of the water, at the depth of feventy feet below the prefent furface. Purfuing their fearch farther, they found two ftatues of marble, larger alfo than the life : after this, they now and then found fome pilaflers of brick, well formed, plaftered over, and painted with various colours j and among them another ftatue, entire, and {landing upright. An infeription on the fragment of an architrave now led them to fearch for the theatre which Dio mentions to have been deftroyed : accordingly, proceeding w little farther, they found fome circular fteps, which proved to be the feats of a theatre. Afterwards another infeription was found, on- which appear- ed the name of the architect e ; and the broken parts of two large equef- trian ftatues r gilt, one of which was beaten quite flat : alfo fome pieces of a car, with a wheel entire, all of brafs, gilt ;• the heads of the men were not found, and one of the trunks was made into two large medallions of the king and queen. The earth being cleared from the outride of the theatre, it appeared to be built of brick r with pilafters at equal diftances, having marble cornices, and' plaftered with mortar of various colours in fome parts red, in others black. At laft the inner ftairs were difcovered, which led to their correfponding vamitoria 7 and to the feats where the fpectators fat. Having uncovered the feats in the theatre, they were found to be eighteen in number; among which were fome not fo high as the others, in a ftrait line f , which ferved as fteps, and led to the corre- fponding vomitoria, and the in fide ftair-cafe of the building. At the top of the feats appeared alevelfpace, running round the building,, which was the praecinttio ; and above that, other fteps leading to a fecond. This praecintlio being partly cleared from the loofe earth, gave room to judge that the theatre, with its orchejlra and cavea, might be about fifty feet principal were two columns of oriental alabafter, which were fold for 50,000 ducats. Pbilof. TranfaSl. vol. xli. p. 490. c Publius Numifms. * That is, at proper diftances; each feat, which would be about 18 inches high, was cut into two fteps, nine inches high, and of fufficient breadth. diameter. THE TRANSLATORS PREFACE. xiii diameter. It was all covered on the infide with African, Grecian, and Egyptian red and yellow antique, veined agate, and other curious mar- bles j which were carried away to adorn a garden belonging to the royal palace at Portici. There were feveral ftatues found in this theatres. It is much to be lamented that fo perfect and curious a piece of anti- quity as this theatre, mould have been opened only by piece-meal. If the earth in which it was buried had been entirely removed, we mould have been able to make an exact judgement of its form and dimensions h . In the neighbourhood of the theatre, the workmen opened a ftreet near 20 feet wide, with a colonnade on each fide covering the foot way. One of the colonnades led to two temples, feparated from each other by a crofs ftreet'. One of thefe is fuppofed to have been dedicated to Bacchus : the other was certainly facred to Hercules. The latter confifts of one great room, the roof of which having been beaten in, it is filled with earth ; the walls are painted in compartments, in chiaro-ofcuro, red and yellow ; in the middle of the compartments are painted feveral pictures reprefent- ing the combats of wild beafts, tigers furrounded with vines, heads of Medufa and Faunus, a winged Mercury with a boy, fuppofed to be Bac- chus; landfcapes, fictitious and real animals, architecture, facrifices, houfes and other buildings in perfpective. Here was alfo found the picture of Thefeus with the Minotaur, and another which is called the finding of Telephus. As foon as this difcovery was made, the pictures, with the ftucco they were painted on, were detached from the wall, and carried to Portici. Many of them have been fince engraved, and given to the pub-- lic in The Antiquities of Herculaneum k . Adjoining to thefe temples they found an oblong fquare, which formed a kind of forum, and was adorned throughout with ltuccoed columns: in the middle of it was a bath ; and at the feveral angles a term of mar- ble, upon every one of which flood a buft of bronze of Grecian work- manship.- A fmall fountain was placed before each term. Between the s Fenuti, p.\. ch. ii, iii, iv. v. vi. Cochin and BcU'uard, p. 9. where there is a plan of the theatre: and Philofophical Tranfaclicns, vol. xlvii. h The expenfe, however, of removing to a diftance fo much rubbifh would be confidcr- able ; which is not the cafe when it is done by piece- meal : as the part firft cleared ferves to receive the materials from the next, ' Belli card, p. 15. k See Veauti, p. ii.-c/;. vii, viii.- columns xiv THE TRANSLATORS PREFACE, columns which adorned the bath, were alternately placed a ftatue of bronze, , and a buft of the Uint metal 1 . The firft: opening which gave birth to thefe difcoveries, happening to be in the middle of the theatre; they went into the ftreets from the doors of this building, one of which led into the city. Here they opened feveral houfcs, fome of them having marks of great magnificence : they all ob- ferved the fame method of building, having fmall corridores in front, paved with mofaic, painted red, and adorned with figures; from hence there is a ftrait (lair-cafe, not very wide, leading to the floor above. All the wood-work is as black as a coal, and for the moft part glofiy and en- tire; but falls to pieces on being touched: the grain of the wood is ftill vifible. The walls are well preferved, and the corners of the ftones (harp and unbroken. The water which has (trained through from above has rutted all the iron. The windows are not very large : in fome of them remained fragments of what had been ufed for glazing, which looked like fine alabafter. In one of thefe houfes they found a kitchen, up ftairs, with a great quantity of brazen and earthen veffels in it, as dimes, trivets, &c. Here were alfo eggs, almonds,, and nuts; the two laft had preferved their natural colour, but, upon being opened, the kernels were found to be charred: in a contiguous ruin a brafs ink-pot was found, which ftill retained the black colour of the ink, fo as to be able to ftain any thing; iron locks, keys, latches, bolts, door-rings, hinges'", fpears, intaglios, and medals, the greater part of which were of Nero, with the temple of Janus on the reverfe : fome mofiic pavements in imitation of fcrolls, but of ordinary workmanfhip. In another place were the ruins of a bath, paved with little fquares, in which were feveral forts of veffels and lavers of brafs. A cellar, fourteen yards long, and eight broad, with a door into it of white marble. In the middle of one of the fides was found an- other door, leading into another room about the fame length, but almoft fquare. Round the fides of both thefe rooms, which were paved with marble, ran a kind of ftep about half a yard high, covered with thin flips of marble ; which feemed at firft fight intended for a feat, having a hand- fome cornice round the edge ; but on a nearer examination, there appeared 1 Pbilof. Tranf. vol. xlviii. m We may expert from Herculaneum moft of the utenfils of the Romans; but in great trcafu;es fmall pieces are often neglected ; and, without being led by a principle of charity, we cft<-,n leave gleanings for the poor. Caylus, v. p. 239. on THE TRANSLATORS PREFACE. xv on the top feveral round pieces of marble, very fine, which being re- moved, were found to have ferved as covers, or floppies, to large earthen veffels, inclofed with mortar, and buried in the earth, having their mouths juft within the feat. On one fide there was an oblong fquare in the wall, like a large window, full of earth, which at firft fight appeared to have been the mouth of an oven, the inner wall being black; but at lafl: it appeared to be only a kind of cupboard, or buffet n , fix feet eight inches- deep, within which was found, in good order, a number of Heps made- of marble of various colours, feemingly intended to hold fmall vefTels, or bottles of cryftal, with famples of the beft wines. All this was ruined, the marble taken away and put to other ufes, and the wine veffels broken °. This is not the only inftance of the mifchief which the ignorance and carelefThefs of the workmen has occaJioned. Infcriptions upon the archi-- traves of buildings they broke in pieces and threw into bafkets, to try the genius of the Academicians in putting them, together again : pictures- they cut out, without remarking their fituation, or the borders of gro- tefques, mafks, figures, and animals, which furrounded them; and many of them they cut in pieces and threw away, without examination ; thus deftroying by the moft unpardonable negligence that, which time, earth- quakes,- and the ravages of the volcano, had fpared. But what elfe could be expected from galley-flaves, under the conduct of ignorant fuperin- tendants ? for to fuch, for fome time at leaft, was this ineftimable mine committed p . The number of workmen employed by the King has never been great;: and where the lava is very hard, their progrefs has been but flow ; but the foil which they have ufually dug through, feems to be cinders, which have acquired the confidence of a foft (lone. The pafiages which they make are not above fix feet high, and four wide ; and when they have taken out what they choofe from any room, or other place which has been opened, they throw in the earth again ; by which means little can be feen together, and the general form of their houfes and other buildings does not appear. When the workmen find a wall, they clear a paflage along the fide of it ; when they come to a corner, they turn with it; and when they get to a door or window, they make their way into it ; but. n Two fuch buffets appear in plates viii and ix. e Venuti, ii. ch. ix.andx. p Venuti, pref* Pkilof. Tranf. vol. xli. Wiuckehnan, part'i'vL- when xvi THE TRANSLATORS PREFACE, when they have done this, the rooms are often found to be filled with the lava, which fticks clofc to the fides of the walls; and the labour of get- ting through this is fo great, that as foon as they ceafe to find any thing worth their fearch, they fill up the place again, and begin to dig elfe- where, by which means no place is ever quite cleared q . It is evident that the ancients had been digging before, by the marks of tools which have been obferved j by the ftate in which the earth in fome places has been found ; and by buds and flatues having been taken away r . The expectations of the learned have been much directed towards the difcovery of fome of the loft works of fome celebrated ancient writers ; but it is much to be feared their hopes will be difappointed. A library, however, has been found, furnifhed with prefies, inlaid with different forts of wood, and ornamented with a cornice. Many of the volumes which thefe preffes contained, were fo far perifhed that it was impoffible to re- move them j 337, however, all written in fmall Greek capitals, were taken away: there was alfo found a large roll, containing eighteen vo- lumes, written in Latin; it was thirteen inches in length, was wrapped about with the bark of a tree, and covered at each end with a piece of wood; but this was fo damp and heavy that it could not be got out. The Greek volumes, which are in much better condition, are however all black, and extremely brittle; for which reafon it is infinite labour to unroll them. The method which father Antonio has taken for this purpofe is the following : he made a machine, with which, by means of gummed threads which ftick to the back of the roll, where there is no writing, he begins by degrees to pull ; at the fame time, with an engraver's tool, loofening one leaf from another, which is the mofl difficult part of all ; and then he puts a lining to the back. The experiment was made upon one of thofe rolls which were the worft preferved : it fucceeded, and was found to be a treatife upon mufic, by Philodemus. The operation is ex- tremely tedious ; for a whole year was confumed about half this roll, which is one of the fmalleft. And fome of them are fo voluminous, that if they were unrolled they would extend to above fourfcore feet in length. A fecond volume having been unfolded, it proves to be a treatife on rheto- ric, by the fame author*. 1 Bellicard, p. 9. Philof. Tranf. vol. xlvii. r Philof. Tranf. vol. xlviii and xlix. s Philof Tranf. vol. xlviii. xlix. 1. JVinckelman, part iv. fe£i. ii. All THE TRANSLATORS PREFACE. xvii All the remains of Herculaneum may be looked upon as cunofities : for, befides their authenticity, they exhibit to us a great variety of com- mon moveables, which would not have been preferved but by fome fuch accident as this ; and were too common and inconfiderable to be recorded and tranfmitted down to us by ancient writers. Such are the tops of wells, of which a confiderable number has been found ; moft of them of mar- ble, and elegantly wrought : they are low, being fcarcely more than a foot and half in height, and the opening is little more than eight inches in diameter. No pullies were ufed in them, as is evident by the marks of the rope againft the infide of the marble l . A great variety of chirurgical instruments, excellently worked and finely preferved : they are many of them made of bronze, as were moft of the kitchen utenfils, and common velfels; but thefe are filvered on the infide. Elegant lamps, of a great va- riety of forms u . Paper of filk, cotton, or linen w . They have even found a loaf of bread, with the form fo well preferved, that the baker's name was difcernible upon it ; but this, with all forts of corn, pulfe, &c. was charred, and would fcarcely bear the touch x . The greateft and moft valuable part of this fubterranean treafure con- fifts of ftatues and pictures y . The ftatues, both of marble and bronze, are many of them very fine, and generally allowed to be in a much better tafte than the pictures. Herculaneum has furnifhed feveral figures of white marble as large or larger than the life j the draperies in a good tafte, and well executed ; but the heads of the greater part are not in a very great ftile : one of the beft is an equeftrian ftatue of M. Nonius Balbus ; it now ftands before the King's palace at Portici, and is juftly admired for its beauty and fimplicity. Among the ftatues of bronze, there have alfo ap- peared fome of confiderable fize ; one particularly, much larger than the life, fuppofed to be a Jupiter, of great beauty and fine character : in ge- neral, thefe are in a good manner, though not of the firft rank. Many of the ftatues, which are of a fmaller fize, about a foot and half in height, have confiderable merit ; efpecially a naked Venus refembling that which * Caylus, vol. iv. p. 1 73. pi. lviii. n. I, 2. u Caylus, ibid. p. 168. pi. lvi. n. 5. p. 289. pL lxxxviii. n. 3. vol. V. p. 292. * Pbilof. Tranf. voL). * Pbilof. "Tranf. vol. xlvii. H r inckelmari s Account of Herculaneum ) £sV. part. iv. feci. i.p. 57. Englijh edition. 1 IVinckebnan, parU iv. feci, i. p. 37, &c. Vol. I. d is xviii THE TRANSLATORS PREFACE, is well known under the name of the Venus di Medici, another cloathed from the waift downwards, and a Bacchus, in a great manner ; with a moft elegant contour 2 . Moft of the marble ftatues have been much bro» ken, and thofe of bronze beat flat by the weight of earth, or ames, which overwhelmed them ; thofe which would admit of it, have been repaired by modern ftatuaries \ The houfes are found to be decorated, both within and without, with paintings. The grounds are feldom bright, but generally of fome dark colour, black, yellow, green, or dufky red b . The ftucco is very thick, and bears being cut from the walls very well 0 . The pictures are done in panels, with grotefque ornaments round them ; not as was at firft fup- pofed in frefco, but in dijlemper*. This is in fome degree a new difcovery : it was indeed plain, both from Vitruvius* and Pliny f , that the ancients painted upon walls, boards, &c. % ; and that they were acquainted with the art of painting not only in frefcoy but in dijiemper h . But it had been generally fuppofed, that their paintings upon walls were executed in the former of thefe manners; whereas the far greater part, if not all thofe which have been found in Herculaneum, are certainly in dijiemper; that is, the colours are not mix- ed up with water, and incorporated with the wall itfelf, by laying them on while the ftucco is wet ; but with fize, or fome other glutinous matter', and laid on fuperfkially. This is plain, becaufe where the colours have by any accident been rubbed off, the wall appears white ; and fome co-» lours are found in thefe pieces which cannot be ufed in frefco painting k . The critiques which we have had upon thefe ancient paintings, by tra- vellers of different nations, who have feen them, are not only various,, but even diametrically oppolite to each other. The rapturous admirations of the Italians, and fome of our own countrymen, would perfuade i% ; * See more of the ftatues in IVinckelman, f. 41. * Bellicard, p. 9, 10, 46. Philof. Tranf. vol. xlvii. See alfo JVinckelman, p. 4g. b Cay'lus, vol. i. p. 149. Philof. Tranf. vol. xlvi. * Venuii, p. ii. c. viii. * IVinckelman, p. 37. ' Book vii. chap. iii. f Bock xxxiii. chapter the laft. B. xxxv. ch. vii. 1 P//«j v xxxv. 11 and 7. h See Vafari's Lives of the Painters, in the Introduction. * Pliny, xxviii. 17. xiii. 11. xxxv. 6. Vitruvius, vii. 10. k Pliny, xxxiii. chap, the laft. xxxv. 7, Le Antichita di Ercolano, vol. u. p, 274, 275. that THE TRANSLATORS PREFACE. xix that fome of them were in the manner of Raphael ; that they exceeded all the performances of the moderns 1 ; that they are finifhed to the higheft » pitch; for excellence and fine tafte are beyond any thing. that was ever feen ; that they are coloured to perfection ; that the perfpective is exact, and the chiaro ofcaro well underftood m . Whilft, on the other hand, fome, carried away with the prejudices of modern artifts, fcruple not to afiert, in terms not the moft decent, that the greateft part of them are but a very few degrees better than what you will fee upon an alehoufe wall j that not above twenty of them are tolerable ; that even the beft, if they were modern performances, would hardly be thought worthy of a place in a garret ; that their antiquity alone has recommended them to their admirers, and atoned in their eyes for all their blemiflies and defects n . The editors of the Italian work. 0 exprefs themfelves very angrily con- cerning thefe hafty criticifms : they tell us, that it was their original in- tention merely to have fet before the public, engravings faithfully done from accurate drawings, with a (hoi t account of the prefervation and co- louring of the pictures ; fufficient, however, to enable every one to form a judgement of them for himfelf: but that the haftinefs and vanity of fome, who, deftitute of tafte, and without having ever feen the original pictures, yet undertook to write about them ; in order to make an advan- tage, by giving the firft account of curiofities which had now interefted all Europe ; obliged them to fay fomething, if it were only to undeceive thofe who placed a confidence in fome trifling pamphlets, remarkable ra- ther for the aflurance with which they abounded, and the hafte with which they were written, than for any knowledge or attention. As to the colouring of the pictures, they tell us, that not only all the colours which are known to modern artifts, together with all the middle tints and fhades, are to be found in them ; but that there are others, which are even unknown to us. The dejign, fay they, is not only gene- rally correct in all ; but in fome there appears an accuracy, to which even the beft modern mafters have not attained, without confiderable difficulty. In general, if we except fome few, we may difcover in them the touches of a mafter, great fpirit, and profound ftudy. 1 Vcnutl, ii. c. viii. m Phi/of. Tranf. vol. xli. ■ Philof. Tranf. vol. xlvii. • Lt Antichita a" Ercolano^ vok i. p. 273, kc» d 2 With xx THE TRANSLATORS PREFACE. With regard to thofe pictures in particular which are engraved in the firft volume, the large figures (they tell us) have a greatnefs of manner^ together with a freedom and delicacy of pencil, that atones for all their other defects. Thus in the Telephus?, not only the heads of the figures are all good, but the defign is alfo moil excellent ; and in particular the animals are extremely well executed. In the Thefeusi there is much to admire ; the minotaur efpecially is defigned and painted with wonderful intelligence. If there be fome things which one would wifh to have cor- rected in the Chiron r , it has however many beauties: the Achilles is the moft beautiful and delicate figure imaginable ; that fublimity of manner which ever diftinguifhes the antique, renders this figure inimitable. The head of the Dido s is, in the opinion of the connoifieurs, a moft mafterly performance. The two Nymphs with Fauns 1 are wonderfully ftriking, and equal the beft works of Caracci; to which they bear a refemblance in ftile and delicacy.. The four fmall pieces of Centaurs u , and the eight little figures w , all on black back-grounds, are perfect in their kind : and nothing can be fuller of grace and elegance than the little boys at different fports or employments x . It is not poffible to form a judgement of the paintings which have been found at Herculaneum without having feen them, or at leaft knowing what confidence may be placed in the defigners and engravers y. We may, however, venture to fteer between the blind enthufiafm of the Italians* and the contemptuous ridicule of fome foreigners. If the ancients indeed poflefTed ever fo great a. degree of merit, it may be prefumed that the art had loft much of its former fplendor when thefe pieces were executed ; and that the artifts who were employed at Herculaneum, were of an in- ferior rank, is plain from their excelling chiefly in little fubjects, as orna^ ments, animals, &c. z j a fure fign of a mediocrity of genius. Thefe paintings were all executed upon the fpot, and therefore probably not dons: * Engraved in voL'i, plate vi* * Plate v. * Plate viii. * Plate xiii. * Plates xv. and xvi. 0 Plate xxv, &c. w Plate xvii, &c. x Plate xxix, &c. 1 See Philof. Tranf. vol, xlvii. z Le Antkhita di Mnolano, vol. i. /. 277* by THE TRANSLATORS PREFACE. xxi fay the beft hands a . Herculaneum was not a very great city, and might poffibly have no artifts of confiderable note refident in it j fuch are rarely to be found in provincial places : or, if this fhould be difputed, it mufl however be allowed, that the pieces which have been moft admired, hav- ing been intended only as embellimments to the walls of the theatre and other public edifices, were therefore probably neither executed by artifts of the firft name, nor finifhed with any great degree of perfection. Ac- cordingly, the beft judges have pronounced, that there is generally in thefe pieces an ignorance of defign, a coldnefs or deficiency of genius in the compofition, a feeblenefs and want of tone in the colouring, and that the chiaro-ofcuro is ill underftood b . The beft are thofe of animals and ftill life ; they are executed with tafte and freedom j though even thefe are unfinifhed, have not always that relief that might be wifhed, and are often faulty in the drawing 0 . There are alfo fome fingle female figures, of a fmall fize, on a uniform dark ground, which are touched with great fpirit and tafte, and are even in a good ftile of colouring d . The children too, though they have not all the grace which fome modern painters have given them, are in general not ill drawn. The architecture is all abfurd and difproportioned ; there is fuch a mixture of the Grecian and the Gothic, fo interwoven with grotefques, that thefe pieces are as ridiculous for falfe tafte as the Chinefe defigns e . They are put into a kind of per-- fpective, but it is evidently fuch an one as betrays an utter ignorance of rules ; the lines of vifion by no means tend to one point ;. feveral diftant horizons muft be taken in their views or landfcapes, and the lights and fhadows are thrown on any fide of the objects indifferently there is an- attempt towards keeping, but it is plainly not governed by the rules of art f . In fhort, what thefe painters have done after nature, is much fu-- perior to their defigns after the works of human inventions.. It was a piece of good fortune, which could hardly have been expected,, that thefe paintings mould have been buried in the earth during many. a Caylus, vol. iii. p. 109. b Cochin, p. 50, &c. See alfo p. 3.6, 37.- e Cochin, p. 40. Animals are more eafy than figures and expreflions of fentiment. At-- cordingry in Herculaneum, the animals and houfehold utenfils are greatly fuperior to fubje fhe has a thyrfe in her left hand, and with her right holds a box upon her. head: the back-ground is white. 166. Another bacchant in white, crowned with vine-leaves,, with her veil blown behind her above her head ; upon which fhe holds a tympa-- num : the back-ground is black. 167. Bacchus in a tiger's fkin, crowned with vine, and along thyrfe in. his hand : the back-ground white. 168. A winged man, with a fpear in his hand : the back-ground yellow. 1 69. Two fragments ; one containing a buft of a young man, in yellow, and a woman's head with ear-rings ; the other a young man's head, crown- ed with laurel, much decayed : the back-ground of both white. 17a. A bacchant playing on a cymbal : the back-ground white. 171. A female figure with the wings of a butterfly, v. N° 314. . 1.72:. Leda carefiing the fwan : engraved in vol. iii. plate x. 173. A naked fawn; in a red back-ground.. 174. A prieftefs, crowned with leaves; in a red back-ground. 175. A naked fawn, crowned with leaves. 176. A prieftefs in white, crowned with ivy, ftanding on the capital of a pillar; in a red back-ground. 177. A woman, in white and purple drapery, crowned with leaves : the back-ground white. 178. Ionic xxxii THE TRANSLATORS PREFACE. 178. Ionic architecture, with figures; in a white back-ground. 179. A fowl pecking at a bunch of grapes. 180. This is nearly the fame with n. 18. and is engraved at the bottom of plate vii. in vol. i. 181. A picture in two parts, reprefenting grotefques ; the lower piece is the fame with n. 103. 182. Engraved in vol. ii. plate xxxviii. 183. A man with bow and arrows, mooting at fome white birds, which have rifen out of a lake; in which are other birds of the lame kind. A man crowned with leaves, naked from the waift upwards, and below cloathed in green, is fitting on the ground. 184. A man of a gigantic ftature, refting on a very long fpear; a figure which is fcarcely vifible, being much decayed, lying on a bed ; and a wo- man (landing cloathed in a long robe of green. 185. Mercury taking hold of a woman, who has a child in her arms. It is the birth of Areas. 186. A woman in white, on the capital of a column. 187. A large rainbow, within which fits Jupiter crowned with oak; over his left moulder is a white mantle ; in his right hand he has a large thunderbolt, held down ; and in his left a fpear : at his right moulder is a winged Cupid pointing to the fpear. The eagle emerges from the bow on the right hand. 188. Engraved in vol. ii. plate xxxv. n. 1. 189. Alpheus and Arethufa. 1 90. Engraved in vol. ii. plate xxxv. n. 2. 191. Figures on a large cornice, cut off from the top of the Thefeus. 192. Two goats grazing ; the ground terminates in a hill, on which is a fhepherd's crook inverted. 193. Engraved in vol. ii. plate xxxvi. n. 3. 1 94. A red and white frieze, acrofs a red back-ground ; from whence arifes the bufl: of a woman, whofe head is crowned with leaves. 195. The fame with n. 142, except that the lower figure is like n % 146. 196. Four boys playing with four lions : the back-ground black. 197. A facrifice; engraved in vol. ii. plate lix. ?i. 1. 198. A woman in white drapery, with a bafket of fruit in her left hand ; from whence hangs a feftoon alfo of fruits, which me holds with her right hand : the back-ground is white. 199. A • THE TRANSLATORS PREFACE. xxxiii 199. A bacchant in red drapery, with a white mantle flying behind her: fhe is crowned with vine leaves, holds a thyrfe in her left, and a fhell part- ly open in her right hand; fhe has a large feftoon of vine acrofs her: the back-ground is black. 200. A large fragment of a portico, with a female figure in green and red drapery, almoft vaniftied : the architecture is yellow, and the back- ground white. : 201. An Egyptian facrifice, engraved in vol. ii. plate Ix. n. 1. 202. A portico, in a black back-ground. There appears from behind a wall a female figure in white drapery, with a veftel in each hand : over her head-drefs (he has a crown. 203. The fame with n. 178. 204. Two boys running a race on goats, engraved in vol. ii. plate xYiv. ?i. 2. 205. A flag and a goat, between which is a dog, who feems going to run at one of them : trees are interpofed between them : the back-ground is black. 206. A woman in chiaro ofcuro; in a green back-ground, bordered with red. 207. A landfcape ; engraved in vol. i. plate xii. n. 2. 208. A bacchant, on a fmall pillar; in a yellow back-ground. 209. A landfcape; engraved in vol. ii. plate xxii. n. 2. 210. A Flora, with a garland of flowers : the back-ground red. 211. A red back-ground, terminated on the fides by two large yellow pedeftals, with a green foliage between them : the pedeftals themfelves are alfo adorned with foliage in chiaro ofcuro. In the middle of th~ back- ground there is a green oblong, upon which is a kind of lattice work, and over that a large vafe with handles; behind which is a Cdtyr, reding on the brim. Between this and each of the pedeftals is a long and (lender lamp-ftand, with a crown in the middle, and another on the top, where is placed an eagle : a green branch, arifing from the middle crown, is en- twined about each lamp-ftand. 212. Three leaflefs trees, with a lion purfuing two wild goats: the back-ground red. 2.13. Engraved in vol. i. plate xiv. 214. Architecture, with figures. 1 1 5 This is nearly the fame with n, 8 /. • • Vol. I. f 216. A xxxiv THE TRANSLATORS PREFACE. 216. A female figure; engraved in vol. i. plate xiii. 217. Two fmall birds, each perched on a rofe : the back-ground black. 218. Afwan; in a black back- ground. 219. A frieze, round a back-ground ; engraved at the bottom of plate vi. in vol. i. 220. Engraved in vol. iii. plate xiv. 221. A large water bird, on a purple ground : the back-ground white. 222. Apollo with a fpear, a woman, and a boy with a fpear, all naked : the back-ground is black. 223. The ftory of Narciflus. 224. A young man, with a long fpear ending like a fceptre, upon a large round ornament like a wheel; within which is a lion's head: the back- ground is white. 225. Architecture, with figures; engraved in vol. iii. plate xv. 226. A female figure crowned with herbs, holding in one hand a horn, in the other a ftaff: the drapery is green and white; the back-ground purple. 227. A picture divided into eight equal parts, in each of which is a winged boy, naked, except a veil flying behind : the back-ground is black. 228. Figures; engraved in vol. ii. plate xxi. 229. Another like the preceding. 230. Figures ; engraved in vol. ii. plate xxvii. 231. A bearded head, on a feftoon ; alfo a cymbal, and a (harp pointed flick : over the head is a white grotefque, in a purple ground. 232. Engraved in vol. i. plate x. n. 4. 233. A Cupid on a chariot, drawn by two lions ; the back-ground black. 234. A child riding on a leopard : engraved in vol. ii. plate xxxi. n. 4. 235. A child in a chariot, drawn by fwans : engraved in vol. i. plate x. n. 3. 236. A woman with a fawn : engraved in the fifteenth plate of vol. i. 237. A fubjeft of the fame fort : engraved in plate xvi. vol. i. 238. Two half-length figures in rounds, much decayed ; one of a wo- man crowned with leaves, the other of a boy with a thyrfe in his hand. 239. Like the foregoing ; with a fatyr in one round, and a girl in the other. 240. Ano- THE TRANSLATORS PREFACE. xxxv 240. Another like the foregoing ; with bufts of fawns. 241. Another like the foregoing; with a fawn and fatyr. 242. Another like the preceding ones ; with the buft of a woman and two boys. 243. Apollo in red drapery, crowned with laurel ; the bow is in his hand, and the quiver refts againft a column, under which is Apollo him- felf. A woman is fitting with the left hand on her knee, holding a branch, and the right refted on the feat : (he has an appearance of forrow. 244. Two figures, one with a writing table and ftyle : engraved in vol. iii. plate xlvi. n. 1. 245. A flying Hebe : engraved in vol. ii. plate xxxix. 246. A flying fame in red drapery, with a wreath of oak in one hand, and a trumpet in the other: the back-ground is blue. 247. A bacchant crowned with ivy ; in her right-hand is a long thyrfe, in her left a cymbal. There is alfo a fawn horned, with a crook in his right, and a pitcher in his left hand. 248. Another in the fame manner. 249. Figures: engraved in vol. ii. plate xxii. n. 1. 250. Figures in the fame manner: engraved in vol. ii. plate xxv. 251. Another in the fame ftile : engraved in vol. ii. plate xxiv. n. 1. 252. Another: engraved in plate xx. 11. 1. of the fame volume. 253. Another: engraved In plate xii. n. 1. of vol. i. 254. Another: engraved in vol. ii. plate xxiii. 255. Another: engraved in plate xxvi. vol. ii. Thefe laft feven repre- fent ceremonies ufed in the facrifices to Bacchus. 256. A vale: engraved in vol. i. plate*, n. 2. 257. Bacchus looking on Ariadne afleep : engraved in vol. ii. plate xvi. 258. Mercury delivering Bacchus toSilenus : engraved in vol. ii. plate xii. 259. A Cyclops, &c. engraved in vol. i. plate x. 260. Almoft the fame with n. 182. this is engraved in vol. ii. plate xxxvi. 261. Bacchus with Ariadne, and a woman playing on the lyre: behind is another woman fcarcely diftinguifhable : the back-ground is white. 262. Apollo crowned with laurel, refting againft a rock, with a long branch in his hand \ there is alfo his lyre, and his quiver refting againft a tripod. 263. A bacchant, with a long thyrfe in on: hand, and a tympanum in the other : the back-ground black. f 2 264. Like xxxvi THE TRANSLATORS PREFACE. 264. Like n. 97. 265, 266. Birds: engraved in vol. ii. plate xlix. n. 2, 3. 267. A tiger ; in a white back-ground. 268. Another; the back-ground black. 269. A winged fphinx : the back-ground black. ■ 270. Architecture: engraved in vol. i. plate xlii. 27 1 . A centaur pouring liquor out of a pitcher into a large veflel, which frauds upon an altar ; he holds alfo a veflel in his other hand : the back- ground is black. 272. A peacock ; in a white back-ground. 273. A bird ; in a black back -ground. 274. 275. Landfcapes. 276. Two bacchants dancing : the back-ground blue. 277. A picture in three compartments; in each of the fide ones is a water bird, and in the middle a peacock : the back-ground is white. 278 — 289. Landfcapes. 290. A fmall loaf of bread, two plumbs, and a kind of flew- pan open, with victuals in it, lying on a dark ground : the back-ground is white. 291. An oblong table of a green colour, upon which is placed a Tufcan vafe with handles, and a large olive-branch, about which is entwined a red cloth : the back-ground is white. 292. A picture divided into two equal compartments, and containing four mafks with buihy heads of hair : the back-ground is purple, border- ed at bottom with red. 293. A marble table, on which are five figs and three peaches, with their leaves : the back-ground is black, bordered with red. 294. A bunch of grapes, with a bird pecking at it. 295 — 299. Pieces of fruit. . 300. Fifli: engraved in vol. i. plate x\v\\. n. 2. 301. Red earthen velfels, &c. the back-ground black. 302. Three fiih: engraved at the bottom of plate v. in vol. i. 303. Two large peaches, in a white ground. 304. A parrot drawing a chariot, and guided by a grafs-hopper. The ground is green ; and the back-ground is black : this is engraved in vol. i. plate xlvii. 305. Two mullets : the ground as in the laft. 306. A THE TRANSLATORS PREFACE. xxxvii 306. A bafket on one fide, with figs falling out of it : a jpurple border furrounds it, made like an architrave, with a white frieze. 307. The infide of a houfe ; on a large window feat are two rrw lletSv 308. A prieft in white drapery, crowned with olive, with a pitcher in one hand, and a difli in the other : the back-ground is a building, and is of a purple colour : engraved in vol. iii. plate xlvi. n. 2. 309. Fowls; two baikets with cheefe, one of them over-turned;- and a fhepherd's ftaff. 310. Figs, and a hare eating. 311. A tiger, eating out of a veffel which he has thrown down: the back-ground red. 312. Fifli : engraved at the bottom of plate v. in vol. i. 313. Two veffels, and two dates, on a green ground : the back-ground is white. 314. A Pfyche, or girl with butterfly's wings ; (he is crowned with ivy, holds a cymbal in one hand, and in the other, which fhe refts againft her fide, a ribband : the drapery is purple and white - r the back-ground is red. 315. A buft of a horned fawn ' 7 he is naked before, has a green mantle thrown over his moulders,, the bottom of which is held up by his right hand, and is filled with leaves. 3 1 6. Architecture. 317. A large ftone, from whence rifes a pilafter. There is alfo a mafk crowned with vine leaves, a mepherd's ftafF, a bafket, athyrfe, and a lutle thicket, or wood. 318. A bacchant, in red and white drapery;, in one hand (he holds a- cymbal, in the other a fiftrum : the back-ground is white. 319. A bacchant on a pillar, in red draperv, with a white veil thrown over her moulders ; me is crowned with vine leaves, and has a dim in one hand: the back -ground is white. 320. A fhepherd on a pedeftal, with his ftaff in one hand, and his pipe in the other ; he has a garland on his head : the back-ground is white. 321. A woman in purple drapery ; fhe has on her head a veffel of a blue co'our, which (he holds with her left hand: the back-ground is yellow. 322. A Pegafus, whi'e ; on a black ground. 323. A man Handing upright; and another figure with a tiara on his head, and a keptre in his hand : the back-ground is bkek. 3.4 — 32/. Bircls, • ' 328. A xxxviii THE TRANSLATORS PREFACE. 328. A malt, in a red ground. 329. A roe-buck laying down : the back-ground is black. 330. A woman in the form of a harpye, with the wing?, feet, and tail of a bird ; the has two flutes in her hands : the back-ground is white. 331. A buft of a woman : engraved in vol. i. platexYiv. n. 4. 332. Two rounds, in one of which is the figure of a man, in the other of a woman : the back-ground is yellow. 333. A young man crowned with ivy, and winged ; he '? naked before, but has a blue mantle thrown over his moulders ; in his right hand he holds a center, and in his left a bucket : the back-ground is red. 334. A young man flying ; the fkin of a goat is thrown over his mould- ers : the back-ground is yellow. 335. A harpy; in a yellow ground. 336. A young man naked, with a mantle thrown behind him ; he has a lyre in his left hand : the back-ground is yellow. 337' 33^* Two tritons : engraved in plate xliv. n. 2, 3. vol. i. 339. A flying victory ; engraved in vol. ii. plate xl. 340. Two tritons : the back-ground yellow. 341. A winged boy playing with a goat : the back-ground black. 342 — 344. Medufas. 345. The head of a fatyr. 346. Two mafks, on a red ground, in two compartments. 347. A winged youth, flying, and holding a dim : the back-ground red. 348. Another 3 naked before, but holding a veil over his moulders : the back-ground yellow. 349. A young woman, winged, flying, and crowned j me has a neck- lace and bracelets ; her feet have fandals, and in her hand me carries a ceftus ; the back-ground is red. 350. A woman, holding in her hand a bafin and a flaff : the back- ground green. 351. The famewith 337 and 338. 352. A young man winged, with a ftafT in his right hand, and flying drapery of a blue colour in his left. 353. Another. 354. 355. Engraved at the bottom of plate viii. in vol. i. : the back- grounds of all thefe are red. 356. A flying youth, with a reed in one hand : the back-ground yellow. 357- A THE TRANSLATORS PREFACE. xxxix 357. A woman in green drapery, with a red mantle; fhe is crowned with ivy, and ftands by a pillar : the back-ground is purple, 358. Two goats at the fide of a hill, in a purple ground. 359. A woman in blue drapery, playing on a pair of crotali: the back- ground is blue, with a yellow border. 360. Two winged girls, in two feparate compartments ; one of them has fruit in her robe ; the other has two flutes in one hand, and holds up her robe with the other : the back ground is red. 361. A piece of Ionic architecture; in a green back-ground, bordered with red. There is alfo a woman reading. 3.62. A woman fitting.. Engraved, in vol. ii.- plate xxxi. n. 2. 363. A Silenus, fitting on a rock, and refting againft it; he holds * thyrfus in one hand -> with the other he reaches out a veffcl to a woman, who is pouring wine into it from a larger veflfel. 3.64. Ionic architecture : the back-ground red. 365. A large br-anctaof the orange tree,, with leaves and three fruit j. there is a bird on it refembling a crow : the back-ground is white. 366. Bacchus crowned with ivy ; in one hand a long thyrfus, in the other a horn, from whence he pours fome liquor on a figure lying upon the ground.. See vol. iii. plate xxxviii, 367. A griffon; on a black back-ground! 368. A tiger; on a red back-ground. 369. This is engraved in vol. i. pLte ii. The two female figures be- hind are in white drapery ; by this, and by their head-drefs, they mould feem to be veftals :. the large female figure at the back of all the reft is ia green drapery, and has long fair hair. 370. Chiron and Achilles. Engraved in voL i. plate viii. 371. 372. Grapes, and a tiger playing with them: the back-ground black. 373. A man with a goat. Engraved \nvol. ii. plate xxxvii. 374. A fea-piece, with two fea monfters;. one is a triton, the other has a horfe's head and the tail of a fi(h. There are alfo three dolphins : the* back ground is white, with a border of blue. 375. A mafk, fattened by three firings to the extremity of the ground, which is red. 376 A water bird flying : the back-ground black.. 377. A centaur. Engraved in vol. ii, plate xviiL «. a. 378. A xl THE TRANSLATORS PREFACE. 37S. A goat : the back-ground white. 379. A picture in three compartments ; in the firft and third are two branches of an apple tree, laid acrofs each other, with a fmall bird perch- ing on each : the fecond reprefents a piece of architecture, upon which is a bull with a fifiYs tail. 380. Two horfes, with a large flower between them. 381. A large fea tiger between two little dolphins : the back-grounds of thefe are red. 382. A picture in four compartments; in the firfl: and fourth a vafe, in the two others a griffon and a peacock : the back-ground is black. 383. Young Bacchus, with a fatyr, and other figures. Engraved in ■Vil. ii. plate am. 384. A fea dragon with a long tail, and a fmall do'phin. 385. 386. Malks: the back-grounds red. 387. A picture in eight compartments ; in feven of them is a mafk, and in the eighth a piece of architecture, with a triton and griffon : the back-ground is black. 388. A great fea bull between two little dolphins: the back-ground red. 389. A combat of fea monfters : the back-ground black. 390. A large piece of architecture, with figures : the back-ground white. 391. A large glafs vefTel with eggs, fet upon a table; alfo two large pieces of bread. 392. Three trees, among which are two goats purfued by a dog ; there is alfo a dog purfuing a wild boar, whofe leg another dog has caught hold of. 393. Amphitrite on a fea-horfe, preceded by a triton. Engraved in vol. ii. plate xliv. n. 1. 394. A green bird, upon a leaf. 395. A bud of a fawn, in a round. 396. A winged youth, with a mafic in his hand, and a veil thrown be- hind him. 397. A fphynx, whofe tail turns in a grotefque form ; another large grotefque rifes from her head, and terminates in a rofe. 398. Trees and animals : all thefe on a black ground. 399. Architecture, with animals; and a view of the fea, with a triton, flying boys, dolphins, &c. 400. A THE TRANSLATORS PREFACE. xli 400. A piece in two compartments, both reprefenting the infide of a room: in the firft are two cocks fighting 3 and on a window-feat dates and figs : in the other there is a dead quail, and a pigeon pecking at an apple : the back-ground is red. 401. A landfcape, with buildings and figure?; mountains in the dif- tance : the back-ground is black, with a red border. 402. A piece confifting of fix parts, and chiefly exhibiting grotefques. 403. A picture in fcven compartments : the firft, fourth, and feventh contain a vafe; the fecond has one head, and the third two heads of a fawn ; the fifth exhibits a walled city or caftle, with men coming in and out at the gate ; at the back of it runs a river, and behind that are trees ; the fixth has a mafic refembling a lion's face. 404. A picture in two compartments ; the firfl having a box or chefl partly open, out of which a white pigeon is drawing a firing ; the other, two medals of a gold colour, and a coffer alfo partly open, feemingly full of the fame medals : the back-ground is black. 405. A piece in four compartments, which contain landfcapes. 406. Ariadne abandoned by Thefeus. Engraved in vol. ii. plate xiv. 407. Engraved in vol. iii. plate xxxviii. 408. The infide of a room, where is a woman fitting, in blue and pur- ple drapery ; alfo a girl {landing, and an old man fitting ; he is in white and yellow drapery. 409. Three female figures in a portico, two of them fitting, and one ftanding : (he on the right is cloathed in purple, with a blue mantle, her head-drefs is white : the other on the left is naked from the middle up- wards ; her drapery is white and purple : the Handing figure is cloathed in blue, red, and purple. The picture has a yellow border round it. This is engraved in vol. ii. plate xi. 410. A picture in three compartments; reprefenting views on the fea- coaft. 411. Another: 1. A book confifting of five plates of metal: 2. A vo- lume partly unrolled: 3. Two pieces of ivory joined together: the back- ground is black. 412. A ftem of a water-plant ; in the middle is a large medallion, with the head of a Silenus on it : over this is a vafe ; and on the fides of the medallion are two grotefques : the back-ground is purple* Vol. I. g 413. Two xKi THE TRANSLATORS PREFACE. 413. Two boys, crowned with leaves, and in ruftic habits; one blue and the other red. On the ground are a book and two bows ; the back- ground is black. 414. A fportfman in yellow, with an upper veft and mantle of green ; he has a bow in one hand, and is drawing an arrow from his quiver with the other : the back-ground is black. 415. A woman naked from the middle upwards ; below cloathed in white drapery : me has a quiver in her left hand : the back-ground is yellow. 416. Mafks. 417. Birds : the back-ground black. 418. Four dancing figures on black back-grounds. Engraved \wvol. iii. plate xxviii, xxix, xxx, xxxi. 419. A piece in two compartments; in each of which is a fmall fifh- pond, with three fifti in each : the back-ground is yellow, with a purple border. 420. A woman in yellow drapery, ftanding on a pillar, with a vafe on her head : the back-ground black. 421. A fragment of a horfe and two men. 422. A rope-dancer. Engraved in vol. iii. plate xxxii. n, 1. 423. 424. Landfcapes : the back-grounds black, with yellow borders. 425. Horfes and lions : back-ground and border as before. 426. A picture in five compartments: 1. A fatyr's head: 2. A yellow griffon: 3. A lionefs fighting with a great ferpent : 4. A tiger running: 5. A large bird, like a fwan, flying: the back grounds are red; except in the fecond, which is white. 427. Another in fix compartments : in the firft and laft are mafks ; and in each of the reft a winged boy : the back-grounds of the firft and fixth are purple, of the others red. 428. A large duck among trees, filling up the whole back-ground, which is blue. 429. A grotefque. 430. A triton guiding a fea-horfe with a bridle; behind the horfe is an- other triton, with an oar held up : the back-ground is black. 43 1 . Four p eces of ftill life. Engraved in vol. ii. plate xxxvi. 432. Birds, iheli-fim, game, and vafes. Engraved in vol. ii. plate Ivii. n. 1, 2, 3. 43i- A THE TRANSLATORS PREFACE. xliii 433. A picture in four compartments : in the firft fruit; in the fecond a vafe ; in the third a window-feat, with two books on it, and a leathern purfe ; in the fourth a landfcape. 434. Three pieces of fruit. Engraved in vol. iii. plate liv. n. \, 2, 3. 435. A picture in two compartments ; in each of which is a tree, and a fatyr engaging with a goat : the back-ground is red. 436. Fruit, &c. in three compartments, reprefenting the infides of rooms. 437. A peacock and two apples, in the infide of a room. 438. Two views of houfes. 439. Architecture, with elephants, Sec. : the back-ground black. 440. A piece in three compartments : in the firft and third is a youth naked and winged; in the fecond a woman in the character of a bacchant: the back-ground is yellow. 441. Apollo with his lyre : the back-ground blue, bordered with red. Engraved in vol. iii. plate i. 442. Architecture, with griffons and a fphynx : the back-ground yellow. 443. Architecture, refembling n, 439. 444. Architecture, like n. 390. 445. A landfcape, with buildings and cattle. 446. Architecture, like ». 399. 447. A figure refembling that in n. 441. 448. Architecture : the back-ground white. 449. Deer, and a goat. This piece is in three compartments; and the back-ground is white. 450. A Bacchus. Engraved in vol. iii. plate ii. 45 1. Architecture. 452. A bag of dates; alfo a baiket filled with dates and figs. Engraved in vol. ii. plate lvii. n. 4. 453. A bafket crammed with figs : the back-ground black. Engraved in vol. iii. plate liv. n. 4. 454. A triton founding a (hell, with a baiket in one hand: the back- ground is white. 455. A piece in fix compartments: 1. A pillar, with a bow rcfting againftit; a wolf, and a quiver againft another pillar : 2. A pillar, with a vafe on the top; a man in white drapery holding a fiftrum, and a fwan ; g 2 alfo xUv THE TRANSLATORS PREFACE, alio another little pillar, with a vafe on it : 3. A pillar, and a globe crown- ed with flowers, which has a fhepherd's crook on one fide of it, and an ei2,le with a thunderbolt on the other j behind is another pillar, it repre- fents a temple of Jupiter: 4. A bafket, againft which reds a fpear j alio a peacock: 5. A pillar; a box half open, upon which there is a white bird, and another by the fide of it; 6. A tiger eating out of a cornuco- pia, between two little pillars : the back-ground of all is yellow. 456. Marine animals; in a black back-ground. 457. Architecture. 458. Crotefques : the back-grounds of both thefe are black. 459. A fea-monfler, and two dolphins : the back-ground red. 460. A piece in two compartments : there is a hoop in each, upon which flands a peacock ; behind is a pillar: the back-ground is white. 461. A foffit fupported by a term, ending in a head armed with a hel- met ; a thyrfe refls againft: the terminus ; and there is a lyre in the left hand of the figure : the back-ground is red. 462. A picture in two compartments : in the firft is one, in the fecond two dolphins ; the back-ground of one is green, of the other black. 463. Two large ferpents entwined together : the back-ground is white. 464. A piece in two compartments: in the firfr. is a winged boy hunt- ing; in the fecond two boys, each driving a car with a pair of dolphins. This is engraved in vol. i. plate xxxvii. 465. Engraved in vol. i. plate xxix. 466. Engraved in vol. i. plate xxx, xxxi, and xxxii. n. 1, 2, in plate xxxi. n. 3. in plate xxxii. and n. 4. in plate xxx. 467. Engraved in vol. i. n. 1, 2. in plate xxxiii. n. 3. in plate xxx. and n. 1. in plate xxxviii. 468. Engraved in vol. i. n. 1. in plate xxxiv. n. 2, 4. in plate xxxv. and n. 3. in plate xxxii. Thefe are all winged boys at different amufements or employments. 469. A fea-horfe; in a red back-ground, bordered with blue. 470. A picture in four compartments: the firft reprefents the infide of a room, where a cock is going to peck at a garland which furrounds a ftick ; upon a flep there is a little fountain : the other three reprefent boys as be- fore ; and are engraved in vol. i. plate xxxiv. xxxvi. 471. A THE TRANSLATORS PREFACE. xlv 471. A picture in three compartments: in the fir ft and third is a figure refembling iMars ; in the fecond a woman in red drapery, with a dim of fruit; perhaps Pomona: the back-ground is blue. 472. A picture in four compartments : 1. An amazon with hrr bow and fhield : 2. A woman in red drapery, with a cup of water in one hand, and a trumpet in the other : 3 and 4. A woman on a pedeftal, holding up her veil with one hand, and having a bafket of fruit in the other. 473. A piece divided longitudinally into two compartments: the lower is a garden ; the upper has a large veffel, from whence rifes a tree which fupports a bafket; from the tree iffue two feftoons of vine leaves with grapes, at which two goats are jumping up : the back-ground is black, terminated on the left fide with a yellow border; to which a broader red one joins : the compartments are feparated by a border, which is red above and yellow below. This is engraved in vol. ii. plate xlix. 474. 475. Each of thefe is a picture in four compartments, with orna- ments and maflcs alternately uniting with each other. 476. A purple cord, about which is entwined the branch of a vine, with grapes ; a cymbal hangs from the middle of the cord : the back-ground is white, bordered with green and red. 477. A whimfical picture of grotefque ornaments : the back-ground black. 478. Like, in every refpect, to 476. 479. A long yellow ornament, in the middle of which are vafes, tym- pana, cornucopia?, volutes, and on the top a crown : the back-ground is white, with two borders; one red, the other green. 480. A picture in two compartments : in one a large round,, with the butt of a woman ; her head covered with a white veil, her veft red, and a bafket of fruit in her hands : in the other, a view of houfes, with a tem- ple : the back-ground is blue. 481. A large mafk, crowned with vine leaves ; one half in a red, the other in a blue back-ground. In the latter half is a large white pigeon* on a feftoon of bay. 482. Plants, with animals ; in a black back-ground, in two compart- ments. 483. Branches of the pomegranate tree,, with fruit : the back -ground blue. 484. A I xlvi THE TRANSLATORS PREFACE. 484. A picture in two compartments : in one three mafks; in the other an altar, with a thyrfus rcfting againfl it, and a cock walking towards it: the back-grounds are yellow. 485. Birds, &c. : the back-ground black, in three compartments. 486. Another in three compartments : in the firft: and third grotefques; in the fecond a landicape. 457. A picture in four compartments: in the firfl: an architrave with a fphynx on it; in the fecond the infide of a houfe, with a window, on which is an ear of Indian wheat, and an earthen cup : in the third a tiger : in the fourth an unnatural flower, fuch as is ufed in ornaments: the back-grounds are red. 458. A picture in five compartments ; a winged boy in each : the back- ground azure. 489. Another in three compartments: in the firfl: and third is a wirsged boy : in the fecond a view of houfes, with figures: the back-ground is blue. 490. A dark ground, bordered with red : fifh are fcattered about it. 491. A term fupporting a portico; in his hand is a lyre, and a flaff is faflened to his middle by a green firing : the back-ground is red. 492. A large curule chair, covered with red tapeftry; it has a fmall red cufhion upon it ; a fpear refts againfl: it ; and it has a footflool, upon which a peacock is perched: the back-ground is blue. [Juno's throne.] 493. A fea-piece, exhibiting a triton with his conch ; before him a fea tiger, and behind a dolphin : the colour of the fea is blue, and it is bor- dered with red. 494. A picture divided into three compartments by grotefque borders : in the firft and third are an lfis, with a patera in the left hand, and a fif- trum in the right : in the fecond is a river, with a little boat in it: on one fhore a garden, on the other a wood. 495. This is made up of feveral fragments, that have no relation to e;.ch other, and were taken from different places. Befides feveral orna- ments in grotefque, there is an Ofiris fitting on a curule chair; he has two lotus flowers under his feet, and a ferpent in his hand; the dog Anubis faces him on a pedeftal. There is alfo lfis, with a ferpent in one hand, and a flower of the lotus in the other ; a fphynx, with the head and neck of a woman, and the body of a dog, without wings ; another lfis fitting in THE TRANSLATORS PREFACE. xlvii in a curule chair, with a difh in one hand ; another Ofiri?, with one flock- ing white, and the other blue ; he has a key in one hand, the lotus in the other, and is attended by a dog : of this deity there are figures befides, one of them has a blue face, and a patera in his hand ; the other has a ferpent in one hand, and a lotus flower in the other ; another fphynx like the former : and laftly, an Ifis fitting, with a fpear in her hand; one leg is white, and the other blue. 496. A picture in fix compartments: in two of them a vafe, with han- dles and figures, tied with a red firing, and a thyrfus lying acrofs them : in each of the other four is a bird on the wing; like a (wan in every re- flect except colour, which is white : the back-ground is white. 497. A fea piece, with four mips. Engraved in vol. i. plate xlv. ». r. 498. A piece in fix compartments; the backgrounds white: in the firft and fixth is a winged man : in the fecond a bird on a flick wreathed with leaves : in the third a tiger : in the fourth and fifth a fea bird, on a red and green feftoon. 499. A picture in two compartments ; with a lark in each : the back- ground blue. 500. Another in five compartments: in the firft a pegafus; the back- ground black : in the fecond a monfter, with the body of a lionefs, wing- ed, a human face bearded, with long ears : in the third a bird pecking at leaves : in the fourth a partridge pecking at a bunch of grapes : in the fifth, on apiece of architecture, a boy, terminating in an ornament, and holding in his hand a red goofe: the back-grounds are red. 501. Another in three compartments ; and in each a bird : the back- grounds black. 502. A peacock perched on white lattice work ; in a red back-ground. 503. Four compartments ; a lark in each: the back-ground blue. 504. A picture in five compartments : 1, 2. A river, with ducks fwim- ming in it: 3. A capon ; in a black back-ground, bordered with blue: 4, 5. Two tigers playing with crotala : the back-ground yellow, bordered with blue. 505. Two tigers and three goats, eating : the back-ground is green, with leaves and pears thrown about it. 506. Two compartments : in one are two lionefTes, on an ornament of flowers; in the other is a goat : the back-ground of the firft is yellow; of the fecond black. 507. A xlviii THE TRANSLATORS PREFACE. 507. A picture divided into three compartments by little yellow Orna- ments : in each of the two fide ones is a bird ; in the middle one a gar- den, furrounded with yellow trellis work ; in the centre of which is a large arch, and under it a fountain ; on the fides great arbours : the back- ground is black. ^08. A picture in five compartments; with a rope-dancer on each, who have thyrfi in their hands ; green feftoons hang from the ropes, and the back-ground is black. 509. A woman crowned with ivy, and a conch in her hand : the back- ground is black. 510. Two compartments: in one a bird on fome leaves; in the other a tiger eating out of a cornucopia. 511. Three compartments : in the two fide ones a lamp, with feveral lights: in the middle one two mafks of lions, and a fwan : the back- ground of both thefe red. 512. Three compartments; in each a white medal, bordered with black : the firit is a Silenus crowned with ivy, and a cup in his hand : the fecond is a woman playing on a tympanum : the third is a young man crowned with ivy, with a cup in his hand like the firft : the back-ground is blue. 513. Fifli ; two large mullets, a gilt-head, a large fea-crab, a marvizzo, a pourcountrell, or.poulp 3 , a weever, and a garr-fifli. This is engraved in vol. i. plate xlv. n. 2. 514. A large elephant .; in a white back-ground. 515. A whimfical afTemblage of a large bearded head; birds, &c. : the back-ground yellow. 516. Eleven fragments put together; they exhibit birds, fp'hynxcs, mafks, &c. : the back-grounds are white. 517. A picture in three compartments: in the firll, between two trees, an afs moving towards a tympanum, which reits againft a column : the fecond is a red architrave ; on the cymatium is a winged griffon rampant, vvhofe.tail forms a volute ; there is alfo a winged boy, with a ftaff in one hand and a flute in the other : in the third is a wolf among fome bu(hes : the back-grounds are black. ■ The polypus of the ancients, Sepia oflopodia ; a frightful creature to look at, but full .ufually eaten, as of old in Italy and Greece. G. 518. A THE TRANSLATORS PREFACE. xlix 518. A parcel of mifcellaneous fragments put together. 519. Three mafks, the head of a latyr, two other mafks, a vafe with a handle, a medufa's head, and on the fides ornaments of different co- lours : the back-ground is yellow. ■ 520. Ornaments, with flowers, fruit, animals, &c. : the back-ground yellow. 521. Apples and other fruit difperfed about a green ground; in the midft of it are the head of a woman, and a tympanum ; on one fide is a goat jumping up at fome twigs. 522. Several fragments : a man crowned with vine leaves, the head of an owl, the back of a woman, a medufa, a bird, a head and parts of the human body. 523. A man dancing on the tight rope; his habit and mailt are green, his cap yellow ; green feftoons hang from the rope : the back-ground is black. This is engraved in vol. iii. plate xxxii. n. 2. 524. A mafk on three fteps, like thofe of a theatre : the back-ground blue, bordered with red. 525. An opening into a theatre, with a mafk lying on the flairs. 526. 527, 528. Refemble the laft. 529. Centaurs. Engraved in vol. i. plate xxvi, xxvii, xxviii, xxv. 530. A woman, habited in white and green. Engraved in vol. i. plate xxiii. 531. A picture in feven compartments, containing dancing figures of women. Engraved in vol. i. plate xxii, xix, xx, xvii, xviii, xxiv, xxi. 532. Three compartments : in two of them a triton with two dolphins; in the third a triton going to attack a lion which is on the more. 533. Architecture: the back-ground red. 534. A picture in two compartments; 1, A boy playing with two pi- geons : 2. A winged griffon : the back-ground red. 535. Bacchus, naked before, crowned with vine leaves, and holding a large thyrfus ; at his feet a tiger with a feftcon of vine leaves about his body: Silenus is playing on the lyre; and a fatyr is emptying a cornuco- pia of wine upon a bunch of grapes : behind is a young woman : the back-ground is white. 536. A landfcape : the back-ground blue. It is engraved in vol. ii. plate xlv. Vol. I. h 537. An 1 THE TRANSLATORS PREFACE. 537. An altar with fruit on it, and a ferpent winding about it: by the fide of the altar ftands Harpocrates, naked, with the flower of the lotus : the back-ground is white, bordered with red. It is engraved in vol. i. plate xxxviii. n, 2. 538. A winged victory, holding a palm-branch in one hand, and a book in the other : the back-ground white. 539. A picture in two compartments : the firft green, with a mafk j the fecond blue, with a picked fowl ; both are bordered with red. 540. A picture in two compartments, both black : in the upper one is Juno in a chariot ; in the lower one a green round, with a boy in it. 541. Another in four compartments} in the firft and fecond a fphynx, on a red ornament: in the third a rope-dancer : in the fourth a bucket: the back-grounds are black. 542. Another in fix compartments: i. A white rofe, in the middle of an octangular feftoon of white flowers : 2, 3, 4. winged boys : 5. A pur- ple rofe, with a boy's head in the middle of it : 6. A white rofe, in the midft of a white octangular feftoon : the back-grounds black. 543. Another in five compartments : in the four fide ones a yellow bird; the back-grounds red: in the middle one a large vafe: the back-ground black. 544. Another in three compartments: the firft. and third engraved in platel. of vol. i. j the back-grounds black: the fecond reprefents birds ; in a white back-ground. 545. Another in feven compartments ; containing rope-dancers, on black back -grounds : engraved in vol. iii. the feven laft numbers of plate xxxiii. 546. Another in three compartments, with a mullet in each : the back- grounds green. 547. A large ferpent afcending a fmall and low altar : the back-ground white. 548. Mercury, with wings to his feet, and the petafus ; in his right hand a purle, in his left a caduceus, and a tortoife at his feet : the back- ground white. 549. Boys. Engraved in vol. iii. plate xxxv. : the back-grounds black. 550. Four boys, in four compartments, like the foregoing. Engraved in vol. iii. plate xxxiv. 551. Three compartments, in each of which is a bird, on a feftoon of myrtle. 552. Four THE TRANSLATORS PREFACE. l| 552. Four compartments with birds: the back-grounds of both thefe black. 553. A centaur playing on two flutes ; in a white back-ground. 554. A picture in two compartments : in one a woman, naked from the middle upwards, downwards habited in blue, with a red upper garment thrown behind her : in the other is a winged boy, with a long fceptre in his hand. 555. Fourteen fragments: in the five firft are a winged boy : in the 6th, 7th, 1 ith, and 12th, are a mafk : in the 8th, 9th, and 10th, a whimfical bird: in the 13th the back of a human figure; and, in the 14th, Europa on the back of a fea-bull. This laft is engraved in vol. iii. plate xviii. n. I.: the back-grounds are black. 556. A lark among fhrubs, pecking cherries : the back-ground red. 557. Five compartments j a goat in each ; except in the fecond, which has a buck : the back-grounds white, with a red ornament round them. 558. Two griffons, on architecture. 559. A patera, and a bird like a fwan, but yellow. 560. Three compartments : 1. A tiger, within a circular band of olive: 2. A griffon, on architecture, with a ftaff in one hand, and a patera in the other ; and terminating below in a volute : the back-grounds of the firft and third are white, the fecond is red. 561. Two tritons with a large conch, behind each is a fea-horfe : there are alfo five dolphins : the back-ground is white, bordered with red. 562. A piece in twelve compartments : in five of them a peacock on a grotefque : in the other feven a goat, on a red ornament: the back- ground is white. 563. 564. Architecture. 565. Diana, Endymion, and Cupid : the back-ground blue. Engraved in vol. iii. plate iii. 566. Three compartments : in each of the two fide ones a goat, 0:1 a feftoon of vine : in the other a circle of leaves, within which is a mafk,, crowned with vine leaves: the back-grounds red. 567. Leda with the fwan : the back-ground blue, bordered with red. Engraved in vol. iii. plate ix. 568. Architecture, with a figure; in two white compartments, exactly alike. 569. A dolphin ; in a black back-ground, bordered with green. h 2 570. A lii THE TRANSLATORS PREFACE. 570. A view of a bay, with a city, and human figures. 571. A view of a harbour, with buildings and vefiels. Engraved in vol. ii. plate lv„ n. 1 . 572. A feftoon, upon which is a bird, with red and green plumage : the back-ground is black. 573 . 'A ground fpread with white rofes ; from this rifes a portal, on which ftands a bird j from the top of the portal, on each fide, is a fef- toon, from which hang rofes : the back ground is black. 574. A piece in five compartments : a naked boy in three of them ; and a Medufa in the other two : the back-ground purple. 575. A picture in two compartments : the upper one, which is largefr, is white r and has a tall oak in it, with a palm on each fide; at the top hangs a cheft, or box, with a mafic in the middle of it : the lower one is blue, and reprefents a landfcape. Thefe are engraved in vol. i. plate xlix. 576. Another in three compartments : in thefirft a figure, naked before, with a green veft thrown behind, in one hand the head of an animal: in the fecond a woman in green drapery, crowned with vine leaves : in the third a man of a fierce look, feeming by his attitude to be a wreftler. 577. Like n. 575, and engraved in plate xlviii. of vol. i. 578. Four large rounds ; the back-grounds blue ; in each a landfcape. Engraved in vol. ii. plate li, lii. 579. Four more, refembling the foregoing. Engraved in plate liii, liv. of the fame volume. 580. 581. Large mafks of a bacchant crowned with vine leaves, in a yellow back-ground. 582. A woman in white drapery, crowned with oak leaves, and with an oak branch in her hand in her veft fhe holds flowers and fruit : the back-ground red. 583. Hercules, refting his club againfl: a rock : the back-ground red. 584. A comic fcene, with three characters. 585. Another, one of them crowned with ivy, and playing on two flutes. 586. Bacchus and Ariadne : (he is feated on a tiger, and from the mid- dle downwards is in red drapery: in another compartment is a naked youth; in a red back-ground. 587. Two hunting pieces, on black back-grounds. Engraved in vol. ii. plate xliii. 588. Build- THE TRANSLATORS PREFACE. liii 588. Buildings by a river's fide, with fome human figures. 589. A pi&ure in two compartments : in the firft, a view of the fea, with buildings. Engraved in vol. ii. plate lv. n. 2. In the fecond,, ano- ther water piece, with buildings. 590. A woman : the back-ground white. Engraved in vol. ii. plate xxx. n. 1. 591. A picture in two compartments: in the firft a prieft in white, crowned with bay: in the fecond a woman in purple drapery, with a white veil over her bofom, which reaches to the ground ; with her right hand me holds a fieve upon her head, and in her left (he has a vafe : the back-ground is yellow. 592. A blue back-ground, with a border of red: towards the top is a large conch : there is alfo a prieft, whofe upper garment is greeny and his lower red, girt with a fafh ; he has a hafta pura in his hand. 593. A winged genius, a bacchant, and a Silenus, in three compart- ments ; the ground of which is purple. Engraved in vol. iii. plate xx. 594. A piece in fix compartments, with houfes and veflels in each : the back -grounds white. 595. A prieftefs and a prieft. Engraved in the two lower numbers of plate xxxiii. in W. ii. : the back-grounds yellow. 596. Another prieftefs and prieft. Engraved in the upper part of the fame plate. - 597. Five pigmies in caricature : the back-ground blue. 598. A winged genius, naked before, and holding upon his head a bafket of flowers : the back-ground black. 599. .The fame in almoft every refpect with n. 575. ■ 600. A picture in two compartments, which are white : in one is a wo- man crowned with bay, in red and green drapery ; me has in one hand an extinguished torch, in the other a Ihield : the fecond exhibits another ft>- male figure, with a ftaff in one hand, . and a dim in the other. 601. A view of buildings, . on a blue ground, ■ in a gold border.. 602. A bay, with a city in the diftance, and human figures,. 603. A wreftler, crowned; he has a palm branch and a fhield in one ■ hand ;. the back-ground is red. 604. The buft of a woman, in a large blue round, on a red back- ground; (he has a ftaff or fceptre in one hand, and a diadem on her. head. 605. A'. liv THE TRANSLATORS PREFACE. 605. A picture in two compartments; in one a naked Cupid, with a piece of green drapery on his arm, and a branch in one hand ; the back- ground is black : in the other a fea-god naked, with a rudder in one hand : the back-ground white. 606. A youth naked; he has two pomegranates wrapped in a cloth, which he holds with both hands ; by his fide is a woman, clothed from the middle downwards in green drapery : the back-ground is yellow. 607. A maik of a fatyr, crowned with vine leaves, in a yellow back- ground. 608. Two Cupids : one naked with a fpear in his hand, going to ftrike; the other holds with both hands a green umbrella, bordered with white: the back-ground is black. 609. A piece in eight compartments: in the firft and third a facred chefl hanging by a green firing : in the fecond a round of a red colour, bor- dered with white, with a white flower in the middle : in the fourth a fmall bird on a green feftoon : in the fifth and fixth a red round: in the feventh a green bird, with redwings, legs, and beak, and his head partly- red and partly white : in the eighth another large round. 6 10. A pi&ure in three compartments : 1. A winged genius : 2. A naked Bacchus : 3. A woman : the back-grounds black. 611. Another in four compartments: in the firft, fecond, and fourth a naked Cupid : in the third a man in yellow drapery: the back-grounds black. 61 2. Another in three compartments: in the firft and third a bacchant: in the fecond a woman almoft naked : the back-grounds black. 613. Another in four : in the firft and laft a vafe j the back-grounds black : in the fecond a landicape : in the third buildings by a river's fide, with figures : the back-ground blue. 614. Two compartments, containing two boys. 615. A picture in four compartments ; the two middle ones larger than the fide ones : in the firft and fourth are a naked Cupid : in the fecond and third a half naked woman : the back-grounds black. 616. Two compartments : in one a figure with a fpear and vafe : in the other a half naked figure : the back-grounds black. 617. A woman half naked: the back-ground red. 6 1 8. A fea dragon. 619. A grotefque. The back-grounds of both thefe black. 620. Seven THE TRANSLATORS PREFACE. lv 6sfo. Seven compartments, all white: in three of them a vafe; in two a helmet; and in the two laft a helmet and a horn. 621. Three boys in three different compartments: the back-grounds of the firft and laft red, of the fecond black. 622. Two winged boys, in two feparate compartments, which are red. 623. Two compartments, with a boy in each: the back-grounds red, 624. A foldier with a fpear : the back-ground yellow- 625. A woman in red drapery. 626. A man in purple drapery- 627. Two compartments ; a naked man in each, holding a drinking, horn. The back-grounds of this and the two former yellow. 628. Two compartments, a winged genius in each : the back-grounds black. 629. A picture In four compartments: in the firft a naked boy : in the fecond Hymen: in the third and fourth two fwans on a blue globe: the. back-grounds red. 630. Another in five compartments : in the firft a fphynx : in the fe- cond a mafk ; the back-grounds yellow : in the third a ftaff by the tide of a vafe; the back-ground white: in the fourth a dolphin; the back- ground blue : in the fifth a large mafk of a lion ; the back-ground black. 631. A round, in which is a vaft building in the middle of water, 632. A figure with a lance, in a yellow back-ground. 633. A winged geniup, in a red back-ground. 634. Three compartments, all yellow : in the firft an eagle turned to- wards a globe, againft which refts a fpear: in the middle one a ram, with a helmet behind him, and a ftaff: and in the third a chariot with a vafe on it, drawn by two fphynxes. 635. Fifh ; in a white back-ground, bordered with red. 636. A fragment of architecture. 637. Four compartments,, with a large fea-bird in each flying : the back-ground white. 638. A car laden with implements of war, and drawn by two griffons: the back-ground blue. 639. A woman in red and green drapery; (lie is running, and holds a bafket of fruit : the back-ground is red. 640. 641. Like the foregoing. 642. A round, in which is a fea goddefs on a dolphin : the back-ground 1 red. a 3, a Ivi THE TRANSLATORS PREFACE. 643. A view of a great portico and other buildings : the back-ground black. 644. Ifis with the lotus flower on her head, canopus in one hand, and a fceptre in the ether ; flic is on a pedeftal in a red ground : under the pe- deltal is a fphynx, in a blue ground. 645. Architecture, like that in n. 636. 646. Two compartments; in both of them a feftoon, with a white turtle-dove on each : the back-grounds are red. 647. Two compartments ; in each of them a dolphin: the back- grounds red. 648. A view of houfes in a round : the back-ground yellow. 649. Two ftanding figures, on a white back-ground: the firft is a wo- man in purple drapery, with a veil of the fame colour; me is crowned with ivy, and holds a bafket filled with haves in both hands : the other is a man, naked before j in his right hand he has a baiket full of thofe cakes which were offered to the gods, in his left an olive bough. 650. Two women franding upright ; in a white back-ground. En- graved in vol. ii. plate xxix. 651. A Handing figure, with the head covered and wrapped in a purple mantle. Two other compartments are joined to this ; in one of which is a man fitting, in the other two fwans : the back-grounds are white. 652. Two figures (landing, in two diftincl: compartments; which are white, with a blue border. Engraved in vol. ii. plate xxxii. 653. Two hermaphrodites, in diftinct compartments ; the drapery is thrown behind them ; the colour of one blue, of the other red ; each has a thyrfus in the right hand : the back-ground is white, with a red border. 654. A man in profile ; below is a flying fwan : the back-ground is white. 655. In a white back-ground two men are fitting looking at each other ; both have a bafin in the left hand, and with the right are pouring fome liquor out of a pitcher into the bafon : behind the right hand figure is a woman, upon a black ground, which ferves for a pedeftal ; upon which is painted a goat. 656. An oak branch ; in a black back-ground. 657. A grotto, within which a naked man is fitting on a bed ; a woman is embracing him. , 658. Two compartments, both red : in one a flying fwan and a pea- cock ; in the other a naked genius. 659. A THE TRANSLATORS PREFACE. lvii 659. A woman fitting : the back-ground black. 660. Two compartments, divided by a white band, and bordered with red. In the uppermoft is a landfcape : in the lower one, a continued wall, with a window in it. 661. A woman, with white drapery over her moulders reaching to her middle ; her arms and the reft of her body are in green drapery ; (he has a dim in her hand : the back-ground is white. 662. A woman fitting ; her air is ferious ; one hand refts on a rock, and with the other me holds a mirror on her knee ; in which me appears with her head inverted : the back-ground is red. 663. Three compartments, all white : in one of them a woman {land- ing upright : in the two others a naked Cupid. 664. An old man of a venerable afpedt, crowned with ivy, fitting. 665. Three compartments : in the firft and fecond two mafks ; and in the third a tiger : the back-grounds of this and the former are white. 666. A trophy, on one fide of which Is victory, on the other a Roman general : the back-ground is blue. It is engraved in vol. iii. plate xxxix. 667. A woman on a fea-horfe j (he is playing on the lyre : the back- ground is black. 668. Four rounds, in a purple back-ground; reprefenting landfcapes. 669. A mafk; in a black back-ground. 670. Five rounds, exhibiting fea views. 671. A garland, with a fmall bird in the middle : the back-ground is red. 672. Another, with a ftag in the middle. 673. Another, with a hind. 674. A large lantern on a pillar j at the foot of which are birds and fruit : the back-ground lead colour. 675. A large river, with a bridge over it ; men and animals are upon it ; and on each fide are buildings and ftatues. 676. A dim of fruit, a peacock, and a bunch of grapes : the back- grounds of this and the laft blue. 677. View of a lake : on a rock fits a woman with a helmet on her head j at her right hand ftands a foldier, with fome long darts on his moulder: there is alfo a man getting up from the ground : in the diftance is a fitting figure pointing out the three others to one who is with him : on the other fide is a building, and two cows. Vol. I. i 6; 8. Three lviff THE TRANSLATORS PREFACE. 678. Three compartments : in the upper one a fea-piece, with build- ings on the more : in the fecond and third the infide of a houfe, with two windows ; on which is fruit, fifti, &c. 679. A man, naked and fitting ; he has a helmet on his head, a fpear in one hand, and a fhield in the other. 680. A woman cloathed ; me ftands upright, has a crown on her head, and another in her hand. 681. 682. Like n. 679. 683. A woman fitting, and naked from the middle upwards ; me has a tympanum in her left hand : the back-grounds of all thefe are white. 684. Quails, in a black back-ground. 685. Two compartments: in one flowers, with a little infect flying about them : in the other fmall birds : the back-grounds are black. 686. A garden, with trellis work, arbours, a fountain, birds, and rows of trees. 687. A quail and two partridges, on a black back-ground. Engraved in vol. ii. plate xxiv. 688. Two compartments j both black, bordered with red; in each two dolphins.* 689. A portrait of a woman, on a black ground. 690. A kite embowelling a bird, and a jay looking on. 691. A pair of turtles carefimg. 692. Another pair pecking at fome twigs. 693. A thrulh pecking at a juniper tree. All thefe back-grounds are black. 694. Two birds among flowers : the back-ground blue. 695. Two pieces; a little bird in each. Engraved in vol. ii. plate xxiv, 696. Fruit. 697. Two pieces of birds. Thefe and the laft are on black back- grounds. 698. A fea-piece, with veflels which have fifty oars in one rank only. This and the two former are engraved in vol. i. plate xlvi. 699. Two genii, in two white compartments. 700. Six compartments, all black : in five of them are mafks, in the fixth a bird. 70 1. Mafks, &c* 702. Three THE TRANSLATORS PREFACE. lix 702. Three compartments, all red : in two of them a peacock perched on a bough ; in the third a pedeftal fupported by three fphynxes. 703. Three compartments : the firft black, with two mafks in it; the fecond is blue, with a goat in it ; the third is like the firft. 704. Four compartments : in the firft and laft a flag ; in the fecond and third a fwan. 705. Two red compartments : in each of them a veffel with a pine cone in it. 706. Two black compartments, with a peacock in each. 707. A fmall bird, in a black back-ground. 708. A blue round, bordered with white, in a red back-ground ; a buft, with a circle of jewels round the head. 709. Hymen, in a yellow back-ground. 710. A landfcape. 71 1. A goat, in a black back-ground. 712. Two cocks, in a purple back-ground. 71 3. A landfcape. 714. A tiger, and two flumps of trees : the back-ground red. 715. A mafk, with long ftrait ears ; between the teeth a long and large red ring hanging down : the back-ground yellow. 716. 717. Ducks and other birds, in a purple back-ground. 718. An ornament. 719. Two goats tied on a pedeftal : the back-ground is yellow, with 2 green border. 720. Two compartments, both black j in each of them a white bird, 721. Three griffons : they are green, and the back-ground is red. 722. A fwan, in a black round ; on a yellow back -ground. 723. A yellow ground. 724. Two peacocks. Engraved at the bottom of plate xliv. mvoL i. 725. A landfcape, in a blue round; on a purple back-ground. 726. Some very rude figures of men, with branches of a tree, which are yellow : the back-ground is black. This is a piece of great antiquity. 727. 728. Landfcapes. 729. A picture in fix black compartments : in the three firft a yellow dolphin ; in the two next a fwan ; and in the fixth a white round. 730. A mafk, in a black round, bordered with yellow; on a black back-ground. i 2 731. A Ix THE TRANSLATORS PREFACE. 731. A mafk, in a purple fquare, bordered with yellow; above it fome fcrolls; and over thefe a crown : there are alfo two winged genii. 732. Architecture, on a blue back-ground. 733. A picture whofe back-ground is white, bordered with purple : at the top is a green feftoon, extending acrofs the whole piece. In the mid- dle is a low column, about which a large green ferpent is entwined. On the right is a man in red drapery, crowned with leaves j a bucket in one hand and a branch of olive, with the other he holds a flag in the air, and is dancing before the ferpent. On the left is another man like him. 734. Four hippogriffs. 735. Five nymphs. Engraved in plate i, vol. i. The infcription and the names are not the fame in the catalogue as in the print. The infcrip- tion runs thus in the catalogue : AAEHANAPOC A0HNAIOC ErPATEN ; the names are AAT.Q, NIOBH, #//#: She has a mitella on her head, a patera and a corniopia in her right hand : height feven inches. Vol. I. k 82. A Ixvi THE TRANSLATORS PREFACE. 82. A faun, naked, with a beard, long ears, and a tail ; he has a wreath of pine and ivy on his head, filver eyes, and is playing on a pipe : height thirteen inches. 83. A Diana, in the character of a hur.trefs, with a tunic, palla, and belt : with her right hand me is taking an arrow out of a quiver, which hangs behind her, and in her left {beholds a bow; me has half boots on frer legs : height five inches and a half. 84. A faun, fitting with his knees up to his chin; he has a great beard, long ears, and a vaft head of hair : height three inches. 85. An Efculapius : his tunic reaches down to his feet, but does not cover his arms ; at his left hand is the ftaff, with a ferpent twined about it, and in his right is a patera : height five inches and a half. 86. A dancing faun: he has a tail, and in his hand a long thyrfus: height ten inches. 87. A Hercules, like n. 78.: a lion's fkin hangs over his left arm: height feven inches and a half. 88. A figure refembling a faun, kneeling, with his hands retting on his knees ; he has a lion's fikin about his body, and his hair is dimeveiled ; on his head is a pedeftal, fo that he feems to have been intended for a fupport to fomething : height ten inches. 89. A gladiator : his arms are naked, but he has that kind of bufkin on his legs which the Samnite gladiators wore : height five inches and a half. 90. A Minerva, with a lofty creft; fhe has on a long tunic, with the aegis on her breaft ; a patera with an owl on it is in her right, and in her left (he held a fpear, which is now loft: height feven inches. 91. A Harpocrates, naked and winged; he holds the fore-finger of his right hand to his mouth, and his left refts on the trunk of a tree, upon which is an ibis ; he has the lotus flower on his head : height feven inches. 92. A ViSiunariuS) with the knife in his hand, driving a hog to be fa- crificed to the Penates : height three inches and a half. 93. Venus, naked down to the waift, from whence a tunic falls down, and covers her feet; (he has a mitella on her head, and with both her hands is putting her hair in order, which hangs down behind : height fix inches. 94. A Minerva, like n. 90.: height eleven inches. 95., Another : five inches high. 96, 97. For- THE TRANSLATORS PREFACE. lxvii 96, 97. Fortune, with a modius on her head, in manner of a tutulus ; me has a rudder in her right hand, and a cornucopia in her left ; her tunic reaches to her feet. Thefe two are four inches high : and on the pedeftal of the latter is this infcription: C. PHILEMONIS. SECV. MAG. 98. A Minerva, fee n. 90.; her right arm is wanting: height five inches. 99. An Egyptian Fortune, veiled; the lotus on her head, the rudder in her right hand, and a cornucopia in her left : fix inches high. IO q — 104. Statues of Fortune : from five to eight inches high. 105. An Olympian Jupiter, naked, with a hafia pura in his left hand,, and his right fet againft his fide ; he has a thick curling beard : height ten inches. 106. A Minerva, in a tunic and pal/a, with the aegis and mitella-, in the right hand is a patera, and in the left a lance : feven inches high. 107. A Mercury, with a winged pet of us ; the penula over his moulders, and a purfe in his left hand ; he has no bufkins : feven inches high. 108. Another, with a caduceus in his left hand : height five inches. 109. A cup-bearer, crowned with bay ; a drinking horn in his right hand, and another drinking veflel in his left : five inches high. 110. A fervant: his tunic reaches to his knees, over that is a mantle, which comes down to his middle ; he has a patera in his right hand : height fix inches. 111. A figure, naked, except a fltin which hangs down his back: it is in bad prefervation, and is fix inches high. 112. A virtue, in a modeft attitude, covered with drapery, except the legs : five inches high. 113. An Atys, with the Phrygian bonnet, {landing on the top of a ma(k, which reprefents a bearded old man : it is eleven inches high. 114. A Circenfian horfe, running; he has a collar, and upon his chefl: a piece of harnefs in form of a crofs, which pafles between his fore legs : length fix inches. 115. A Mercury, exactly like n. 108, only that it is nine inches high. 1 16. A Pomona with fruit, naked : height three inches. 117. 118. A naked boy, by a pedeftal with a vafe on it, on which he lays his right hand : height twenty-one inches. 1 1 9. A naked Venus, with a fafcia over her breads: fix inches high. 1 20. A naked dwarf dancing : feven inches high. k 2 i2i. A lxviii THE TRANSLATORS PREFACE. 121. A horfe, like n. 114.: length feven inches. 122 — 126. Horfes with riders on them: length from five to eight inches. 1 27. A Fortune, winged, habited after the Greek fafhion ; me is raifing herfelf on a globe, and is going to fly : feven inches high. 128. A wreftler, with nothing on but a penula: five inches high. 129. A dancer, with bufkins, and a tunic reaching to his knees; over which is another, embroidered, and coming down only to his middle : he is ftanding on his toes, as if going to take a jump : height eleven inches. 130. An old man : five inches high. J 3 1. A naked boy : four inches high. 132. A figure, feeming to be one of thofe which were placed upon fepulchres : twp inches high. 133. A naked figure, with a fkin upon the arm : height four inches. 134. A Mercury, with a purfe in his right hand, and a caduceus in his left : three inches high. J 35> x 3^* Gladiators, naked : five inches high. 137. A Mercury, with a winged petafus, and a penula: three inches high. 138. A Hercules, crowned with poplar, and with his club: three inches high. 139. A Hymen, winged, with a lighted torch: two inches high. 140. A cup-bearer: three inches high. 141. A horfe, in a cumbent pofture : three inches long. 142. A Diana: me is in a tunic, reaching to her knees ; over it is a falla down to her middle ; her left bread is naked ; me has her quiver over her moulders, a bow in her left hand, and bufkins on her legs. 143. Another, with a mitella, clothed like the preceding. Thefe are both fix inches high. 144. A man covering his head with his toga; he has a roll in his left hand: height feven inches. 145. A Hercules, with the lion's {kin: of the fame height 146. A Jupiter, with his thunder. 147. Another, naked. Both two inches high. 148. 149. Two boys, naked : ihe firft has a dolphin under his right, the fecond under his left arm ; nine inches high* 150. A THE TRANSLATORS PREFACE. )xlx 150. A young man, naked : twenty inches high. 151. A Lar, crowned with bay; a fitula in one hand, and a branch ia the other : nine inches high. 152. Livia, in the character of Juno. 153. A Hercules, with the lion's fkin over his left fhoulder, and the club in his left hand ; he has filver eyes : height twenty-feven inches. 154. A Mercury, naked, with wings only to his feet: height thirty- three inches. 155. Germanicus : his head is naked, and his hair frizled ; he has on the military cloak. 156. A naked boy, (landing by a pillar : height twenty inches. 157. An Apollo, covered only from the waift to the mid leg: twenty- eight inches high. 158. A naked boy, with a tibia in his left hand : twenty-two inches high. 159. The goddefs Roma, on horfe-back, with a helmet and a fhort tunic : the whole height twenty-one inches ; length of the horfe feven- teen inches. All thefe ftatues are of metal. 160. A fine equeftrian ftatue of Marcus Nonius Balbus the fon, confe- crated to him by the citizens of Herculaneum. It is of white ftatuary marble. It is etched by M. Bellicard^ pi. xxiv, xxv. : and there is a de- fcription and critique upon it by M. Cochin , p. 46. : height of the horfe five feet ten inches. With it was found this infeription : M. NONIO. M. F. BALBO. PR. PRO. COS. HERCVLANENSES. 161. Another, companion to the former, dedicated to Marcus Nonius Balbus the father ; with this infeription : M. NONIO. M. F. BALBO P AT R I D. D. 162. The goddefs Roma, a coloffal ftatue of white marble : ten feet ten inches high. 163. A wreftler, of metal: ten inches high. 164. A woman, of white marble. 165. 1 66. Bufts of boys, in white marble. 167. Buft Ixx THE TRANSLATORS PREFACE. 167. Buftof Caius Numonius. 168. Buft of a middle-aged man, in metal. 169. Buft of a philofopher, in marble. 170. Marble buft of a woman ; this was found in a fepulchre : where was alfo the following infeription : ANTEROS. L. HERACLEO. SVMMAR. MAG. LARIB. ET. FAMIL. D. D. 171 — 174. B Lifts of men: the two firft marble, the others bronze. 175. Statue of Titus: feven feet three inches high. 176, 177. Heads of women, in white marble. 178. Afatyr, horned. 179. A young man. 180. A young Auguftus. 181. 182, 183. Burls, of metal; as are the foregoing. 184, 185, 186. Mailcs, of metal. 187. A fatyr, of metal. 188. Julia, daughter of Auguftus ; a metal buft. 189. Bacchus. 190. 191, 192. Silenus. 193. A faun. 194 — 197. Bufts, of metal; as are the preceding. 198. Zeno. 199. Epicurus. 200. Ermarchus fon of Agemarchus, Epicurus's fucceftbr in his fchool. Thefe three have their names upon the pedeftals; and are metal bufts. 201 — 213. Metal rounds, with bufts in baflb relievo: they were pieces of ornament. 214. A ftatue, In white marble, of a woman : feven feet high. 215, 2 1 6. Heads of philofophers, in metaJ. 217. A buft of Ariftippus. 218. A Roman lady. 219. A young Roman: both metal bufts. On the breaft of this are thefe words : AIIOAAaNIOS APXHOT A0HNAIOL" EIIOHSE. 220. Seneca. 221. Caius Casfar, fon of Agrippa and Julia. 3 222. Lucius THE TRANSLATORS PREFACE. Ixxi 222. Lucius Caefar, his brother. 223. A barbarian king. 224. Ptolomy Soter. 225. Ptolomy Philometor. 226. A philofopher. 227. A middle-aged man. 228. An unknown Perfon. Thefe are all metal bufts. 229. A marble buft. 230. Ahead, in marble. 23 1, 232. Two Janufes, in marble. 233, 234. Heads of Terms, in marble. 235 — 238. Rabbits, in marble. 239. A fatyr, in marble. 240. A marble bull of a bacchant, 241. Pallas. 242. Silenus. 243. A woman. 244. Jupiter. Thefe are heads in marble. 245. A buft of Venus, in marble. 246. 247. Naked Venufes. 248. A lion's head, in chalk. 249. A profile of a perfon unknown. 250 — 270. Mafks, in plafter. 271. A gorgon's head, in chalk. 272. A eoloiTal ftatue; ten feet fix inches high ; naked before. 273. A young coloflal Bacchus, bearded, crowned with ivy, and cloath- ed with a tiger's {kin: nine feet two inches high. 274 — 278. Statues of fenators : 1. fix feet eight inches : 2. fix feet three inches : 3. five feet ten inches ; 5. five feet two inches high. 279. A Herm-Heracles, or Term, of white marble, reprefenting Her- cules. 280 — 312. Terms, chiefly in white marble. 313. A buft of Pallas, in Grecian marble. 314, 315. Buffo of Jupiter, in Grecian marble. 316. A Jupiter Ammon. 317. An old head of a Reman. 318. A txxii THE TRANSLATORS PREFACE. 3 1 8. A head of an old woman. 319, 320. Meads of Term?, reprefenting Bacchus. Thefe are all in Grecian marble. 321. The head of a Term, in red marble; it reprefents a woman. 322. The head of a woman, in white marble ; it belonged to a ftatue. 323. The head of a Term, in white marble; reprefenting Bacchus. 324. A head, crowned with towers; probably reprefenting Hsrcu- lancum. 325. Three legs of a table, all alike, and twenty-two inches high: they confitl: of winged boys, with a fmall pillar rifing from between their wings ; they hold a (hell in their hands, and terminate in a lion's foot. 326. A term, the head reprefents an old man. 327. A man's head. 328. A marble head of Pyrrhus. 329. A leg of a table, near three feet high : a lion's head fupports a pedeftal, and terminates in a claw of the fame animal. 330. 331, 332. Heads of unknown perfonages, in marble. 333. Around, of white marble; ten inches in diameter: on one fide is a bas-relief of a facrifice to Bacchus ; on the other, a fatyr playing on two flutes, before him is an altar. 334. Another : on one fide a winged boy on a dolphin, playing on two pipes ; on the other fide, a large fea fnake. 335. Half another: with a fatyr on each fide. 33 6 » 337- Others. 338, 339. Oblongs, with bas-reliefs on them. 340, 341. Heads of Terms, in white marble. 342. A round marble table : twenty inches in diameter, and three feet high : an Ifis ferves for the leg of it. 343. A metal buft, refembling Domitian. 344. A bas-relief in ftucco : feven feet high, and five feet wide : it reprefents a veftibule of the Corinthian order, under which is a man naked. 345. Another, in white marble : three feet nine inches high j twenty- fix inches wide : it is a bacchant. 346. A fatyr, with a goat. 347. An ancient Bacchus, crowned with ivy leaves and berries; he is fitting, and with his left arm embraces a tiger : about twenty inches high. 348. A THE TRANSLATORS PREFACE. lxxiii 348. A young fatyr, horned. 340. A young man. 350. A fatyr like the former, except that this has filver eyes, and is placed on a pedeftal : they are both 20 inches high. The vafes, paterae, ollae, cacabi, &c. that is, the articles belonging to the Res vafaria y amount to 915. Of thefe 54 are filver, 532 of a bafer metal, 136 of glafs, and the reft of earth. Tripods, 24. Lamps, 163. Lamp-ftands, 40. Mifcellaneous articles, 732. Many of thefe belong to the foregoing heads ; but either not being dif- tinguifhed in time, or elfe being found too late to be inferted in their pro- per places, are put together at the end of the volume. Befides thefe, there are altars, cenfers, and a great variety of inftruments for facrifice : upwards of 300 hinges for doors, of different forts : keys, weights, fhields, amulets, chirurgical inftruments : wheat, dates, and other forts of fruit, and bread, all charred : fibulae, golden bracelets, ear-rings, and rings fet with jewels of different kinds: medals, intaglios and cameos in great abundance : upwards of thirty infcriptions, one of them round an altar, Tufcan. Mofaic pavements, one of which was the floor to a library, fur- nifhed with pre fie s containing 337 volumes. Vol. I. I PLATE PLATE tM o UT of the four Monochromi [2] upon marble, moft perfect in their kind [3], and ineftimable for their lingularity [4], [1] Catalogue, n. 735. [2] So the ancients called pictures of one colour only, Pliny xxxv. 3. And in the Monochromi they generally made ufe of Vermilion. u Cinnabari Veteres, quce " etiamnunc vocant Monochromata, pingebant." Pliny xxxiii. 7. Thefe pieces feem to be of that colour. [3] Although Painting in one colour belongs rather to the rude beginnings of the Art, yet in the fummit of its perfe&ion the greater! Matters have fomeiimes made ufe of this manner. £>uintilian Infl. xii. 10. affirms that Polygnotus did it. And Pliny xxxv. 9. writes of Zeuxis : " Pinxit et Monochromata ex Albo." This man- ner was in ufe under the Emperours, as Pliny attefts of his own times, xxxv. 3. Our Painter was fo well fatisfied with this piece, that he has not fcrupled to affix his name. [4] Thefe, for aught we can learn, are the firfl ancient Paintings upon Marble that have appeared ; it having been till now a controverted point whether the Ancients Vol. L B 2 PLATE I. (which it was thought proper mould precede [5] the reft, in this exhibition of the paintings of the Royal Mufeum) the flrfi: place is afllgned to this ; which befides its being difcover- ed before the others [6], receives an additional value from the names of the Painter [7] and of the figures [8] which remain legible. In thefe words — painted by Alexander of Athe?is [9] we have the Name [10] and Country of the Artift ; and fomething may be pronounced with regard to the Age in which he lived, it being manifeit from the Form of the Greek Characters [n], that it mud have been fome time before the Chriftian Era. pra£tifed this art, or even underflood it. The Lapidetn pingcre of Pliny xxxv. i. is quite another thing. The art of veining Marble fo as to appear like a Painting, is very different from painting upon Marble. [5] The fimplicity of Colouring, together with the drynefs of Manner in thefe pieces, has railed fome doubts whether they were Drawings or Chiariofcuri, and whether they deferved to be ranked among perfect Paintings. [6] Dug up at Refina on the 24th of May, 1746. [7] In Sculptures it is not common to find the Name of the Arfifr. Among the painted Vafes, one alone has fallen within our notice, with the Name of the Painter: not one of the Stucco-pieces, as far as is yet known. [8] It was cuftomary with the ancient Painters to affix names to the perfons whom they painted : And Paufanias x. 25. obferves of Polygnotus that he feigned names to fome of the perfons in his Pi&ures. [9] AAEHANAPOS A0HNAIOS ErPAfI>EN. Pliny, in the dedication of his Natural Hiftory to the Emperour Titus, fays, that it was a cuftom among the ancient Painters and Sculptors to put the Infcriptions of their moft finifhed Pieces in the iaiperfeft Tenfe, thus : Apelles, or Polycletus faciebat ; as if they would have it un- derftood that thofe Pieces were only begun, and not completed : fo that they who were inclined to judge of them with feverity, might be reftrained from criticifmg any one who being prevented by death might not have it in his power to correct them : and concludes : " Tria, non amplius, ut opinor, abfolute quae traduntur in- " fcripta : ILLE EECIT." But Phidias under the famous Statue of Jupiter Olym- pius placed this Tnfcription : 3>«5if«$ ,X«f//.^a ij&> A9vjycii(&> \£zirqaiF& 9 Phidias the Athenian, Son of Charmidas made mc : Paufanias v. 10. And befides this we have two other inftanqes of fuch Infcriptions in the perfeft Tenfe : One in the Royal Mufeupi, where, under a Bufto, we read : AIIOAAnNIOS EHOH2E. The other in the Painting of an Etrufcan Vale in the Mufeum of our celebrated Giufeppe Valletta, where we read MAHIMOC ETPAYE. Pliny therefore with too much Con- fidence aliened that there were but three inftances of fuch Infcriptions. [ i o] No mention is made of this Alexander by Pliny or any other Writer, though iie. is by no means undeferving of honourable notice. (1 1 ] The Ppjilon, Sigma, and Phi are of the ancient form. of PLATE L 3 Of the five Ladies here reprefented ; namely, Latona [i 2], Niobe [13], Phoebe [14-], Ileaira [15], and Aglaia [16], fo few [12] AHTfl. Latona was the daughter of Caeus and Phoebe, both children of Ouranus or Coelus and Terra. Accounts of Latona are every where to be met with, particularly of her having born Apollo and Diana to Jupiter : though Herodotus m Euterpe fays, that (he was the nurfe and not the mother of thefe two deities. See Natal. Com. iv. 10. [13] NIOBH. We find mention made of two Niobes. One is recorded by Apol- hdorus as the firft mortal whom Jupiter violated : (he can have no bufinefs with La- tona. The other is the renowned daughter of Tantalus, and wife of Amphion, king of Thebes ; who being the mother of feven fons, and as many daughters (fome fay more), and being elated at her great fecundity, began to infult Latona, and refufed her divine worfhip, which (he thought rather due to herfelf, than to one who had born only two children, Apollo and Diana.- The two divine archers, being incenfed at this infolence, in one day flew with their arrows all her children, Apollo the males, and Diana the females. Thus deprived of her numerous offspring, Niobe ftupified with grief, was metamorphofed by Jupiter into a ftone, which Hand- ing on Mount Sipylus appears continually weeping.- Others relate the death of this princefs with other circumftances. See Apollodorus, Aelian, Paufanias, and almoft all the Poets; efpecially Ovid, who happily defcribes the whole itory in the fixth book of his-Metamorphofes. Why Niobe and Latona, who mortally hated each other, mould neverthelefs join hands in this piece, will be underftood from a verle of Sappho quoted in note [_ij~\ r which imports, that before, a ft rift friendlhip had fubfifted between them. [[4] 4>OIBH. This does not appear to be Phoebe, the mother of Latona above- mentioned ; but rather the daughter of Leucippus, and fifter of Ileaira, who is fquatting before her. None of the mythologifts have colle&ed together the ac- counts of thefe two filters which we find fcattered in various authors : we have here abridged them. Apollodorus (who flourifhed under Ptolemy Phjfcon,- an age and half before Chrift, and whofe Bibliotheca y which treats wholly of the fabulous- times, neverthelefs anciently went under the name of hiftory ; and Scaligcr affirms it ftill to deferve that title, at leaft as far as it records the royal fuccelfors by gene- rations) in his third book writes as follows : " From Apharev.s and Arena the w daughter of Oebalus fprung Lynceus, Idas, and Pi/us. — From Leucippus the brd- " ther of Apharev.s, and Phylodice the daughter of Inacbus, fprung Ileaira' and " Phoebe, who having been ftolen by Cajlor and Pollux (fons of Leda and Jupiter} ** became their "Wives!" And a little after he Jubjoins, " Cajlor and Pollux beino iu ** love with the two daughters of Leucippus, carried them away from Meflenia by u force. Afterwards Phoebe bore Mnefdcus to Pollux, and Ileaira Anagontes to ¥ Cajlor." Mtffenia was not the place of their birth, though they we're Jlolen from thence. Stephanus in. Aphidna fays, '* Aphidna was a little town of Laconia, the country of " the two Leucippides, Phoebe,, and Ileaira." Ovid in his Art of Love. mentions their rape: and' Prepertius, Eleg. i; 2. 41 Non fie Leucippis fuccendit Caftora Phoebe ; " Pollucem cultu non Thclaira foror." V. here we may obferve two blunders of Properdus; in the name of Ileaira and in that of her hufband. Hyginus F. lxxx. adds to other accounts, that thefe two filters before they were ftolen, had been betrothed to their couiins Idas and Lynceus ; * ; * B 2 accounts 4 PLATE I. accounts have comedown to usdifperfed In various ancient au- thors, that they are infufficient to make us comprehend the Painter's intention in uniting them in this group. The valuable hexameter of the Poetefs Sappho preferred to us by Athcnazus [17], from whence we learn that and that Phoebe was prieftefs of Minerva, Ucaira of Diana. Laftly Paafanias iii. 16. tells us, that the temple of Ucaira and Phoebe might be feen in Sparta; ia which young women were confecrated, who were called Leiuippidcs from thefe ladies. [15] IAEAIPA. The orthography of this name in two Latin authors, in whom only it is to be found, is different, but equally corrupt, not only in the printed co- pies, but alfo in the manufcripts. In all the copies of Propcrtius it nTheiaira, and "of Hyginus Laira. But the Greek authors all agree in writing it with feven letters IAAEIPA. In our marble we meet with thefe letters, but two of them AE are placed in the contrary order EA. The agreement of all the Greek authors and manufcripts ought to carry the point again!!: a lingle marble, in which the order of the two vowels might be changed by miitake, unlefs it fhould be alledged that they may be placed either way with propriety. The afpirate of the fir ft vowel is doubt- ful among authors. In Apollodorus and Hefychius the fmooth afpirate is always ufed ; in Stephanus and Paufanias the rough one. The etymology might decide the queftion ; for fince we cannot derive it from any thing but 'iKococ, {propiiius) or fhilaris) ; it is plain that in Greek it ought to be written iKczupa, and in Latin Hi/air a. See Sopinghu on Htfychius, who pretends to prove from the beginning of Plutarch's book De Facie in Orbe Lunce, that lXcc-r r a. is derived from iKoc^oq. [16] ATAAIH. There are only two of this name mentioned by the ancients ; one was the wife of Charopus and mother of Nircus, of whom Homer in the catalogue of fhips, ii. v. 671, has t lief e lines: " Three fhips with Nireus fought the Trojan Ihore, " Nireus, whom Aglae to Charopus bore; *' Nireus in faultlefs lhape and blooming grace, f< The lovelied youth of all the Grecian race ; u Pelides only match'd his early charms," &c. Popr. On which paffage Enjlathius oblerves, that as his parent had chofen names im- porting beauty, io Nireus had done it with great propriety. It is not probable t that this Aglaia, who lived only about the time of the Trojan war, fhould be placed in this group; the other four being of more remote antiquity. Whence we may ra- ther conclude ours to be the daughter of Jupiter and one of three Graces; of whom Hejlod Thecg. v. 907. " To Jove Eurynome three Graces bare, " Euphrofyne the_blithe, Aglaiafair, " Thalia lovely"— And v. 945, " Lame Vulcan, fir.'d by foft Aglaia's charms, " Allur'd- this lait-born (irace to blefs his arms." [#7] In book kin, c. 4. we meet with this verfe of Sappho : . Latona PLATE I. 5 Latona and Niobe were intimate friends, may very well fatisfy us with regard to the fociable employment in which we fee them here reprefented, but nothing farther [i 8]. The two figures defer ve particular obfervation, which we fee playing at a fort of cockalls, called by the ancients UsvlotXi- 9i£siv [19], this game being played with five little ftones, or fmall pieces of any other matter, and fometimes with little bones, properly called aJlragali\zo\ like thofe we obierve in The fjL$v, indeed, is generally followed by the adverfative particle h> but ; from whence it feems very probable that the Poetefs afterwards defcribed the tranfitio'h from fo flrict a friendlliip to the oppofite extreme of averfion and enmity. fi8] Several conjectures have been propofed to explain the Painter's intention. Firft it has been imagined, that the Artift having borrowed thefe five figures from originals of the mod excellent matters, might have exhibited them in the fame group by way of models. Secondly, that as it was unlawful to alter the counte- nances of Jupiter, Apollo, Minerva, and Hercules ; fo with regard to deities lefs known, it was ufual to take copies of them, in the places where they were worship- ed, and had their feveral temples ; as indeed Phoebe and Hair a had in Sparta. Whence probably Alexander having taken copies of them, wrote their names, in order to diftinguifh them ; and the fame may be faid of the three others ; mean while, according to art, putting them all into agreeable poftures of action. What Paufanias relates of the two Lcueippides, Phoebe and llai'ra, in the place quoted above, is not at all foreign to our purpofe : that one of the priefteffes in their temple at Sparta having renewed the face of a ftatue of one of the goddeffes, was threatened in a dream, that fhe might be deterred from doing the fame to the other. The third conjecture is this : Herodotus according to Apollodorus iii. p. 145. allows Niobe only three fons, and as many daughters ; whence it is likely that the Painter repre- fenting Latona and Niobe at the time they were friends, has portrayed the three daughters of the latter, whofe names, otherwife unknown to us, might perhaps be Phoebe, Aglaia, and Ileaira. His differing in the orthography of this laft name from all the Greek authors, who call it Iia'ira, gives weight to this fuppofition. [19] Pollux in b. ix. feet. 126. minutely explains to us the nature of this game: the Pcntalitha (fays he) was played in this manner : five little Hones, pebbles, or bones, were thrown upwards from the palm of the hand, which being nimbly turn- ed, they were caught on the back of it. This is exactly what Iia'ira is doing in this marble. Pollux a,dds, that thofe which were not caught on the back of the hand, were picked up again from the ground, as Aglaia feems to be doing. The fame author obferves too that this game was chiefly a female amufement. [20] That little bone taken from lambs and other animals of the fmaller fize which the Tufcans call Aliojjo, Tallone or Tab, was the Afiragalus of the Greeks, and the Talus of the Latins. With thefe little bones the ancients played their Ludus Talo- rurn, which is now called Giuocare agli aliqffu The Alioffo has fix fides, or faces, but it not being able to reft upon two of them, only four of them were reckoned, two- as winning, and two as lofing. Entire treatifes have been written upon this this 6 PLATE I. this piece [2 1 J ; of which kind many in their true and natural forrn^ are preferved in the Royal Mufeum. game fince Eujlatbius on Homer, but they make it very different from our Painter. It is fufficient to remark, that the Artifls in their Paintings and Sculptures reprefented fuch games. Pliny (xxxiv. 8.) makes mention of a famous piece of ftatuary of Polycletus, in which are reprefented two boys playing at cockalls : the piece is thence called the Aftragalizontes^ Paufanias (x. 30.) tells us, that in a painting of Poly- gnotas, the two daughters of Pandarus, Camiro and Clytie were feen 'utuiQctui etctpxyaXoic, playing at cockalls. And Seguin p. 14. gives us this game on a cu- rious medal, with this infcription : S%ui ludit, arra?ndet, quod fatis Jit. [21] Befides the five MioJJi in thi-s piece, there are other things of different form and materials, made ufe of perhaps to render the game more intricate and agreeable. P L A T E [ 7 ] r p l a t e itw THIS Picture [2] is equally beautiful and well preferved : and as the youth who makes the attack, (hows by the life which there is in his gefture [3] a fuperior warmth of fancy in the artift [4] ; fo the centaur who is affaulted in the act of laying violent hands on a terrified nymph, who is thrufting him from her, difcovers the defign of the piece : the Painter meaning perhaps to exprefs fome action, which bears a relation to the war of the Lapithae with the Centaurs [5]. And it feems highly probable, that the action of the moft importance, and that which gave rife to the tumult [6], may be here prefented us. [1] Catalogue n. 737. ^ [2] This marble, together with thofe prefented in the two following Plates, was found at Refma, on the 24th of May 1 749. [3] The attitude of this figure exaclly anfwers Virgil's defcription of Chorinaeus t Ma., xii. 301, &c. " Super ipfe fecutus; *' Caefariem laeva rurbaii corripit hoftis, " Impreflbque genu nitens, terrae adplicat ipfum : " Sic rigido latus enfe ferit." — We may fay, not without reafon, either that the Poet caught the Painter's ex- preflion, or that the Painter hath imitated the Poet. [4] Some people think they can trace the fame 'artift through all the four mar- bles, which are much of the fame fize. However that may be, this picture certainly has fmgular merit. £5] Pirithous the fon of Jxion, king of the Lapithae, a people of Theflaly, hav- ing efpoufed Hippodamia or Hippodame, invited to his nuptials the Centaurs., whofe original fhall be fpoken of elfewhere. Being inflamed with wine, they attempted to violate the women of the Lapithae, who, with the afhftance oiThefeus and Her- cules, flew part of the centaurs, and drove the reft from their country. Diodorus book iv., Plutarch in the Life of Thefeus, and others. On this foundation poets and painters have fmce built with equal freedom, as their fancies led them. Then 8 PLATE I. Then the young lady will be Hippodamia [7] the wife of Piritbousy on whom a rape was attempted by Eurytus the centaur [8], who for his ram. defign was punimed with death [9] [6] Ovid, who elegantly defcribes this conflict, makes it to commence from the outrage committed by Eurytus on Hippodame. Met am. xii. 210, &c. " Duxerat Hippodamen audaci Ixione natus: " Nubigenafque feros, pofitis ex ordine menfis, " Arboribus te£to difcumbere jufferat antro. " Haemonii proceres aderant ; aderamus & ipfi ; " Feftaque confufa refonabat regia turba. *' Ecce canunt Hymenaeon, 8c ignibus atria fumant : u Cinftaque adeft virgo matrum nuruumque caterva, " Praefignis facie : felicem diximus ilia " Conjuge Pirithoum : quod poene fefellimus. omen. " Nam tibi, faevorum faeviffime centaurorum, •* Euryte, quam vino peftus, tarn virgine vifa " Ardet ; & ebrietas geminata libidine regnat. " Protihus everfce turbant convivia menfae, M Raptaturque comis per vim nova nupta prehenfis. " Eurytus Hippodamen, alii, quam quifque probarant, gt Aut poterant, rapiunt : captaeque erat urbis imago. " Foemineo clamore fonat domus : ocyus omnes " Surgimus : & primus, qua; te vecordia, Thefeus, " Euryte, pulfat ? ait : qui me vivente laceffas " Pirithoum, violefque duos ignarus in uno? " Neve ea magnanimus fruftra memoraverit heros, " Submovet inflames, raptamque furentibus aufert.'* [7] Plutarch in hks life of Thefeus calls her Deidamia ; and Propertius'xu 2. ov Ifchomache. [8] Some authors give him the name of Eurytion, but Ovid calls him Eurytus^ [_9j Ovid in the place above cited proceeds thus : " Forte fuit juxta fignis exftantibus afper " Antiqnus crater, quem vaftum vaftior ipfe " Suftulit Aegides, adverfaque mifit in ora» " Sanguinis ille globos pariter, cerebrumque, merumque, " Vulnere, & ore vomens, madida refupinus arena '* Calcitrat : ardefcunt germaua caede Bimembres, rt Certatimque omnes uno ore, Anna, Arma, loquuntur." The poet makes the occafion of Eurytus's death to have been a goblet hurled at him by Thefeus, as by thefe means he is furnifhed with an opportunity of defcribing the original caufe of the fray, and varying the incidents of it. The Painter on the other hand reprefents by one tingle attion his hero afiailing the centaur in that noble and ftudied manner which is here obferved. Nothing can appear more na- tural than that Thefeus fljould have attacked his adverfary both ways ; firft by hurl- ing the goblet at him, and after having thus ftunned him, by plunging his fword into his body: thus in Virgil, at the place quoted above, • Chorinpeus .having fir ft: fnatched a flaming brand from the altar, threw it into the face of Ebufus, and having thus ftunned him, he afterwards ruflied upon him, according to the ingeni- c ous PLATE II. 9 by T'hefeus [10] or fome other hero. ous description of the Poet. But though in a Narration one may reprefent various circumftances fucceffively : A Painter mult adhere to one only, and that the moll chofen aftion. [10] Paufaniasv. 10. defcribing the temple of Jupiter Olympius fays : that on the roof is painted the combat of the Lapithae and Centaurs at the nuptials of Pirithous : in the middle part of the cieling is Pirithous himfelf : near him /lands Eurytion in the aEl of attempting to ravifi his ivife, and Caeneus defending her : in another part Thefeus Jlaughtering the Centaurs with a battle-ax. Plutarch in the life of Thefeus is alfo of opinion, that Pirithous invited Thefeus to his marriage, and that by his afliftance the Centaurs were either flain or expelled, for their attempt to violate the women of the Lapithae. Plutarch himfelf however fubjoins, that according to Herodotus (probably in his book about the labours of Hercules) after the war was kindled, Thefeus came to the affiftance of the Lapithae, and that on this occafion he commenced his firft acquaintance with Hercules. Amidft this diverfity of opinions it mull be allowed, that the Painter hath followed probability, in re- prefenting Thefeus as killing with his own hand the Centaur , who attempts to ravifh the wife of his great friend Pirithous. Vol. I. C P L A T E [ *o ] PLATE III.M THIS picture has fuftained fueh detriment from the hand of time that its outlines are fcarcely vifible, as may be obferved in the drawing and engraving, both executed with the greatell exactnefs. This circumftance hath contributed not a little to render the explication more difficult. The old man, who appears partly [2] naked, and partly cloathed with a fkin [3], feems to be concerned in bringing up the boy or girl which he has between his legs, and to which the whole picture has rela- tion. The fhepherdefs or nymph, whichfoever it may be, who is reprefented fondling the child, is probably its nurfe ; and the {lately dame who holds a horfe by the bridle, is either its mother, or certainly fome perfon who remarks its actions [4]. We may venture to conjecture, that the Painter intended for [1] Catalogue, n. 736. [2] His right arm is covered. The tunic, which had a fleeve on one fide only, or as Kuhnius obferves, on the left fide, was called by the Greeks ST£poiuwxpi\<&> %nuv, and was proper to flaves. Pollux vii. 47. [3] This man may either be a fhepherd or fome hero. The feholiaft of Apol- lonius on Argon, iii. 324. fays : crvvrfisg rois rjpucri to $;pfjMTc(popHv. It was the cujlom of heroes to wear the /kins of beafts. [4] It has been imagined that this figure may be Melanippe, mentioned in the fragments of Euripides, called by others Menalippe, who having had ieveral children by Neptune, fent them to be brought up among the herds of her father Aeolus, Hyginus.i. 186. But this circumftance alone is infufficient to determine the Painter's defign ; becaufe there have been inftances of others who have been privately brought up in the fame way. the * PLATE III. ii the fubject of this piece, either the education of Achilles [5], the concealment of Neptune [6], or the clandeftine parturi- [5] Almoft all the Poets feign that Thetis delivered Achilles to Chiron the Cen- taur to be educated : and that, being afcerwards tranfported to the illand Scyros, he lived there fecretly under a female difguife. Altogether different is the account given of him by Homer, who tells us, that Peleus King of Pthia committed the edu- cation of his fon Achilles to Phoenix. In the ninth book of the Iliad ver. 480, &c. Phoenix thus addreffes his charge : " In Pthia's court at lalt my labours end. " Your fire receiv'd me, as his fon carefs'd ; " With gifts enrich'd, and with poffeflions blefs'd. " By love to thee his bounties I repaid, '* And early wifdom to thy foul convey'd. *' Great as thou art, my leffons made thee brave ; " A child I took thee, but a hero gave. " Thy infant bread a like affection fhew'd, " Still in my arms (an ever-pleafing load) " Or at my knee by Phoenix wouldft thou (land ; " No food was grateful but from Phoenix' hand. " I pafs my watchings o'er thy helplefs years, " The tender labours, the compliant cares ; " The Gods (I thought) revers'd their hard decree, " And Phoenix felt a father's joys in thee." Pope. And in ^Calaber, the continuator of Homer, b. iii. 407, &c. the fame Phoenix fpeaks to Achilles thus, Peleus bearing thee in his arms, placed thee in my lap {y,oX%ui £jj.tu yjx]-9yjy.c) and with great concern charged me with the care of thee. The charge of education was two-fold : one part of it attended to the formation of the mind, the other regarded the care of the body. In the Poets, and particu- larly the tragic Poets, we fee thefe two parts fuftained by pedagogues and nurfes, who fometimes attended their wards till they were grown to maturity. In the old man then we ihall trace Phoenix, who holds Achilles between his knees. The altar being fixed by him, was meant to infmuate thofe fentiments of piety, which according to Homer he repeats to his pupil now adult. The female who careffes him, will be the nurfe. And in the other who holds a horfe by the bridle, Pthia the country where Achilles was born will very aptly and properly be expreffed,'a country celebrated particularly for abounding in generous lleeds. .^.Calaber having for that reafon given it the epithet smuh^>. Thus Philojlratus the younger, Imag. i. in which he means to reprefent the ifland of Scyros, paints a majeftic dame adorned with thofe things, with which Scyros abounded. A lady (fays he) appears crowned with rufhes, placed upon a mountain : Jl)e is meant for the _ ifland Scyros, having a fprig of olive in her hand. On the great bafe of the marble erected at Pozzuoli in honour of Tiberius, fifteen female figures are carved with their proper fymbols, reprefenting the fifteen cities of Afia Minor. Medals furnifh, us with a number of other inftances. £6] The cruel refolution taken by Saturn to devour his children for a reafon of ftate, is equally notorious with the care of his wife llhea who managed to rear them C 2 tion 12 PLATE III. tion of Ceres [7], who, being transformed into a mare, brought forth the goddefs Regina, and the horfe Arion. But how little ibever thefe conjectures [8] may be depended upon, our mar- privately, by fubllituting a flcne, or any thing elfe, in their (lead ; which he de- voured with equal avidity and folly. Now, in order to preferve Neptune, Ihe pretended to have brought forth a colt, and prefenting that to the old man to eat, committed her infant to the care of fome Arca- dian fhepherds. Paufanias viii, 8. gives the following account of this affair. Rhea being delivered of Neptune concealed him in a Jheep-fold, configning him to the JJjepherds to be brought up among their lambs, m the room of Neptune Jhe placed a colt to be devoured, which Jhe pretended to have given birth to : likewife the fame Rhea is faid to have wrapped up a Jlone in fwaddling cloaths, by way of fubftrtute for Jupiter. In the Etymologicon under the word. Apvy we meet with this account : Arne, a nymph, the nurfe of Neptune. This nymph, whofe real name was Sinoe'fa, was called Arne becaufe being engaged by Rhea to bring up Neptune, when Saturn made a fcarch after him { otx%cr/." In Euripides and other Greek tragedians we meet with fcenes in which heroes and heroines are introduced weeping. This is obferved, in order to remove a doubt, which has been raifed, whether our painting mould not rather be fuppofed a chorus, than a fcene of a tragedy. Arijlotle, prob. xix. qu. 49. hath this re- flection, that tragicy^«£.r are formed by heroes, to which character fedatenefs and gravity were agreeable, and a fubdoric and fubphrygian tone : whereas a tragic chorus, being compofed of perfons in common life, made ufe of a plaintive and lhriller kind of melody. [8] Of masks and the tragic habit, Horace fpeaks in his Art. Poet. ver. 278, &c. u Poll hunc perfonae, pallaeque repertor honeftae " Aefchylus, & modicis inftravit pulpita tignis, , ex more : although this correction- is eafy and fupported by good reafons, no one hitherto has fuggefted it. It is true, however, that Hyginus Fab. 41. among the Latins exprefsly writes, that this tribute was fent every year: but Ovid directly contradicts it, Metam. viii. 170, and 171. — " Aclaeo bis paftum fanguine mon{trum ? , " Tertia fors annis domuit repetita mvenis." On the other hand, Virgil, Jkn. vi. 20, &c. " In foribus, lethum Androgeo : turn pendere poenas (C Gecropidae juffi (miferum) feptena quorannis ** Corpora natorum, flat ductis fortibus urna." Servius upon this paffage has mentioned the names of the youths and virgins : according to the correction of Mcurfius in "Thefeus, the names of the former were, Hippophorbas, Antimachus, Mneflheus, Phidocus, Demolion, and Perizion : of ths latter, Medippe, Gefione, Andromache, Pimedufa, Europa, Meliffa, and Peribaea. [12] Some perfons have pretended to guefs the name of the nymph who grafps the club with her right hand, and has a ring on her left : accordingly fome have fuppofed her to be Ariadne, to whom Thefeus owed his deliverance in this attempt. Others have imagined it to be Peribaea, becaufe fhe who had furpaffed her compa- nions in beauty, and had won the affections of Minos himfelf, was entitled to the firft place in the picture : but the greater part have not prefumed to decide. The mode of drefs is like that of other Athenian ladies, on fome antiquities in Mont- faucon. [13] The famous labyrinth of Egypt, near Crocodilopolis, which furpaffed in its wonderful conflruction even the pyramids, thofe miracles of art, is defcribed by Herodotus in his Euterpe. He is of opinion that Daedalus made his in Crete, in which the Minotaur was confined, in imitation of this. See Pliny xxxvi. 13. Ovid gives an elegant defcription of it, Met. viii. 159, &c. " Daedalus in^enio fabrae celeberrimus artis " Ponit opus : turbatque notas, et limina flexu " Ducit in errorem variarum ambage viarum." All thofe who give us the fable agree, that the action of Thefeus was performed within the labyrinth, from which he afterwards efcaped by a clue, which Ariadne had furnifhed him with. Philochorus (in Plutarch), who explains the whole in a different manner, and tells the real hiftory of it, defcribes the labyrinth as a ftrong D 2 Minotaur 2o PLATE V. Minotaur [14] lies fore-fhortened [15] at the feet of the con- prifon, defigned for the cuftody of the youths and virgins, whom the Athenians fent for their tribute: and fays, that the combat of Tbefcus happened out of that in- clofure, in an open fquare, in which were celebrated the funeral games in honour of Androgeos. If that was the cafe, could Ariadne have faid to Thefeus with any propriety, what Ovid, Epift. v. 103, puts into her mouth, though with another in- tention? " Non tibi, quae reditus monftrarent fila dediflem." We might rather fuppofe with Palaephatus, c. 2. that it was a fvvord, and not a clue, which Thefeus received from Ariadne. Be that as it may, accounts are fo different, that rhe painters had a large field left them to reprefent this enterprize according to their own humour. Paufanias hi. 29. relates, that he had feen Thefeus reprefented lead- ing the Minotaur in chains: now our Painter has chofen to draw the Minotaur flain by Thefeus before, the entrance into the labyrinth ; becaule perhaps it beft fuited his purpoie of placing the whole fnbject in full view. [14] Pafipha'e, the daughter of Sol and Perfe'is, was the wife of Minos king of Crete. Neglected by Neptune and hated by Venus, Pafphae became enamoured of a bull. Daedalus, a moll ingenious artift, contrived a place, in which fhe being ihut up, could enjoy that infamous commerce, the fruit of which was a monfter that partook the form of a man and of a bull. Thus the poets exprefs themfelves on this fubject ; fee Virgil, Aen. vi. 24, &c. " Hie crudelis amor Tauri, fuppoftaque furto, " Pafiphae : miitumque genus, prolefquc biformis " Minotaurus ineft:, veneris monumenta nefandae." Philoflratus fpeaks more clearly to the point, L. i. bn. 16. Minos, in order to con- ceal his difgrace from the -public eye, prevailed with Daedalus to make the laby- rinth, in which the monjlcr was confined. Ovid, Met. viii. 155, Sec. thus happily exprefles himfelf : " Creverat opprobrium generis; foedumque patebat " Matris adulterium monftri novitate biformis : ** Deftinat hunc Minos thalamis removere pudorem; '* Multiplicique domo, caecifque includere tectis." Servius on the fixth book of the Aeneid, Palaephuius c. 2. and others, explain the fable thus : Minos being infirm, or abfent from his wife, fhe fell in love with a young man called Taurus, who, according to Plutarch, was admiral to the Cretan king : by this man fhe had two fons, one of whom refembled Minos, the other his proper father. Plutarch, upon the tcftimony of Philochorus, proceeds to tell us, that Minos having inftituted funeral games in honour of Androgeos (in which the Athenian captives were the prize of the conqueror); 'Taunts, Pafphaes gallant, was thefirft who obtained the victory, and the reward in thefe games ; and that Thefeus engaged this Taurus in fingle combat, and having llain him to the great joy of the king of Crete, he obtained the liberty of his countrymen, and an exemption from the tribute. Paufanias ii. 31. fays, that he with whom Thefeus engaged, was a fon of Minos called Ajlcrion, and in i. 24. he himfelf is not able to determine whether he whom Thefeus fought with was a man or a monfier. Tzetzes (after Apollodorus iii. 14.) on the Caffandra of Lyccphrcn fays plainly, that ■Ifcrion was the fame with the Minotaur. queror, PLATE V. 2 r queror, in an uncommon form [16], and different from what it appears upon medals [17]. The goddefs [18] who fits above, and holds in her hand a bow and arrow [19], we may call the protectrefs of Thefeus in this enterprize. [15] Pliny xxxv. II. fpeaking of Paujias of Sicyon, fays: "Earn picturam " primus invenit, quam poftea imitati funt multi, aequavit autem nemo : ante om- " nia, quum longitudinem bovis oflendere vellet, adverfum eum pinxit, non tranfver- " fum ; unde et abunde intelligitur amplitudo." [16] Ovid defcribes the Minotaur as half a man and half a bull : " Semibovemque virum, femivirumque bovem." Euripides in Plutarch gives us the fame portrait of him : and he has the fame form upon a gem (if that gem be really an antique), in which is reprefented alfo the labyrinth. See Agojiini Gem. Antiq. P. ii. T. 131. Edit, of Rome, 1702. Apollo- dorus, however, iii. 1. Hyginus tab. 40. and others, fay, that he had only the head of a bull, and that his body was wholly that of a man, exactly as we fee him reprefented here. [17] On the medals of Magna Graecta and Sicily, where this monfter is fuppofed to be reprefented, he appears with a human head and the body of a bull. See Paruta Sic. Nu?n.Tab. 63 and 87; and Spanheim deUfaet Praejl. Numifm. p. 285. [18] Two conjectures have been propofed concerning this deity. One, that it is Venus, whom Thefeus took for his tutelary goddefs in his atchievement at Crete. — Plutarch in his 9th book, and Callimachus in Hymn, in Del. v. 307 — 313, relate this circumftance. The other, that it is Diana, to whom Thefeus erected a temple in Troezene, in memory of the aid he received from that goddefs in the dangerous combat of the labyrinth, and of her favouring hie efcape from that intricate place, with his companions. Paufanias ii* 31. fuggefts this ufeful remark. The bow, the arrows, and the quiver, are the proper enfigns of this goddefs. It is objected that Diana is always reprefented in a fnort habit, and with her legs bare; as Span- heim, after others, has obferved upon the Diana of Callimachus ; whereas in our picture the drapery reaches to the goddefs's feet. This objection however is not thought to be of any great weight : becaufe we may as well fay of Venus alfo that ihe was reprefented in the character of a huntrefs. Indeed Ovid intimates as much, Amor. iii. El. 2. " Talia fuccinctae pinguntur crura Dianae ; " Cum fequitur fortes, forcior ipfa, feras." So Virgil, Aen. i. 317, &c. fpeaks of Venus : — " Humeris de more habilem fufpenderat arcum " Venatrix, dederarque comam diffundere ventis, " Nuda genu, nodoque finus collecta fluentes." [19] A doubt has been raifed, whether the inftrument which is hanging at the goddefs's fide be a quiver, and not rather a trumpet : upon fuppofition that it is the latter, it has been thought, that fhe may rather be Minerva, who, befides being the tutelary deity of Athens, is called by Lycophron v. 986. Sastor/y£j for which furname Paufanias affigns a reafon, ii. 21. — Befides, the fymbols of Diana are fome- times appropriated to Minerva, and the twogoddelfes confounded with each other. The 22 P L A T E V. The two little pieces of painting which reprefent various kinds of fifh emerging from the water [20], although not of capital beauty, have neverthelefs their merit [21]. f 20] See Cat. n. 3 12 and 302. Thefe have no relation to Thefeus, and were taken from different places. There being many pieces of this kind which are not of importance enough to merit a par- ticular explanation; in order not to rob the public of the pleafure of obferving" the gufto of the ancients in this way, it was thought proper to fill up fome vacancies wich them. [21] Vitruvius vii. 5. and Pliny xxxv. to. inform us what, and how great a part of houfes was allotted to thefe pretty trifles in ftucco-painting. PLATE [ n ] PLATE VI. M f | ^ HIS picture [2] is the companion of the preceding, JL and is executed in a manner [3] not inferior to it ; but the defign is not lb clear. The child who is fuckled by the hind may be Telephus. This incident certainly favours that name [4.]. The reft of the figures feem to bear a relation to him [5]. His father Hercules, adorned with his raoft remark- et] See Catalogue, n. 123. [2] Found at Refina along with the Thefeus. [3] The fame fkill is difcernible in the defign of this piece, and in the attitudes of the figures, as well as the fame manner of colouring. [4] Diodorus iv. 33. writes that Coryius called the child TjjA^ov, ano t>?j T^aa-yjg sXcK'pa : Telephus, from the hind which had nourijhed him. Apollodorus iii. 9. Hygimts f. 99. — Paafanias ix. 31. obferve, that among other beautiful works of excellent tirtifts which he had feen at Helicon, was a hind giving fuck to the \\xx\tTelephus. [5] Hercules, returning victorious from the war againft the Spartans, paid a vifit in Arcadia to king Aleus ; and having .fecretly violated Auge, the daughter of his hofl, he departed. Aleus, finding that his daughter was with child, delivered her to Nauplius his confident, to be thrown into the fea : whilft he was conducting her, flie, being taken with the pains of childbirth, feigned fome other bufinefs, retired into a neighbouring grove near Mount Par theni us, and there being delivered of her infant, concealed him among the bullies, and returned to her company. Arriving at Nauplia, flie was not drowned, according to the cruel injunction of her father, but fold to fome travellers, who failed for Afia, and there fold her to Teuthras king of Myfia. In the mean time the infant, being left near Mount Parthcnius t was found by the fhepherds of king Cory tits 9 jufl; as a hind was going to give him fuck. The Ihepherds took him and carried him to their mailer, who ordered him to be brought up in the family under the name of Telephus. When he was grown a man, he had a mind to confult the oracle at Delphi, in order to difcover his pa- rents ; and receiving for anfwer, that he Ihould learn who they were from Teuthras; on his arrival at court, he was acknowledged by his mother, and declared by Teuthras his fuccelfor in the kingdom, who alfo gave him his daughter Argiope in marriage. Thus Diodorus relates this adventure, iv. 33. Apollodorus ' however, ii. 7. and iii. 9. will have it, that Auge concealed Telefhiii in the temple of Minerva; that, able 24 P L A T E VI. able attributes [6], attentively furveys him, whilit a young nymph, diftinguiflied by wings, fome ears of corn, and a crown of olive [7], points at him with her finger. In the being found by Alcus, he was expofed on mount Parthenius ; and that Auge was configned to Naitplius to be put to death. But Strabo xiii. p. 615, upon the autho- rity of Euripides, relates, that Auge and her fon Telephus, being ihut up together in a chert, were thrown into the fea by Ale us ; and that, by the direction of Minerva,, the cheft being driven into the mouth of the river Caicus, Auge was taken to wile- by king Teuthras, and Telephus adopted, who afterwards fucceeded him in the kingdom. Paufanias viii. 4. writes, that Hecataeus was of the fame opinion ; but he elfewhere gives various accounts of thefe matters, and fays in the viiith book, 47, 48, and 54, that the fountain was to be feen in Arcadia near which Auge was deflowered by Hercules; alfo the Temple of Lucina :-v ywa-t, fo called, becaufc Auge in that place, being taken with the pains of childbirth, fell upon her knees, and in that pojlure brought forth Telephus* And oppofite thereto they flow the bed of Telephus, fo called becaufe near mount Parthenius he ivas expofed in his infancy by his mother, and nourifhed by a hind. Others believe, as indeed Paufanias himfelf affirms, x. 28. that Auge, being pregnant by Hercules, brought forth her fon in Myfia ; and that he 'very much refembled his father. [6] Hefiod, in his poem of the fhield, 128, &c. not only attributes to Hercules the bow and arrows, but arms him likewife with every fort of military accoutre- ments. The fir ft however who afcribed to this hero the club and lion's fkin, as his proper attributes, was the author of a poem entitled Heraclca. Strabo xv. p. 688'. writes : That giving to Hercules the fkin of a lion, and a club, was the invention of him who compofed the Heraclca, Pifander or whoever it was : for the ancient flatucs do not rcprefent Hercules in this manner. Although it is dubioufly expreffed here who Was the author of Heraclea ; this poem has been generally attributed to Pifander.. Strabo himfelf fays, xiv. p. 655, Pifander, the author of the poem of Heraclca, was- of Rhodes. Suidas in n«travof@H writes, Heraclea, the poem of Pifander, contains in two books the atehievements of Hercules : this author fir/1 reprefented Hercules with a club. Paufanias ii. 37, and viii. 22, cites Pifander of Gamirus, as the author of a poem on the deeds of Hercules. And in Theocritus there- is an epigram in praife of this ancient poet. Be that as it may, this is certain, that the lion's fkin and club are fo peculiarly the attributes of Hercules, that the bow and arrows, where we meet with either of them, feem fuperfluous. Theocritus, in order to characterize this hero, fays : Viezving the favage fkin and maffy club. And on antiques he is reprefented with one or the other, and moft commonly with both. However, there are inftances in which the bow, the arrows, the fkin, and the club, are all joined together. Tcrtullian, to deride this hero fo famous in, ftory, calls him by the name of Scytalo-fagitti-pelliger , De Pallio, c. iv. num. 3.. Our Painter then having united all the attributes, each of which fuffices to diftiii- guifti Hercules from every one elfe ; without doubt intended to reprefent to us no other than this hero. [7,] Wings, and garlands of leaves or flowers, are characteriftic of Genii: books, gems, medals, bas-reliefs, furnifb. us with abundance of inftances. The Genii are majeftic PLATE VI. 2 5 majeftic dame who appears in a fitting poPiure, crowned with flowers, a bafket of fruit [8] at her fide, and a ruftic ftaff in her left hand ; is meant to be exhibited the tutelary deity of the expofed infant [9], or his country, as another circumftance fuggefts [10]. The young Fannus, or Pan [11], whichever it is, accompanying this lady, is a reprefented under both fexes. See Nat. Com. iv. 3. and Montfaucon t. i. p. ii. lib. 2. c. 13. § 5. And in tab. cc. n. 5. Viftory and Fortune are both reprefented with wings. See Plutarch deVirt. & For t. Rom.— Ovid. Frijl. ii. 169. and Pacat. inPanegyr. To the goddefs of Peace, befides the crown of olive, and the ears of corn, which are her peculiar fymbols; wings are alfo fometimes given. Cupcri Apotheof. Horn. p. 178. This uncertainty has fuggelled various opinions to our critics. One maintains, that the figure thus diftinguilhed, reprefents Ceres; another will have it to be meant for Providence, induced by the expreffion of Strabo xiii. p. 615, (who, recounting the adventure of Telephus, fays, that he was faved A^vag -uu^ovoik, by the providence of Minerva) and by another of Apollcdoms ii. 7. who writes, that Telc- phus -was nurfed by a hind, under a certain divine Providence. This opinion differs not materially from another, that fortune might have been defigned here : for what the vulgar called fortune, philofophers acknowledged to be the providcjice of the gods. And indeed on fome medals of the times immediately fucceeding Titus, pro- vidence is reprefented with ears of corn. [8] Grapes and pomgranates. [9] Every thing has been offered that can be fuppofed, to give any information with regard to this nymph, or deity, whichever it is. Auge, Lucina, Mi- nerva, and others of the fame kind, have been mentioned : but all of them liable to fome rational objections. Many have, with fome (how of probability, held, that it mud be the goddefs Tellus, called by the Greeks K%po!pc$(&, the nurfe of in- fants. Suidas, and Paufanias, I. 22, make mention of her. This goddefs, as every one knows, being often taken for the great mother, for Ops, for Flora, (all which mean one and the fame deity), is very properly accompanied by the god Pan, whom Pindar calls Mc^f©- 1 pzyctXag e7roc$(&> : the follower of the great mother, or as Arif- totle, Rhet. ii. 24. explains him, ^syahocg Qcx kuvu •zs-avjc^cTrov, according to Weffc- Ung's Remark on Diodor. iii. 58. v. 36. And the tame lion is a circumftarc* that agrees very well. [10] It has been fuggefted, that this goddefs reprefents Myfta, in which Telephus was born, or certainly reigned; and of which the foil is called by Pindar, I. viii. 108. ci^TriKoiv, abounding with vines ; or Arcadia, a place equally fertile ; and in this cafe Pan, the principal deity of that country, might, with much propriety, accom- pany her. [11J The fhepherd's crook, the pipe, and tiger's or panther's fkin, were the proper fymbols of the god Pan, reprefenting nature. See Nat. Com. v. 6. It is true that Pan is alfo figured with horns, and a beard ; neverthelefs, appearing fome- times without either, the Pan of the Greeks is confounded with the Faunus of the Vol. I. E cir- 26 PLATE VI. circumltance that may contribute to particularize her [i 2], Latins. Juflin. xliii. j. 6. fays, " In hujus radicibus templum Lycaeo, quem " Gracci Pana, Romani Lupercum appellant, conftituit." Ovid agreeably to this fays, Fqjl. v. iof. " Semicaper coleris cinflntis, Faune, Lupercis." And Horace, 1. i. od. 17. t( Velox amoenum faepe Lucretilem " Mutat Lycaeo Faunus." [ 1 2] There remains fome doubt about this figure ; no plaufible reafon being given why, upon fuppofition that the fitting lady reprefents Arcadia, or exenTerra, the god Pan (hould be painted in the form of a youth. This doubt, in conjunction with another ftill greater, from the appearance of an eagle in the picture; for which it is exceeding difficult to account ; has given occafion to advance an- other conjecture. Dionyfius of HalicarnaJJus relates, i. p. 34. that there was current in Italy an ancient tradition that Hercules had a fon called Latinus, by a young wo- man of the north, (at rp 1 ^ V7rzc&cpi$&> uo^g) ; and that, having given in marriage this young lady to Faunus, king of the Aborigines, Latinus was believed to be the fon of Faunus. Suidas, agreeably to this account, under the word Aajivoi writes thus: Telephus, furnamed Latinus, the fon of Hercules, gave the name of Latins to a people before called Cetii. They were afterwards called Italians, from one Italus ; then Aeneadae from Aeneas ; and lajlly Ro?nans from Romulus. It is true that Kufler, upon this paffage, writes: " Haec inepta omnino funt, et ex putidis lacunis haufta, " quibus gemina legas apud Cedrenum et Joannem Malalam.'" Now that this paffage is not to be found in all the manufcripts, and perhaps only in that belonging to Portus, may be allowed : but that the contents of it fhould be throughout foolifh and falfe, cannot well be advanced ; fmce it is very true, that the Latins were once called Cet'ii, a name derived from Cettim, the grandfon of Japhet, and great grandfon of Noah, Gen. c. x. Mention is made of this name by ancient authors. Homer Od. A. 520. and elfewhere. The tradition contained in that paffage is not then entirely to be rejected; and it deferves the more attention, becaufe Plutarch in his life of Romulus, at the beginning, writes, that Rome was fo called, according to fame, from Roma, the daughter of Telephus and wife of Aeneas. He alfo adds, that the lady, whom Hercules was concerned with, was called Faula, or Flaw a ; and the worfaip of the goddefs Flora was very ancient in Latium, being antecedent even to the founda- tion of Rome. Varro de Lingua Latina, lib. iv. and others, hold that AvQxa-x was the fecret name of that city. Now, though all thefe conjectures taken feparately may be weak, yet if they are all put together, we may perhaps venture to pro- nounce, that by the fitting lady, the goddefs Flora may be intended ; that Ihe has with her the young Faunus, who was thought to be the father of Latinus or Tele- phus, to particularize whom the hind may have been added; that peace or victory points out to Hercules, in his fon, his illuftrious defendants ; and that, as the eagle explains the clefign of the Painter, in Slowing the origin of that warlike and victo- rious people ; lb the tame lion difcovers, that the time alluded to is the age of the firfl Caefars, when the whole world refpected the Roman power. Others, to whom fuch a conjecture appears more ingenious than true, think the Painter rather in- tended to reprefent Telephus expofed near mount Parthcnius, in Arcadia; and that, to fhadow out this country, he placed the god Pan near the goddefs Tellus, the The P L A T E VI. 27 The eag/e[i2] 9 and the tame Uon\\\\, which the Painter no doubt introduced into his piece in order to render his de- sign more clear, make it in fadt more obfcure [1 5]. The little frieze [16] which fills up the vacancy at the bot- nurfe of infants, accompanied by her pacific lion ; which goddefs commands the hind to fuckle the infant, whom Providence, or fome fuch deity, fhows to Hercules, and difcovers to him the adventure, pointing out in the eagle the extraftion of this hero. This fecond conjecture feems not fo far-fetched as the other ; both however are equally attended with this difficulty, that Roman fubjedts were not ufually in- troduced into Grecian pictures. But it may be anfwered, that Herculanewn was not a city placed in the heart of Greece, but in the neighbourhood of Rome itfelf ; which city, at the time thefe pictures were mod probably drawn, me was obliged to flatter, through a defire to pleafe, or from neceflity: and in the profecution of this work, we mall fee Roman affairs introduced in our pictures. [13] Paufanias viii. 31. mentions having feen in Arcadia, a llatue of Bacchus, upon whofe thyrfus was an eagle : and adds, that he was ignorant of the reafon of it. Meurjius on the CaJJ'andra of Lycophron, v. 658, p. 78, remarks, that the eagle ufed to be given to heroes in general; perhaps becaufe the very lofty flight of that bird exprefles their elevated genius. [14] The lion is alfo a proper attendant on heroes, to exprefs their valour; and accordingly ufually appears on the fepulchres of military men. Paufanias x. 40. tells us: that near the city of Chaeronca is the fepulchre of thofe Thebans "who died fghting again/1 Philip. There is no infeription, but only a lion by way of device, to denote their magnanimity. Ptolomacus Hephaejlion in Photius Bib. Cod. 190. relates, that thefe fcpulchral lions are a fymbol of the flrength of Hercules. The eagle and lion then, being confidered as fymbols, may. be equally fuitable to Telephus and Hercules. A living lion, however, fhould feem fuperfluous, where there is the fkin of another : but as feveral lions were killed by Hercules, fo among the antique gems of Auguflinus, p. ii. t. 39. there is a Hercules adorned with the fpoils of one lion, in the act of killing another. [15] All the above conjectures, each of which has fome reafons to fupport it, prove the very great difficulties there are to encounter, in deciding upon the fubject of this picture. And to confefs the truth, to infer from the circumftance of the eagle, that it is a Roman fubject, is too far-fetched : and to make it only a general fymbol of heroifm, is too fimple. As to the lion, if it has no connection with the fitting lady, the meaning of it remains very obfcure ; efpecially if we confidcr the pacific pofture in which it is painted. It avails but little to fay, that the winged nymph with the ears of corn in her hand, crowned with olive ; and Hercules him- felf in an attitude of repofe, with the crown ufually denoting victory or divinity ; and in a word, all the other figures, who are crowned to exprefs a facrifke, or other joyful folemnity, convey the fame idea with the tamenefs of the lion ; fmce all this only renders the defign of the Painter Hill more intricate, [16] Catalogue, n. 209, E 2 torn 28 P L A T E VI. torn of the plate, is fligbtly touched, but with fpirit fi 7]. [17] This frieze, which has no relation to Tekphus, and was found in a different place, is probably part of fome ornament in fictitious architecture. And the Painter feems to have intended an imitation of thofe ornaments which architects place in the fronts of their buildings. The ends of the beams were covered with triglyphs : the intertignia, or fpaces between the triglyphs, were called metopae ; on thefe they ufually carved the heads of oxen or rams, as may be feen in the ancient edi- fices. Vitruv. iv. 2. and 3, writes thus : " lta divifiones tignorum tedtae trigly- " phorum difpofitione, intertignium, et opam habere in Doricis operibus coeperunt " — utraque enim et inter denticulos, et inter triglyphos quae funt intervalla, " metopae nominantur : opas enim Graeci tignorum cubilia, et afTerum appellant, *' uti noftra cava, columbaria. Ita quod inter duas opas eft intertignium, id ** metopa eft apud eos nominatum." And in the front of a temple, with four a> Iumns, there were eight triglyphs, or opae, and feven metopae. The Painter then feems to have defigned by the eight ovals, to reprefent the ex* tremities of the beams, covered with little figures inftead of triglyphs ; and by the feven rams heads the intcrtignia, or metopae. Whofoever fhould undertake to give an account of the little figures, would certainly undertake a very difficult talk. PLATE [ *9 ] PLATE VII. CO f a A HIS pi&ure, every part of which is wonderfully beau- JL tiful, reprefents the firft labour [2] of Hercules [3] ; who, when he was juft born (as a certain author, with little probability however, pretends [4]), or whilft he was yet an in- fant [5], as he is here defcribed, ftrangled the two ferpents [6] [1] Catalogue, n. 119. [2I Philojlratus the younger, in Imag. v. which is called UpoiKXys & uvrupywoic, Hercules in /waddling cloaths, fays, koh yshtxg rfa tov xQkov, and Ovid. Met. ix. 67. " Cunarum labor eft angues fuperare mearum." It was then the firft labour of Hercules , but none of the twelve enjoined him by Eurijlheus. [3] Amphitryon, being engaged in the war againft the Teleboans, was abfent from Thebes, where his wife Alcmena remained. Jupiter alfumed his likenefs, and lay with her one night only ; but he lengthened the night in fuch a manner, that it was as long as two or three, or even nine nights, according to various traditions. Amphitryon returning foon after, was furprized at the coldnefs with which his wife received him ; and underftanding that it was becaufe fhe fuppofed this not to be his firft arrival, he confulted the diviner Tirejias about it, from whom he difcovered what Jupiter had done. Alcmena at her time brought forth two fons, Hercules begotten by Jupiter, and Iphiclus by Amphitryon : but Juno, out of hatred to her rival, threw two monftrous ferpents into the cradle of the infants : Iphiclus being much terrified, Hercules attacked and flew them. This is the account of Apollodo- rus, Biblioth. lib. ii. and. of the Greek and Latin poets who fpeak of the genera- tion, defcent, and recognition of Hercules. This amorous intrigue of Jupiter is the fubject of the firft comedy of Plautus, which we ihall examine more at large prefently. [4] Plant. Amph. ail. v. fc. x. [5] Apollodorus, in the phce quoted above, fays, that Hercules was already eight months old; and Theocritus; Id. xxiv. 1. calls him hx.uy:ycv y ten months of age; an opinion more probable and more confiftent with our pifture. [6] " Alterum altera apprehendit eos manu perniciter." Plant, acl. v. fc. 1. Thus too Apollodorus, Theocritus, Philojlratus, and others, reprcfent it : there is a gem which treats the fubjeft in the fame manner. fent \ 30 PLATE VII. fent by Juno [7] to kill him : Alcmena [8] appears in an atti- tude [9] that with great life expreffes all her terror. On one fide is painted jfupiter featcd on his throne [ » o] with a fcourge\\\\ in his right hand, as if in act to drive away the ferpents ; and with a fceptre [12] in his left. On the other fide Amphitryon holds in his arms [13] the terrified Tphlclus [14]. Were this picture to be compared with that of [7] This is the common ftory ; and accordingly Diodorus iv. 9. fays, Juno com- miffioned two dragons to kill the little Hercules ; but grafping one in each hand, he ftrangled them. On account of this action, the infant, who was atfirft: named Alcides, was called by the Argives (Hpa^A.-^, on li llpctv ej ko[jly], rag %&p&g sx.7riJoco-txo-tx. Pindar p. iv. 304. calls Alcmena sXiKo&^tpcapv* And Statins Theba'id. vi. 288. fays, that fhe bore, by way of ornament, three moons : ** Tergemina crinem circundata Luna :" perhaps in memory of the triple night which palled in the begetting of Hercules. In our painting, the whole head of Alcmena is fo much damaged, that the outlines are hardly diftinguilhable. [10] The throne here painted is the fame as on medals and bas-reliefs. fi'O The Dei Avcrrunci are thus reprefented, La ChauJJe, torn. i. feci. i. tab.%%. [12] It is not long, like a lance, and held upright, as in many ancient mo- numents ; but fliort, and as it appears in fome others. See Feith'ii Antiq. Homer, lib. ii. c. 4. § 4. The fceptre is fo peculiarly the enfign of Jupiter ; that when the gods, especially Jupiter, were invoked in the ratification of peace, the perfon who took the oath held in his hand a fceptre, as the fymbol of that deity. Servius on Aen. xii. 206. [13] Iphiclus, awakening his parents with his cries, was taken up in the arms of his father : a circumltance mentioned by Servius. [14] Alcmena had bound herfelf by an oath, to marry none except him, who Would revenge the death of her brothers, flain by the fons of Pterelas, king of the Zeuxis, PLATE VII. 31 Zeuxis, defcribed by Pliny [15], the great refemblance dis- cernible between them [16] might create a fufpicion, that our Painter had partly imitated fo excellent an original. The fmgular manner in which Amphitryon is habited with a tunic [1 7], a hood [1 8], and mantle [ 1 9], deferves particular Tcleboans. Amphitryon, to obtain the lady, undertook a war againft them, and re- duced them to fubje&ion. In the mean time Jupiter, afluming the figure of Am- phitryon,- lay "with Alcmena. It is indeed generally agreed, that Jupiter enjoyed Alcmena firft ; and as Apollodorus calls Hercules one night older than Iphiclus, fo Theocritus, Id. xxx. 2. ftiles Iphiclus a night younger than Hercules. P/autus alone pretends the contrary, exprelfing himfelf thus in the prologue of Amphitryon, v.. io2-and 103. " Is (Amphitryon) priufquam hinc abiit in exercitum " Gravidam Alcumenam uxorem fecit fuam.'-' And he repeats it again, aft. v. fc. 2. We have already remarked, that this poet differs from the common opinion, in fuppofmg Hercules, when juft born, to have ftrangled the ferpents. But as Plautus in that play diiiers widely from the received accounts in the ftory itfelf, fo he departs likewife from probability, and the feverity of dram-tic laws. For whereas the action of a fable ought not to be prolonged beyond two days •, he, on the other hand, makes Hercules, in three nights, to be begotten, born, and fo furprizingly grown, as to be able to ftrangle the ferpents; for all which matters more months are required. Befides all this, he confounds together the comic fock and the bufkin of tragedy, intitling his drama a tragi-comedy : meaning by that name to infinuate, that the characters are not ordinary perfons, fuch as ufually appear in comedy ; but the fupreme Jupiter, the divine Mercury, the prince Amphitryon, and the heroine Alcmena. it is true, that in this Plautus has perhaps imitated Rhyntcn the Taren- - tine poet, who invented the Hilar o-tragoedia, a name given by him to thofe plays (which afterwards obtained the name of Rhyntonicae), in which the facetioufnefs of comedy was applied to tragic fubjects. Now Athenaeus having mentioned a play of Rhynton's called Amphitryon, it is probable, that from this piece Plautus took his tragi-comedy. But we do not know whether Rhynton had jumbled together fo many improbable events. The authority however of thofe who attend to com- mon fenfe, ought ever to carry more weight than that of a man who gives a loofe to invention for the fake of ridicule. [15] Pliny xxxv. 9. " Magnificus eft Jupiter ejus in throno, adftantibus diis, " et Hercules infans dracones ftrangulans, Alcmena matre coram paventc, et Am- " phitryone." [16] The want of the other deities in our picture (which perhaps the compafs of the ffucco would not admit) is compen fated by fome other matters, which the Painter (for Pliny has not explained it) either met with in the picture of Zeuxis, or drew from fome other fource. [17] That fort of tunic which reaches down to the Wrift of both hands is called , Pollux vii. 58. Gellius vii, 12, atten- 32 PLATE VII. attention: his hat [20], his bujkins [21], and Alcmena's flippers [22], are worthy of confideration. The collar which the young Hercules wears, feems by its colour to be of filver [23]. The little plate [24] at the bottom of this, is part of a fi- nishing of fome ornamental piece, fuggefled by fancy ; and has no relation to Hercules. [18] Over the tunic appears the hood, which covers the fhoulders, long behind, and fhort before ; and this was the true form of the hood, of which, till now, no- thing was known but the name. Suidas in Ett^/x^. Pollux vii. 49. fays, however, that it was proper to women. [19] The mantle, or pallium , was the uppermoft garment, Nmius xiv. 16. and was properly a Grecian drefs. Suetonius Aug. c. 98. 5. Homer gives it to his heroes, Iliad, ii. 43. Od. iii. 467, &c. [20] Plautus introduces on the ftage both the real and the pretended Amphitryon, with a pet a/us, Pro!, v. 144. " Turn meo patri torulus inerit aureus " Sub petafo : id fignum Amphitryoni non erit." This kind of hat was worn by travellers, Plautus, Merc. v. 2. and Pfeud. ii. 4. That of Amphitryon, which we fee here, was for the fame ufe. [21] The Greeks for the moft part went bare- foot: upon a journey, they ufed to wear fhoes. Homer, in Hymn. Mercur. v. 83. Spanheim ad Callim. Hymn, in Apoll. v. 34. In thefe of Amphitryon's the fole appears to be very fubftantial, where- as it was ufually made of thin leather, of reeds or broom wove or plaited, or elfe of cork, Xenoph. Cyropaed. viii. p. 142. The aperture of that part which goes half way up the leg is laced together by fmall thongs of leather. [22] They feem to be of the fineft fkin, and refemble a good deal the flippers which are now worn by our women. [23] Such collars of gold or filver were common ornaments for children. See Scheffer de Torquibus. [24] Catalogue, n. 180.. PLATE Ti.vm. J'. S.Zami'C>m< uicidit. [ 33 3 PLATE VIII. W IN this pi&ure [2], the merit of which may fafely be fub- mitted to the judgment of connoifTeurs, who have always looked upon it with admiration, is reprefented the young Achilles, learning of the centaur Chiron to play upon the harp, or lyre [3]. The whole is worthy of being obferved with at- tention. In the centaur [4], befides his attitude [5], the fkin [1] Catalogue, n. 370. [2] Found with the next at Refina, in 1739. [3] For the full illuftration of this picture we might refer the reader to the Ho- mericus Achilles of Drelincourt, or to Fabretti in Tab. Iliad, p. 355, &c. or to the Article of Achilles in Bayle only. But the end for which thefe notes are intended, obliges us to make obfervations which to many may not appear new, and which every body may eafily find. We write them principally for thofe, who either cannot, or do not choofe to confult other books about thefe plates ; not omitting how- ever to refer to the authors themfelves, for the fake of thofe who may not be in- clined to take our word. [4] Saturn having an amorous intercourfe with Philyra, the daughter of Oceania , was furprifed by his wife Rhea. He immediately transformed himfelf into a horfe, and Philyra fled to mount Pelion ; where fhe brought forth Chiron, of a figure par- taking both of man and horfe. Apollon. Argon, ii. And fuch was the grief and fhame which Philyra fuffered on account of this monftrous birth, that fhe deter- mined not to furvive it, and obtained of Jupiter the favour of being transformed into a lime tree. Hyginus, fab. 138. Others tell the ltory, that Ixion being enamoured of Juno, had the affurance to make ufe of violence ; and that the goddefs, to avoid the encounter, fubftituted a cloud which reprefented her own figure: from this conjunction fprang Chiron, the firft of the race of the centaurs. See Nat. Com. iv. 12. and vii. 4. He was a very jult and wife man: the inventor of botany,' and very ikilful in chirurgery, whence he had his name : he was the inftruclor of Aefculapius in medicine, of Hercules in aftronomy, and of Achilles in muftc, of which he was a very great mafter. Hyginus A/Iron. Poet. ii. in Centaur. Apollod. Biblioth. iii. Philojlratus Heroic, ix. mentions other heroes being infhucled by Chiron. Suidas in Xnpuv fays, that he firft intro- duced the ufe of herbs into medicine, and wrote poetical precepts in the art for ; and having likewife invented medicines for horfes, he obtained the name Vol. I. F with 34 PLATE VIII. with which he is covered [6], the plant which forms his gar- land [7], and above all, the fleEirum^ which he holds in his right hand [8], offer themfelves to our confederation. In Achilles [9] the fandals indeed [10] feem a violation of of Centaur. Some are of opinion, that Chiron being wounded with an arrow by Hercules, and being unable to cure the hurt, died of it : Others tell us, that he ap- plied the herb called Centaury, and was healed. Plin. xxv. 6. [5] Thus Statins, Achil. i. 125. reprefents him : " imos fubmiffus in armos." £6] Chiron was the fir ft who exercifed himfelf in hunting ; and on that account the fkin of a wild beaft appears in character. Though this cloathing belonged 10 the Centaurs in general ; as the companions of Bacchus. Buonarroti in Cameo del Trionfo di Bacco, p. 438. [7] This is not very diftinguifhable : it is not however ivy with which the Cen- taurs are ufually crowned. Pliny defcribes feveral plants, which took their name from Chiron, xxv. 4. " Tertium panaces Chironion cognominatur ab inven- " tore : Folium ejus Lapatho fimile, majus tamen et hirfutius. — Ouartum genus " panaces ab eodem Chirone repertum, Centaurion cognominatur. Eft Chironis in- " ventum ampelos, quae vocatur Chironia." In the fame book, chap. vi. " Cen- " taurio curatus dicitur Chiron, quum Herculis excepti hofpitio pertra&ami arma,. " fagitta excidiffet in pedem ; quare aliqui Chironion vocant: folia funt lata, et " oblonga, ferrata ambitu." In xxiv. 14. he mentions, " pyxacanthon Chiro- " niam and in xxvi. 14. c< Herbam Chironiam." The painter perhaps had one of thefe in view. [8] Pignorius deServis, p. 80. makes mention of the moft uncommon forms of Pleclra. On two bas-reliefs in Montfaucon Ant. ExpL t. i. p. i. tab. 59 and 6c. there are fome which are like fmall tuiks. Ours here moft refembles that which we meet with in Buonarroti's OJfervationi fopra i Medaglioni, p. 368. [9] Thetis, the daughter of Chiron, according to the poet Epicharmus ; or of Nereus, according to the common tradition, being the moft beautiful of women, was eagerly defired by Jupiter, by Neptune, and Apollo : but becaufe Prometheus had foretold her, that her fon fhould be more valiant and renowned than his father, no god would hold commerce with her ; and Jupiter decreed her to be the wife of a mortal. She was given in marriage to Peleus, the fon of Aeacus and Ende'is. Apollodorm Bib. iii. Hygin. Fab. 54. From Peleus and Thetis fprang Achilles • and his mother being defirous to render him invulnerable, dipped him in the Stygian lake, holding him by one heel, in which part, becaufe untouched by the water, he remained liable to be wounded. Fulgent. Mythol. iii. 7. Servius ad Aeneid. vi. 57. Many reafons have been affigned to account for the name of Achilles ; fome ima- gining him to be fo called quafi j "MapTvug, xat 0X^7^^ map f ' avTov , &rcii&<&> sgiv oc^aix xxi osvKhv ^i^cxa-xo^iva in Tbeog. v. 140, &c. fings thus of them. Terra to Coelus tbe proud Cyclopes bore, . Brontes and Steropes, and Arge brave : Wbo forge tbe tbunder for tbe arm of Jove. In nought they differ from the other gods Save that in front one circular eye-ball glares. And hence the name of Cyclopes Apollodorus agrees with Hejiod, Bibl. i. 2. and hence the poets feigned, that the Cyclopes inhabited the ifland Vulcania near Aetna, together with Vulcan, with whom they were employed in forging the arms of the gods and heroes, Virgil, Acneid. viii. 416, &c. where we may obferve, he mentions Pyracmon in the place of Arge ; u Brontefque, Steropefque, et nudus membra Pyrac?non. ty Vol. I. G the 42 PLATE X. the molt famous ; his amours with Galatea [5] are notorious ; They feigned alfo that Jupiter having killed Aefculapius with his thunder, and Apollo not being able to take revenge upon him for the death of his fon, flew the Cyclopes who had forged Jupiter's thunder, Hyg. Fab. 49. and AJiron. Poet. ii. in Sagftta. [4] Polyphemus was the fon of Neptune, and of the nymph Thoofa, according to Homer, Qdyff. i. or of Europa the daughter of Tityus, as Apollonius writes, Argon, i. Others fay, that Polyphemus was the fon of Elatus and Stilbe, or Amymone ; and that he married Laionome the daughter of Alcmena and Amphitryon, and the fifter of Hercules. See Natal. Com. Mythol. ix. 8. Butfince Hyginus, Fab. 14. reckons among the Argonauts, Polyphemus (the fon of Elatus and Hippea, born at Larifla in Thef- faly) ; Latonome feems to have been his wife, and he to have been a different perfon from the Cyclops. Polyphemus was the mod: renowned of the Cyclopes, but not their father, as Nat. Cam. chap. viii. inconfiderately affirms ; attributing to Poly- phemus the 3 6th verfe of Euripides' s Cyclops ; Now my Jons I fee P aft' ring their Jlocks. — The poet puts thefe words into the mouth of Silenus ; and they relate to the Satyrs, of whom Silenus himfelf, in v. 27 and 28, had faid : The tender lambs of barb'rous Polypheme My youthful fons along thefe mountains feed. Euripides, in this tragedy, draws the character of the Cyclops with great fpirit ; and when Ulyjfes puts him in mind of his duties towards man, and the refpeft due to the gods, he anfwers thus: v. 315, &c. " Riches, UlyfTes, are the wife man's god : " All elfe is empty found and vanity. " And wherefore quit my rocks and native fhores? " Jove's bolts 1 dread not, firanger ; nor acknowledge " His fov'reign power. When rain in torrents falls, " My dry warm cave a fafe retreat affords; " Where largely fed with dainties from my flock, ■ 14 Or from the chafe ; and quaffing in full flreams " The tepid milk; Jove's thunders I defy. 11 When Thracian Boreas brings his fleecy fhowers, " My body fafe in furs enwrapp'd, the hearth *} Glows with the chearful fire, and Idifdain " The pinching cold without. The teeming earth, " Wills he or not, feeds of her own accord " My herds, from whence there fmokes no hecatomb, " Save to my belly, greateft of the gods." But this arrogant impiety was foon punifhed : for Ulyjfes having intoxicated the Cyclops, put out his eye with a fire-brand. This adventure of Polyphemus, de- fcribed by Homer, and after him by others, is reprefented by Euripides, in the fame tragedy. [53 Neither Homer nor Euripides fpeak of the amours of Polyphemus with Galatea. The Scholia 'ft of Theocritus , upon Idyll, vi. 7. relates, that Polyphemus in gratitude and PLATE X. 43 and his fkill in mufic is frill more fo [6]. But here the painter has treated the fubjedl: in a manner widely different from the common ftory : our Cyclops being reprefented without defor- mity of fhape [7], with three eyes in the forehead [8], with a for the goodnefs of his paflurage and the abundance of milk lyoiXayji^) having built a temple near Aetna, under the name of Galatea : Pbiloxenus, who was unacquainted with that circumjlance ', to ajfign fome reafon for this edifice invented the Jlory of Poly- phemus'* amour with Galatea. The poets have caught this fable, and embellifhed it in their own way. They tell us, that Galatea, the daughter of Nereus and Doris, loved and was beloved by Acts, who, through jealoufy, having been {lain by the Cyclops, formed with his blood the river Acts in Sicily. Ovid. Metam. xiii. with his ufual fire, and all the vivacity of his imagination, defcribes at large the amorous fury of Polyphemus, and the revenge which he took upon his rival for the nymph's difdain. [6] Theocritus Idyll, vi. 9. fays, that Polyphemus played fweetly ; and Propertius, iii. El. ii. 5. " Quin etiam, Polypheme, fera Galatea fub Aetna " Ad tua rorantes carmina flexit equos." And if Ulyjjes in Euripides, Cycl. 424, and Doris in Lucian in Dor. & Gal. fpeak with contempt of his finging and playing ; we may juftly fay, that the former through hatred, and the latter through envy, paffed this judgement upon him. All agree in describing Polyphemus as hideous, deformed, and monftrous. In Theocritus Idyll, xi. 31, &c. he himfelf makes a very unpleafing porrrairof his own figure ; and very fenfible of his want of merit in the article of beauty, he fays to Galatea ; Ugly as I am, I have however a thoufand cattle to offer you. Virgil. Aen. iii. 658, paints him in three words ; " Monftrum horrendum, informe, ingens. And to give an idea of his ftature he fubjoins ; " Trunca manum pinus regit, et veftigia firmat." But, to juftify the Painter,, it is fufficient to relate what Hefiod tells us: namely, that the Cyclopes, except their having but one eye, were in every other refpeel like the reft of the gods. And the Painter probably having a mind (as we lhall fee by and by) to exprefs, that Galatea was enamoured of Polyphemus, it be- hoved him not to reprefent him as a monfter, but under the proper figure of a man. Indeed Lucian, in the above cited Dialogue of Doris and Galatea, makes the latter fpeak of her Cyclops to the following purpofe : Rough and ruftic as you think him, he is not deftitute of beauty. As to his ftature, which is high, but not enor- mous ; befides the reafon already given for the diminution, it is manifeft that the Painter had an eye to the very great difproportion which would have appeared in the picture, if either like an oak or a cyprefs (to which Virgil compares the Cyclopes, Aen. iii. 679.), he had reprefented Polyphemus over againll a dolphin, and a little genius. We fee the fame allowance made ufe of by other artifts in reprefenting the Cyclopes. In a bas-relief in Admir. Rom. Antiq. Tab. 66. they are of a ftature very little differing from that of Vulcan, who is among them. G 2 lyre 44 PLATE X. lyre [9] in his hand, and in the act of receiving a billet doux[ic] from a genius [1 1 ] upon a dolphin [12], probably [8] All the mythologies and poets agree in allowing to the Cyclopes each but one eye, and particularly to Polyphemus, whofe adventure with Ulyjfes, which we men- tioned above, turns wholly on this circumflance. Why then has our Painter given him three eyes ? Becaufe he had read forae books, which are no longer extant.. Servius on v. 36 of the third book of the Aeneid, has preferved us this remark : " Multi Polyphemum dicunt unum habuilTe oculum : alii duos : alii tres." This fingle inftance might ferve to difabufe any one who is inclined to place the leaft de- pendance upon negative arguments. And we may learn from it, that the mofl diftant information may have fuggefted to our painters the fubjefts of their works;, we ought not to be cenfured therefore for fetting before our readers the mofl far- fetched learning in our accounts of fome pieces. Paufanias ii. 24. relates, that the image of Jupiter Hercaeus, called alfo Patrius, in the palace of Priam, had three eyes, two placed as thofe of men are, and the third in the forehead : and he ailigns this reafon for it, becaufe it was believed that Jupiter reigned in heaven, in the earth, and in the fea : and it might properly have been exprefled, that there was only one deity who reigned over, all, reprefented under three different names. Without the important information of Servius, who would not have determined, on the clear authority of Paufariias, that our Cyclops was a Jupiter \ And then the whole difficulty would have been in adapting to him the circumftances of the lyre, the genius, the dolphin, and the trunk of a tree, which we find in the painting. Nor ought it then to have been faid, that we had failed in our duty: conjectures, though they reach not the truth,, do not ceafe to be plaufible,- fo long as they have an air of probability. [9] Agreeable to this, is the fentiment of the poets,, who put into Polyphemus's hand a pipe, properly the inflrument of fhepherds, a character which he afTumes. The only reafon we know of that authorizes giving him a lyre is, that Lucian, in the frequently mentioned dialogue of Doris and Galatea, makes Doris exprefs her- felf in this manner : And what then is his lyre ? The /cull of a hind cleared of fiejh : the horns are its handles : he has fixed a piece of wood acrofs, and tied the firings to it, which are not fo much as dijiended by a peg. This defcription appears to fuit very well the rude lyre of our Polyphemus, as it is reprefented here; and we may obferve, that it has five firings. On a bas-relief of the Villa Mattel, there is one with the fame number of firings. La Chauffe, Muf. Rom. torn. ii. fee. iv. /. iv. Others too are found onfeveral gems of Augujlin. p. ii- /. 2, 3, 5- [10] The form of this letter, which the genius prefents to our Cyclops, in two openings or folds, determines it to be one of the diptycha, on which letters and billets were ufed to be written : and hence billet doux obtained the name of diptycha amatoria. The Scholiajl of Juvenal, on verfe 36, fat. ix. " Et blandae, affiduae, denfaeque tabellae « Sollicitent."— writes : c< blandis te epiflolis, et diptychis follicitet." The Romans with equal propriety called them duplices, Ovid. Amor. i. EL xii. 27. " Ergo ego vos rebus duplices pro nomine fenfi." dilpatched PLATE X, 4S difpatched from Galatea [13]. Of the three little paintings [14] which are put at the [11] It is very common to fee Genii, or little Cupids, reprefented, miniftring to the principal fubject of the piece. [12] The Genius is here very properly painted on a dolphin ; for being confidered as the fervant and meffenger of Galatea, a nymph of the fea, the dolphin is cha- racleriftic enough. Philojlratus, lib. ii. bnag. xviii. defcribes Galatea on a car drawn by four dolphins: and the Scholiajl of Theocritus, on Idyll, xi. writes thus: Philoxenus introduces the Cyclops talking te himfelf about his love for Galatea, and com- manding the dolphins to tell him, how the mufes could cure his pajjion. Hence it might be faid with equal probability either that Galatea charges the Genius upon the dol- phin with the billet to Polyphemus ; or that Polyphemus, having firft fent the little Cupid with his letter to the nymph, now received an anfwer to it by him again. [13] Theocritus and Ovid, who have celebrated Polyphemus' s paffion for Galatea, tell us of thedifdain and horror which Ihe always expreffed for him. Ovid, Metam. xiii.. 756, &c. makes Galatea fpeak as follows : " Nec, fi quaefieris odium Cyclopis, amorne " Acidis in nobis fuerit praefentior, edam." TJieocritus, Idyll, xi. introduces the Cyclops fitting on a rock by the fea- fide (jufl as we fee him here) venting his grief for the cruelty of Galatea, by finging : indeed Theocritus feems to have fuggefted the Subject to our painter. In Idyll, vi. he introduces Daphnis fpeaking to Damoetas, under whom he means to reprefent Polyphemus. Daphnis informs him that the wanton Galatea threw apples at his flock and his bitch, that the latter by her barking might advertife him where flie was. Damoetas anfwers, that he knew this very well, but that he diffembled his knowledge ; and although his paffion was reciprocal, he appeared to take no notice of her, in order to draw from her greater proofs of affection. The following are his words : " AAAee xai ccvt(&> syw x,vi] I ^ H E more accurately we examine this piece [2], which is JL fufficiently curious, the lefs we feem to underftand it. At firft: light it will perhaps appear eafy enough to explain it, from a correfpondence between fome parts, of it and many events fa- bulous and hiftorical, which readily recur to any one's me- mory upon obferving it. But in applying all its parts to thofe tranfactions which hiftory or fable may furnifh, we fhall find how difficult it is to underftand the defign of the painter. Now among the many and different conjectures, which might with equal uncertainty be propofed, that, which in our opinion has the feweft inconveniences to encounter, is the difcovery of Orefles [3], as that event is reprefented to us by Euripides in fj] Catalogue, n. 369. [2] Found at Refma, in the year 1740. [3I "Whilft the famous Agamemnon the fon of Atreus was detained at the liege of Troy, his wife Clytaemnejlra admitted to her confidence Aegijihus the fon of Thyefc tes. Agamemnon returning victorious, brought with him Cajfandra the daughter of Priam. Clytaemnejlra, either through jealoufy of Cajjandra, or affection for the adulterer, confpired with him to kill her hufband ; and attempted alfo to murder the little Orefies, whom me had by Agamemnon. But the vigilance of Elec» tra preferved her brother from the fury of her mother. Oreftes being grown up, went fecretly into Argos, with Pylades the fon of Strophius, his great friend ; and by his, and his lifter Eleclra's alTiftance, he killed his mother and Aegijihus, at the command of Apollo. From that moment Orejles was continually tormented by the furies : and although he had been abfolved in Athens, and expiated in Troezene, yet they would not leave him. But being informed by the oracle of Apollo, that he fhould be free, when he had carried off the image of Diana, which was adored in Tauris j he went with Pylades into that barbarous country ; where, on the 48 PLATE XL his Iphigenia\j£\ in 'Tauris. If what the poet has imagined in his tragedy [5] be compared with every circumftance ex- * prefTed by our Painter, fome account may, without great diffi- culty, be given of each part of the picture. In the youth [6], point of being facrificed to Diana, he was difcovered by his fifter Iphigenia ; and having together with her ftolen the ftatue, he returned to Mycaene, delivered from the furies. The adventures of Orejles have been a fubject for all the tragedians. Aefchylus in Eumen. and Choephori ; Sophocles in Eleclra ; Euripides in Orejles, in Eleclra, and Iphigenia in Tauris. See Hyginus, fab. 117, 123, and 261. £4] When the Grecian fleet, deftined for the fiege of Troy, fhould have de- parted from Aulis, it was detained for want of a wind : the foothfayer Chalcas in- formed them that it happened becaufe Diana was incenfed againft Agamemnon, for having killed one of her hinds; and that, to appeafe the goddefs, he mull facrifice his daughter Iphigenia ; who accordingly, under pretence of his defigning to marry her to Achilles, was conduced to Aulis. But Iphigenia, on the point of being offered, was matched by Diana from the facrifice, and conveyed to Tauris, where fhe was made her prieftefs. Euripides in Iphigenia in Aulis, Hyginus, fab. 98. [5] The acVion of Euripides' s tragedy commences from the arrival of Orejles and Pylades at Tauris. As foon as they arrived there, they were discovered by fome fhepherds, were apprehended, and fent by king Thoas to the temple of Diana, to be facrificed, according to the barbarous cuftom of the country, where all foreigners Were doomed to be victims of that goddefs. Iphigenia, to whom as prieftefs the two youths were prefented, not knowing her brother, and unknown by him, Orejles be- ing but an infant at the time fhe was conducted to Aulis, and from thence to Tauris, demanded of her brother of what country he was ; and finding he was of Argos, me promifed him his life, on condition of his carrying her a letter to that city. Here arofe a generous contention between the friends, to determine which of them Mould remain for the facrifice, and which depart. In the mean time iphigenia comes with the letter, and at the requeft of Orejles gives it to Pylades ; and being in fear left it fhould be loft, fhe tells him its contents. Pylades being furprifed, turns to Orejles, and addrefles him as follows : Behold I fulfil what I have promifed her : I de- liver you the letter which your Jijler Iphigenia fends you. This difcovery being made, they embrace each other: and afterwards contrive means how to fteal the image, and to fly. And becaufe the women of the chorus, and minifters of the temple were prefent at the whole of this tranfaction, they are entreated by Iphigenia to keep the fecret. In the mean time comes Thoas, whom iphigenia informs, that one of the two young men had (lain his own mother, and that it was neceflary to wafti the ftatue and the victims in the fea, to purify them. By means of this device, fhe conveys on board the jlatue, together with Orejles and Pylades. Thoas being ac- quainted with it, would have purfued them, but was prevented by Minerva ; who explained to him, that fuch was the will of the gods. If the picture be compared with this account, the correfpondence between them will appear. [6] Among the many conjectures which have been propofed, three, befides the difcovery of Orejles, have been examined with great attention. We will mention who PLATE XI. 49 who fits in a penfive and melancholy port u re, we fhall recog- them, together with the difficulties which attend them. The fall of thefe is, that it might be Admetus, for 'whom Apolh obtained life of the Fates, on condition that another Ihould die for him ; and his wife Alcejies, who offered to die in his (lead : whilft his aged father and mother, and perhaps his lifter, all refufe; Euripides in Alceft. Palaephatus de Incrcd. c. 27. The fecond, that it is Eteccles, who continued firm in his refolution of not yielding the kingdom of Thebes to his brother Polynices, who recalls to his memory, before the ftatue of Apollo, the agreement of reigning by turns ; whilft their mother Jocafia, their lifters Antigone and Ifmene, with their uncle Creon, endeavour in vain to reconcile them. Sophocles in Oedipus Cchneus. Aefchylus, in his Sept em contra 'The has. Euripides, in his PhoeniJJ'ae. Hy gin us, fab. 69. But in thefe conjectures, belides the other difficulties which occur, wemuft confider, that no plaufible reafon can be affigned for the letter. The third conjeclure is, that it may be the palling fentence on Orejies, in the Areopagus : And they who fup- pofed, that in this thought they had happily difcovered the defign of the Painter, led by Aefchylus in Ewv.enid. have maintained, that the penfive and melancholy youth might be Orejies, to whom the young man oppofite recites the fentence pronounced by the Areopagites, of whom one is an old man; whilft Minerva, on the equality of fuffrages, expreffed by the motion of the finger, abfolves him. To which deci- fion two of the furies fubmitting, lay afide their black habits, and appear with ami- able countenances, and in white dreffes : the eldeft of them only remaining firm in her ill-difpofition towards Oreltes. The objections wluch have been made to this explanation are, firft, that the imagination of the Painter muft have been very whiinlical and depraved, who, meaning to reprefent Minerva, has painted Diana, purpofely to deceive the fpeclators. In the fecond place, the furies have uni- verfally been defcribed habited in black, of a horrible and deformed afpedl, and armed with ferpents. Aefchylus gives this defcription of them, in his Cboe- phori, v. 1043. " A^coai yvva.iv.-s, oa^s Togfovuv oiKtp " TlvKvoig $f,(xx.xo-iv." And in the Eumenides, after having, ^.48, called them Gorgons, in v. 414. he fays, that they had not a human form. " Out' & BsociTt cvp<&> Sioov opctil£&VCllc 9 " Ovt h'j (Sccfaptg suiQsfiHs uotpupmri*'' Now if none of thefe circumftances appear in cur old woman, how can it be faid that Ihe is the unrelenting fury of Orejies f It will avail little to fay, that Paufanias, i. 28. tells us, the antique ftatues of the furies have nothing of the horrible in them, Aefchylus having been the firft who reprefented them with ferpents. For the painter being certainly defirous that every one who faw his picture, Ihould perceive that the old woman was a fury, and one who ought to be well diftinguiflied from her appeafed companions, by her rage and obftinacy in purfuing Orejies, could not but have added the ferpents, the torches, the whips, or any other circumftances, whence flic might be known. And it would certainly have been very improper to re- prefent her with pendents at her ears, as our good old woman appears in the Vol. I. H nize 5© P L A T E XI. nize Orejles in his proper charadter [7]. The lady who em- piece before us. But we mud undoubtedly fuppofe the painter to have been out of his fenfes, if, in order to reprefent an appeafed fury, he (hould have painted her weeping, and embracing Orejles^ as we fee here. Befides, he mud have been extremely ignorant of the Grecian cuftoms, and not at all have un~ derftood the poets who defcribe this adventure of Oreftes, in what light foever we confider the youth fitting with the letter in his hand. For he rauft either be taken for the trier of the court (and who is ignorant that in this character he ought to Hand and not to fit), or he muft be one of the judges of Areopagus ; and then he could not be young, certainly not very young, as he is reprefented hete ; but of an age fome thing advanced, not to fay old, as all the Areopa- gites were; Arijloph. Vefpae 195. Or thirdly, he muft be confidered as the accufer ; and (not to mention that the old Tyndarus ought to have fupported that part) how ftepped he in to recite the fentence to the criminal? And then what Sentence was it that Orejles muft receive in writing ? Aefchylus, in Ewnenid. v. 742. introduces Minerva herfelf pronouncing his acquittal on the equality of fuffrages. And laftly, if it be infilled that the two feats be thofe of calumny where the accufer, and of impudence (or innocence) where the accufed fat, the painter muft needs be looked upon as an ignoramus ; becaufe he ought to have made them of flone, as Paufanias affirms them to have been ; or, if he meant to make ftools of metal, they mould have been of the colour of fiver, according to the fame author, not of gold like thofe here painted. Moreover, if he intended to place Orejles on one of the two feats, he ought to have fet the accufingfury in the other. Elfe the painter mufl have contradicted what he is fuppofed to reprefent : fince Aefchylus, in Eumenid. 591, &c. introduces the old Erinnys fupporting the place and part of an ac"tor. And Euripides, in Iphigenia in Tauris, makes Orejles fpeak as follows : v. 961, &c. When to the folemn court 1 came On Man's hill ; I took th' accujlom'd feat ; Another, Jhe the eldefl of the furies. [7] Horace, in Art. Poet. v. 124. defcribing the characters of perfons introduced on the ftage, fays, that Oreftes ought to be reprefented mourning. Thus alfo Ovid. Tnft. 1. El eg. iv. 21. " Ut foret exemplum veri Phocaeus amoris " Fecerunt furiae, rriftis Orelta, tuae." And his appearing here covered with drapery is characleriftic, and anfwers to the defcription given by Euripides, who reprefents him as cloathed in this manner, on account of his continual infirmities, Iphig. in Taur. v. 312. and in Oreftes, v. 42 and 43. — Perhaps he fits in the act of praying, or making vows to the gods ; it being fufficiently notorious, that the ancients ufed to fit in their facred ceremonies. Tibull. ii. El. vi. 33. " Ulius ad tumulum fugiain, fupplexque fedebo." Propert. ii. El. xxi. 45. Macrob. Sat. i. 10. Plat, in Numa, and others. And it is equally well known, that their feats were covered with the fkins of wild beafts. Homer, Od. xvii. 32. Virgil, Aen. viit. 177. braces PLATE XI. 5 i braces him weeping [3], exprefTes in a lively manner his filler Iphigenia in the acl: of acknowledging him. In the other youth who fits [9] oppofite to him, and with a tablet half open [10] in his hand, appears whilft reading it to point to Oreftes, will be reprefented Pylades, who difcovers to Iphigenia her brother, to whom he was to deliver her letter [11]. [8] Euripides, in Iphigenia in Tauris, makes Oreftes, v. 795, &c. fpeak as follows And do I prefs my ffter to my arms ? Or is it all a dream ? and verfe 833, &c. T ?ars that united flow From fources diftant far of grief and joy. Bedew our cheeks. And Iphigenia herfelf, v. S2J and 828, fpeaks thus : Deareft of brothers, name for ever dear : Far from thy native land, I hold thee here In ftricl embrace. Ovid, Trift. iv. EL 4. " Cum vice iermonis Fratrem cognovit, et illi " Pro nece complexus Iphigenia dedit." The manner in which fhe is habited is very proper, and agreeable to the virgin and the prieftefs, [9] For the fame reafon that the Painter has reprefented Oreftes fitting, he ha? put Pylades into the fame pofture. And we may add, that as a victim defined to the facrifice, he is placed on the Sacra Menfa, which is what he fits upon ; and in the next plate it will be clearly feen, that the menfa on which the ftatue of Diana is placed, in every refpect refembles this. See Montfaucon, Ant. Exp/. Tom. iii. PI. lxxviii. n. 12. The air of Pylades is beautiful, and very expreffive. He is painted naked, to afford more fcope for the Painter's genius, perhaps alfo becaufe he is on the point of being facrificed. See the facrifice of Iphigenia, in Montfaucon, Tom. iii. Ch. xvi. PL lxxxiv. [10] Pylades, in Euripides Iphigenia in Tauris, having received the letter which Iphigenia had written to her brother, turning to Oreftes, addreffes him as follows : v. 791, &c. Behold thefe letters from thy ffter's hand To thee, Oreftes, I deliver. — And the Painter hath expreffed this with a good deal of vivacity. [11] It has been made an objection, that a letter half open, like this before us, correfponds not with the expreffion of Oreftes, who receiving the letter of Pylades (in Eurip. v. 793), makes this anfwer : H 2 By 52 P L A T E XL By the other young female figure y might either be meant the fame Iphigcnia [12], recommending herfelf to the Chorus, re- Thanks, Pyknics : but now 'Tis not the proper feafon to unfold it : ASlions, not words, mujl fill my foul with pkafure. But it has been anfwered, that perhaps the Painter chofe rather to reprefent the letter thus open, that he might inferibe on it the names of Iphigcnia and Oreftes; and that if time had preferved fome traits of the pencil, of which now fcarcely any traces are to be difcovered, they might have given greater force to our conjec- ture. Bedded, it is neceffary to allow room for the Painter's imagination, who, being obliged to ufe mute expreflion to explain himfelf, cannot always confine himfelf to faft. We will not here fupprefs what has been obferved on the form of the letter, which appears to be rolled up, not folded in corners. Euripides introduces Iphigcnia coming out with the letter in her hand to deliver it to Pylades, and exprefting her- felf thus : v. 727. " Es;vig TxrotaHS'iv" Which words are thus tranflated by Barnes : " Literarum quidem haec loquacia volumina " Hofpitibus adfunt." Indeed Stephens, on the authority of Eujluthius, in Dionyf p. 42. writes: " " Pugillares, qui forma litcrae A plieabantur, feu Tabeliae : fed poftea htoH^* " dictus fuit quivis liber quacunque forma diet." Cafaubon, in note 20, upon chap. 31. of Aeneas' s Taffies, fays: " Yetuftiflimum eft inventum, tenues e plumbo " albo, vel etiam quovis alio, laminas procudere in ufum fcriptionis : quas poftea in " formam cvlindri volvebant, ut alia librorum volumina. — - — Auclor eft Dio lib. xlvi. " Decimum Brutum Mutinac obfeffum de adventante fubfidio faclum effe certiorem " per literas in charta plumbea exaratas, et ad librorum inftar convolutas." The cuftom of fending letters wrapped up in a cylindrical form, and inclofed within a votp9v^, or ferula, or other thing of the like kind, is alio well known. From all which we may perceive how well the cylindrical form of the meet here painted agrees with the letter written by Iphigcnia. [12] In bas-reliefs is is a common thing to fee the fame perfon reprefented feveral times indifferent actions. In Philoflratus's account of flatues, and in the paintings of Greece defer ibed by Paufanias, we may make the fame oblervation. We fnuft not here pafs by a conjecture which has been propofed, namely, that this figure may poffibly be intended for Eleclra, the filler of Jpl igenia. Orefles being inter- rogated by Iphigcnia, when (he wanted to aifure herfelf whether he was really her brother, anfwers, in Euripides, v. 811. Ell tell thee all: but bear this Jir ft y Eleclra. The commentators mention various reafons for the poets naming Eleclra in this place, when fpeaking to Iphigcnia. See Acmilius Portus and Barnes on this verfe. Our painter, without entering into the criticifm, took occafion perhaps from this ambiguity to reprefent the two lifters Iphigcnia and Eleclra* prefented PLATE XL 53 prefented by the old woman [13], who promifes the required filence [14], or it might be faid that the Chorus comprehends both [15]. In the old man who is feized with aftonifhmenr, king Thoas [16] will be prefented to our view. And laftly, the deity habited in the chlamys [17], with the quiver at her fide [18], who feems to be placed in a nich of a temple [19], will [13] Her habit, and her whole attire are in the character of a fervant ; and the chorus of that tragedy is compofed of the fervants of Ipbigenia : among thefe the poet makes Ipbigenia diftinguifti one above the reft ; for fhe recommending it to the chorus to keep her fecret, after having faid, v. 1056, &c. Dearejl companions , 'tis to you I fly, Be fecret, and ajjiji our flight : fubjoins the following words, addreffing herfelf only to one of them. If I efcape, Vou too Jhall be partaker of my fortune, And Greece Jhall an afylum yield to both. [143 The putting of the finger to the mouth, expreffes very well the promife of filence which the Chorus makes to Ipbigenia, v. 1075, &c. Be careful for your fafety ; as for us, Our lips Jliall keep inviolable filence. Witnejs, great Jove.' r 1 5 J It is with propriety that the Chorus is reprefented by a young woman and an old one. In the next plate we fliall fee, that two women reprefent the minifters of the temple, who prepare for the prieftefs the things neceffary for the facrifice. And therefore the habit of a young woman being worn by thofe who prepared the fa- crifices, could not be improper for the Chorus. [16] Either whilft Iphigenia is telling him the pretended prodigy of the Hatne of Diana turning back upon feeing the two victims, v. 1150, &c. or at the time when he was (topped by Minerva, v. 14.75, he. [17] It is notorious that the ancients cloathed the ftatues of the gods; and the green Chlamys feems proper to be worn by the deity of the woods. [18] The quiver and the bozv are the proper enfigns of Apollo and Diana, by which they are diftinguilhed from the reft of the gods. [19] It is clear that the deity is placed in the back ground of the picture, which reprelents the interior part of the temple ; and that the other figures are in the fore-ground of the piece ; exactly as the poet hath formed the action and the fcene, which it was not poflible for the Painter to have expreffed in any other manner. Paufanias, v. 12. remarks, that in the temple of Diana at Ephcfus, the veil did not fall down to the ground, but was drawn up, as it appears here. [20] The appearance of the deity above the other figures, (hows it to be a ftatne on its pedeital. Indeed Ovid, fpeaking of this very Jlatue, fays, (de Fo/ito, iii. Ep. ii.) " Qijoque minus dubites, ftat bafis orba deu." be 54 PLATE XL be the ftatue [20] of Diana, which was to be carried off [21]. And if the colouring, which appears to be that of flefli rather than of ftone, ftiould raife any doubt, we may anfwer : that the poet having an eye to the words of Pau- fanias, i. 23. (who calls this Jlatue " ap%aiov fyuvov"') and to the image being taken and carried on board by Iphigenia alone {Euripides, Ipbig. in Taur. v. 1157, &c.)» mod probably defigned to reprefent it of wood, painted from nature, thus alluding at the fame time to its antiquity ; fince it is well known that the moll ancient images were of wood (Paufanias, viii. 16. Pliny, xxxiv. 7.), and ufed to be painted (Plu- tarch in Rom.) like our modern wooden, or pafte-board ftatues. In Paufanias, iii. 16. we read of aprieftefs of the Leucippides, who made for one of the two ftatues a new face inftead of the old one. [21] Of the various traditions related by Paufanias, Servius, and Hyginus, about the ftatue of Diana Taurica, mention flaall be made in the obfervations upon the following plate. PLATE [ 55 ] PLATE XII. W IF the picture preceding be a reprefentation of Oreftes dif- covered by his fifter, the piece now before us will be a continuation of it [2], and the explanation of one will con- duce to the illuftration of the other. Euripides, who in his Iphigenia in Tauris [3] has furnifhed us with the fubjecl: of [1] Catalogue, n. 253. [2] Although not found in the fame place, nor at the fame time. [3] Strabo, xii. pag. 537, fays there were fome who related, that the fcene of thefe adventures ©f Orejles and Iphigenia was the city of Cajlabala, fituated on the fkirts of Mount Taurus in Cappadocia : but this is nothing but a blunder, in taking the Mount Taurus for the city of Tauris. Between the Pontus Euxinus and the Pa/us Maeotis there is a peninfula, called by the Grecians Cherfonefus Tauricus, be- caufe it was inhabited by a people of Scythia called Tauri; who having the barba- rous cuftom of facrificing to the goddefs Diana all the Grangers who by ill fortune landed there, got that place the odious name of or a%Hv(&>, inhofpitable, Ovid, Trijl. iv. El. iv. v. 55, &c. Strabo, vii. p. 300. Diodorus, iv. 40. Mela, i. 19. Solinus, ch, xxiii. and the author of the Etymologicon on the word Ev£etv<&>. The inftitution of thefe barbarous facrifices are by Diodorus, lib. ii. 46, attributed to the fecond queen of the Amazons. But in lib. iv. 44, he contradicts himielf in afcribing the building of the temple to the introduction of the facrifices to Hecate, the daughter of Perfes, the wife of Oeetes her uncle, and mother of the famous Circe and Medea. The people of Tauris, however, were not the firft, nor the only perfons who Ai- crificed human victims to the gods. This horrid cuftom, fo difgraceful to human nature, was in ufe both in the eaft and the weft. The Phoenicians, with all their vaft colonies of Tynans, Carthaginians, and others ; thofe of Chios, of Tenedos, of Lefbos ; the Spartans, the Laodicaeans, the MelTenians, the Peliaeans, and al- raoft all the inhabitants of Greece : the Aborigines, and fometimes even the Ro- mans, pra&ifed fuch facrifices: and there are people of America who retain them to this day. Eufebius, wpew. evaly. iv. 16. See Kippingius, Ant. Rom. i. 6. §11. Such was the influence of a falfe religion on the lpirit of nations, that the name alone of an imaginary god, or a fimple hero, was fufficient caufe to induce the molt the 56 P L A T E XII. the fir ft, will fnpply us with the neceflary lights for difcover- ing clearly the Painter's intention in the fecond [4]. Behold then Orejies and Pylades conducted to the fea by king Thoas's guards [5], to be purified, with their hands tied behind them [6], their temples bound with fillets [7], and crowned with wreaths [8], as victims deftined for the facrifice. Behold the polifhed and humane people to an aft of cruelty againft their own fpecies, of which the molt favage brutes are incapable. [4] What formed the plot of the tragedy, and all that is here reprefented, we have already remarked in a note on the preceding plate. In this piece the Painter leems to have intended to exprefs that part of the action in which the post feigns, that Iphigenia, to fave Orejies and Pylades, made Tboas believe, that the goddefs, on the two victims being preferred to her, turned herfelf backward, and (hut her eyes, that {he might not fee the young man contaminated by parricide : and that to purify the ftatue and the victims, it was neceflary to carry them to the fea and bathe them ; and that the office mud be performed in a folitary place, not liable to the interrup- tion of any one. Thoas, giving credit to the prieftefs, iffued orders agreeable to every thing (he defired. In explaining fucceffively each part of the picture, we lhall make it appear, how well the painter and the poet agree. [5] The firlt order of Iphigenia was, that the two youths fhould be bound, and conducted in this manner under a guard. Iphigenia in Tauris, v. 1204, l20 7> an d 1329. This figure appears to be martial by the habit, and though it is not armed, yet this is confident with what Euripides fays, v. 1367, &c. They were unarnid as well as we. [6] Exactly thus Euripides reprefents them, v. 456 and 1333. Ovid, de Ponto, iii. Ep. ii. 72. defcribing this action, lays, that Orcfles and Pylades were conducted, " Evincti geminas ad fuaterga manus." Indeed the cullom of binding the hands of captives behind them was common. Homer, Iliad, xxi. 27 and 32. Pint, in Philop. Sucton. in Vitell. xvii. [7] Ovid, in the above cited epilTle, v. 73, &c. has the following lines : " Sparfit aqua captos luftrali Graja facerdos " Ambiat ut fulvas infula longa comas. " Dumque parat facrum, dum velat tempora vktis." And mTrift. iv. El.iv. 78. fpeaking of the fame thing, he fays : l * Cinxerat et Grajas barbara vitta comas." It was the cullom to adorn the temples of victims with long fillets, called infulae and vittae. Varco de Ling. Lat. lib. iv. 3. Fcftus in Infula. Virgil, Aeneid. ii. 132. makes Sinon, who faid he had been deftined for a facrifice, fpeak as follows : " Mihi facra parari " Et falfae fruges, et circum tempora vittae." And verfe 1 56. " Vittaeque deum, quas hoflia geffi." See Florus, iv. 2. [8] The victims ufed to be crowned. Euripides, in Iphig. in Tauris, v. 1567, fays, that Chalcas being about to facrifice Iphigenia, *' xpetfa, r ef£$ey xopyc," crowned tlx head of the danfel. Jlatue PLATE XII. 57 Jfatue [9] of the goddefs [10] upon the table [11], and near it two facred vejfeh [1 2]. See Iphigenia commanding the citi- zens to keep at a diftance from the facred ceremony, and fe- cretly addreffing the goddefs with vows upon her meditated £9] Paufanias iii. 16. writes: that the Lacedaemonians believed themfelves to be in poffeflion of the very ftatue ftolen by Oreftes and Iphigenia in Tauris ; and that they called the goddefs opBiuv and XvyohcryMv ; becaufe the ftatue was found among fome buflies, fo clofely interwoven as to keep it upright. And, they being obliged to bathe the altar of that deity in blood, a man was doomed by lot for the facrifice. But Lycurgus decreed, that fome boys fliould be whipped be- fore the altar ; that blood fufficing to fulfil the intention of the facrifice. Now whilft the boys were under the operation, the image was held by the prieftefs, which was yjafpov vko a-jxiupoTrj^r, light on account of its fmallnefs. But if they whofe office it was to beat the children did it flightly, the ftatue became fo heavy that the prieftefs could no longer hold it. Paufanias's defcription feems to agree very well with the ftatue here painted. We muft however remark the dif- ference which is obfervable in point of drefs and fize, between this and the other ftatue reprefented in the preceding plate. The doubts arifing from this circum- ftance may be refolved by reflecting on the various traditions about the Diana Tau- rica. Paufanias himfelf, befides other traditions, which he has related in feveral other places, writes, lib. i. c. 33, that in Brauron, a place of Attica, there was an ancient ftatue of Diana, faid to be the fame which Iphigenia had ftolen from Tauris. Hyginus, fab. 261, and Servius relate, that Orcflcs carried the ftatue from Tautis to Aricia (near Rome) ; where, upon that account, human facrifices were once offered. The two painters then might follow different traditions : and certain- ly, if one chofe to attach himfelf fcrupuloully to one tradition becaufe it bell an- fwered the proportion of the other figures ; another was not forbidden to ufe his imagination in adapting this to the fize of the other perfons in the plate. [10] Herodotus iv. log, writes, that human facrifices were inilhuted in Tourism honour of a virgin, whom the people believed to be Iphigenia herfelf, the daughter of Agamemnon. Paufanias indeed, ii. 3-. makes mention of the temple of Diana, furnamed Iphigenia, at Hermione ; and all agree, that the goddefs of Tauris was Diana. The worfhip of this goddefs, with the fame rites, either really bloody, or fymbolically fo, has palfed to various people; from whom (lie received the va- rious denominations of Tauropolis, Munychia, Aricina, Facciina, and many others. See Munker. on Hy gin. fab. 261. [11] The facred tables are mentioned by Macrobius Sat. iii. 11. Fejfas fays, that the facred table in temples held the place of the altar, and was called Anclabris. See Scaligcr upon Fcjlus de Menfa. Gut her. de vet. jur. Pont if. iii. 6. Stuckius, torn. i. /. ii. c. 16. p. 320. and torn. ii. p. 98. [12] One is a Simpulum or Chalice, and the other a plate. Euripides, v. 244., and in many other places of Iphigenia in Tauris, calls veflels belonging to the fa- crifice yjav&ou,. In verfe 1 190, Thoas anfwers Iphigenia, who had faid (lie was ready to facrifice the two Grecians, in the following words : a Qvk%v sv spFc*) yj:.viQ,-c, QPcg re vov Why are not then the vefjcls and the Jwor I In readinefs: Vol. h I theft 58 PLATE XII. theft [13]. See too the fervants [14] of the prieftefs, one of whom bears a lighted lamp [15] ; the other neceflaiy imple- ments are fuppofed to be in the cheft. The other piece [16] in this plate, which exhibits an agree* able landfcape, with buildings and figures, deferves to be ad- mired ; but ftands not in need of illuftration. [13] Iphigenia concludes her fpeech thus, v. 1232, &c. And we at length jknil tajle of happinefs. For what remains, in filence to the gods Who read each thought, and chief to thee, 0 goddefs,. Safe I commit it. Now the painter feems to have reprefented her in this very aft of making her filent vows. [14] Although Euripides makes no mention of Iphigenia* s being accompanied by women, it muft neverthelefs be fuppofed, that the lamp, and the facred inftruments which he fpeaks of, were borne by others ; fince (he herfelf muft carry the ftatue of the goddefs, which no one elfe might touch. Hence the painter efcorts her with two handmaids, who attend with the facred utenfils. [15] In v. 1222, &c. Iphigenia fpeaks as follows: " Tug ctp SK^>ocivcvl(x,g rjSvi Ioo^octoov cpoo faxg, <{ Kai S:-ocg Koo-fusg — creKag ts K The Scholiajl of Nicander, on v. 103, thus explains the y.vKr,: oi the fword: "Mwo^, yjjotccs to " KKpo'j t« to y. from the ancient cuftom of putting the bever- age in a horn. Indeed the Thracians, the Arabians, the Paphlagonians, and others, made ufe of horn in drinking, and the Indians of the horns of wild affes. Ctefias Ind. and the people of the eafl thofe of wild oxen, Plin. xi. 37. Hence the horn is attributed to Bacchus as his particular fymbol, and he fs on this account called 7ccup<&> : the cup-bearers of the Ephefians obtained the fame name. See Spanheim de Ufu & Pracjl. Numifm. Difjcrt. v. Luxury afterwards introduced filver and golden drinking veffels in the form of a horn, and often too veffels of glafs, of which there is one fpecimen in the Royal Mufeum ; though it is not entire at the pointed end. [10] The manner of drinking by making the wine run into the mouth without touching the lips, is thus expreffed by Arnbrof. de El. & Jejun. ** Per cornu etiam " fluentia in fauces hominum vina decurrunt : et fi quis refpiraverit, commiflum fla- " gitium, foluta acies, loco motus habetur." To fwallow down a large cup in one breath was efteemed an aft of prowefs, and was called by the Greeks cepv^eiv and 'zrivHv otTivivgi. See Athenaeus, lib. x. and AriJlophar.es in Ac ham. acl.y. fc. ii. v. 39, And becaufe they ufed much larger drinking vefTels than ordinary upon fuch occa- fions, the word uyjvgis itfelf came to fignify a large cup. Whence Callimachus, in Athenaeus, xi. 7. '•' K«/ yap 0 Qf>y\iKiYiv (mev cc7r'/jvcc]o yjxvbov c&yvgiv '* Z.oopG7i-o~]rtv, oKifiM r^ijo x.i and other learn- ed antiquaries, have fully treated of them. [20] Thefe three veflels (which from the colour of the infide are meant to be reprefented as full of wine) may perhaps have fome reference to a cuftom of the ancient Greeks, who at their meals ufed to fet on this number of fuch velfels as thefe, in honour of Mercury, the Graces, and Jupiter Servator, in whofe names, as "Well as in thofe of other deities, they were ufed to drink. And as that was done 3 are PLATE XIV. 67 are placed upon it ; and alfo the flowers [2 1] with which the table and the pavement [22] are fpread. chiefly toward the end of the meal, fo it was concluded with libations, efpecially with one to Mercury, the difpenfer of reft, fo whom the lafl glafs was confecrated, as we read in Homer, Odyjf. vii. 137. See Bulenger, iii. 15. and Stuckius, ii. c. ult. p. 440, csV. who explain this cuftom at large. Now no fort of victuals appearing in the entertainment before us, but things folely relative to drinking ; it feems very- probable that the painter had a mind to reprefent the meal towards its conclufion, and approaching the time of libation. [21] The breaft and neck were adorned with flowers during the time of meals, and particularly the head ; the ancients being perfuaded that fuch expedients pre- vented drunkennefs ; as Plutarch obferves, iii. Symp. qu. i. and Athenaeus xv. 5. [7. 1 ] Flowers were fcattered over the couches, the table, and the floor. Spar- tian. in Aelio Vero fays: " Jam ilia frequentantur a nonnullis quod et accubationes, " et menfas de rofis, ac liliis fecerit, et quidem purgatis." And Nazianzen zosp/ :■$ fjLsmk{jc'^^ Qx-cwoio, " Yjpo7TGpcig yotiris vrio ksvSscjv otxi syjsa-ai, ** KMpvojpo^ot, XftfjMvia6:-g, trjiofaobpowot, otfsui, " Avjpoyjx^ig, cr7ry?wy%i Ksyyepjiemi, yjspo(potfoi' " Xlv^uicci, tpoixa^-g, }>pz | ^ HIS picture cannot be fufficiently admired ; whether JL we confider the mafterly fkill of defign, the beauty of colouring, or the airynefs of gefture ; each circumftance ob- liges one to acknowledge the charms of the art, and the per- fection of the work. This beautiful and delicate figure \i\ appears to be dancing [3]. Beiides the golden bracelet [4] [1] Catalogue, n. 531. 5. [2] Some maintain it to be a Venus. Others hold, that it reprefents one of thofe lafcivious female dancers, who fometimes appeared naked. Both thefe con- jectures fuit the notion of libidines, under which all thefe pieces have been claffed: but the fecond is molt agreeable to that fyftem which fuppofes them to be perfons attending at a banquet. For Atbenaeus, iv. 13. p. 153. and xii. 3. p. 517, upon the authority of Timaeus, relates, that the Tufcans ufed to be ferved at their ban- quets by young girls naked. On a marble of Tommqfini, exhibited alfo by Kippin- gius, we meet with a banquet ferved by naked girls and boys. See Pignorius de Servis, p. 91 and 92. Not only in private entertainments, but alfo in public theatres, women appeared naked. In the feaft of Flora, common women undreffed themfelves upon a ftage, and performed in fight of the people movements and gcf- tures the mod obfcene. Valerius Maximus, lib. ii. cap. x. n. 8. Laclantius, i. 20. [3]] The dance favours the fuppofition that it is Venus. Lucian de Saltat.n. 10 and 1 1, alfures us, that the Spartans in their dances fung fome little airs, in which they invited Venus and the loves to dance with them. Horace, i. Od. iv. " Jam Cytherea choros ducit Venus imminente Luna ; " Junftaeque Nymphis Gratiae decentes " Alterno terrain quatiunt pede." And Apuleius in his Aureus Afinus, lib. vi. fpeaking of the nuptial banquet of Pfyche, fays : " Venus fuavi muficae fuper ingreffa, formofa faltavit." Dancing in banquets was very common ; Homer, Cicero, Lucian, and others, men- tion it. Athenaeus, in lib. iii. cap. xvii. p. 97. remarks, that at all banquets, ex- cept thofe of wile and learned men, who knew how to entertain company with lite- rary difcourfes, women were introduced who danced and fung : and in lib. iv. c. ii. and PLATE XVIII. Si and necklace [5], her native graces are heightened by that wreath of pearls [6], and thofe white ribands [7] which bind her flaxen [8] hair 5 by that fine thin vejl of yellow trimmed p. 130. defcribing a banquet, he fays: after the choir of muficians, entered the dancers, forae in the habit of Nereids, others dreffed like nymphs. [4] A very beautiful little bronze ftatue in the Royal Mufeum, reprefenting a naked Venus, has golden bracelets, not on the wrifts, but on the joints of the arms and legs. See Bartol. de Arm. feci. ii. [5] Virgil, Aeneid i. 655. " colloque monile " Baccatum." and again, Aen.v. 558- " It pe#ore fummo " Flexilis obtorti per collum circulus auri." Which is properly the torquis : although the torquis and the monile are frequently confounded. See Scheffer de Torquibus, cap. x and xi. [6] Pearls were the proper ornament of Venus, who is faid to have fprung from pearls in a fea-fhell : hence we often read, that precious pearls were prefented to the ftatues of this goddefs. Pliny, ix. 35, and Macrobius, fat.m. ij. affure us, that a mod beautiful pearl, the companion of that which Cleopatra had diffolved in vinegar, was divided into two parts to make pendants for a ftatue of Venus. Lampridius writes, that the Emperour Alexander Severus ordered two great pearls, which had been prefented to the emprefs his wife, to be put upon a ftatue of the famegoddefs. Wherefore the ladies who dedicated themfelves to Venus, were very fond of adorning themfelves with them. Propertius, iii. eleg. xii. has the follow- ing lines : " Quaeritis unde avidis nox fit pretiofa puellis, " EtVenere exhauftae damna querantur opes? " Certe equidem tantis caufa et manifefta ruinis : " Luxuriae nimium libera fa£ta via eft. " Inda cavis aurum mittit formica metallis : " Et venit e rubro concha Erycina falo." Martial, ix. epig. iii. " Splendet Erythraeis perlucida moecha lapillis." One needs only to read Pliny, ix. 35, to fee to what a pitch of luxury the Roman ladies were arrived in the article of pearls. He mentions having, among other la- dies, feen Lollia Paulina, " fmaragdis margaritifque opertam, alterno textu fulgcn- ss, " nudo et intetflo corpore perfeftam formofitatem profeffa; nifi quod tenui paflio " bombycino inumbrabat fpe&abilem pubem. — Ipfe autem color deae diverfus in " fpeciem : corpus condidum, quod caelo demeat : amicus caerulus, quod mari re- " meat." He explains too how the wind, fporting with her fine veil, blew it gently about. This defcription correlponds very well with our dancer. [3] Befides what has been obferved in the notes on Plate xvi, fee Macrob. fat. ii. 10. who writes, that in his time (under the younger Theodofius), it was no longer the cuftom to admit dancers or lingers to banquets naked, or immodeftly habited. It continued indeed till the times of the elder Theodofius, who forbad it. See the very learned Gothofredus, I. 10. tit. vii. lib. xv. of Cod. Theodof. Alfo Bulenger de Conviv. iii. 30. and Pignorius de Servis, p. 181, &c. who give an account of it. [4] Venus is called ccpyvpo7rs( iv. adv. Gent, fays: " Amans fal- " tatur Venus, et per effectus omnes meretriciae vilitatis impudica exprimitur imita- " done bacchari." See Augujiin. de Civ. Dei, vii. 16, and Jerom. in Epi/l. ad Marc* and in Epijl. de Hilar. [7] Pollux, iv. fegm. 103. tells us, that there was a dance called 'mvaxtic-g, in which the dancers carried in their hands plates, or dilhes. This fort of dance fliall be fpoken of in a note on Plate xxiii. [8 J They who maintain that the characters here reprefented belong to a banquer, difcover in this figure nothing but a fervant maid carrying a plate. Nor do they think her being in a dancing attitude any objection; having learned from Petronius, that luxury and refinement were arrived to fuch a pitch among the Romans, that thofe PLATE XIX. 85 thofe who waited at table performed their feveral offices to the cadences of mufical inftruments. See his commentators on chap, xxxvi. Juvenal, fat. v. v. i20> &c. has the following lines: " Struftorem interea, ne qua indignatio defir, " Saltantem fpettas, et chironomonta volanti '* Cultello, donee peragat mandata magiftri " Omnia : nec minimo fane difcrimine referr, " Quo geftu lepores, et quo gallina fecetur." "Which pafTage is thus explained by Voffius, in his Etymologicon, under Cbironomus : " Structor, ex pantomimorum arte faltans, cibos menfae infert (unde infertorem " interpretatur vetus Juvenalis fcholiaftes) idemque in cibis carpendis vel fcindendis, *' certa lege manibus gefticulatur." Pignorius de Servis, p. 120 and 121, diftin- guifhes thefe offices. Seneca in many palfages, Martial, and others, fpeak of the art and refinement ufed in carving and waiting at table to the found of inftruments. See Lipfius, Saturn, ii. 2. They ufed to row alfo to a certain meafure. See Vojius, in his excellent ti'a.£tde Poemat. Cantu, et Viribus Rythmi* PLATE [ 86 ] PLATE XX. I' J \ TOT lefs beautiful than the two former, nor. Ids hide- X ^| cent, is the picture before us. The young female here reprefented, has all the appearance of a Bacchant [2] : for me is naked [3] to her middle ; has her hair loo/e, but not difor- dered [4] ; holds in her left hand, above her head, a cymbal furrounded [5] with bells , which fhe feems going to ftrike{6] [1] Catalogue, n-. 531. 3. [2] According to the notion that thefe twelve pieces reprefent perfons attending at banquets, we might fuppofe that this cymbaM, or tympanift, call her which you pleafe, appears difguifed in the character of a bacchant. Sidonius Apollinaris, lib. ix. epijl. xiii. defcribing a banquet, among other perfons who ferved to form the entertainment and mirth, reckons fome women who imitated the bacchants in their drefs and their actions : " Juvat et vago rotatu " Dare fraclra membra ludo : " Simulare vel trementes " Pede, vefte, voce Bacchas" [3] The bacchants are exhibited in antiques generally almofl naked, juft covered in fome parts with the fldns of wild hearts, or very thin drapery. [4] Ovid, Metam. iv. at the beginning, among the things they were obliged to obferve who prepared themfelves for the orgies of Bacchus, reckons, " Crinales '* folvere Vittas." And Virgil, Aeneid. vii. 404. " Solvite crinales Vittas, capite orgia mecum." On marbles and gems the Bacchants are frequently reprefented in thofe geftures in which Catullus defer ibes them : " Ubi capita Maenades vi jaciunt hederigerae." And Virgil, Aen. vii. 394. . The fame was obferved in Syracufe, as Athenaeus remarks, xii. 4. From the whole it may be concluded, that a drefs of this fort was not peculiar to a dancer, or minftrel. But on the other hand we may remark, that whether we follow the fentiment of Ferra- rius, who maintains that the Roman ladies always drefTed in purple, and that it was cafily fuppofed that they uled white only in mourning (Ferrarius, p. i. dc re vejlia- ria, iii. 17.); or adhering to the opinion of Porphyrion, on v. 36. of the fecond fatire of the firft book of Horace (" Albi autem non pro candido videtur mihi " dixille; quum utique pofTmt ct vulgares mulieres, etiam meretrices candidae effel " fed ad veftem albam qua matronae maxime utuntur relatum eft"), we diftinguifh betwixt album and candidinn. Indeed Ser-vius, on v. 83. of Virgil's third Georgic, fays : " Aliud eft candidum eife, id eft, quadam nitenti luce perfufum : aliud album, u quod pallori conftat cffe vicinum." Though, to fay the truth, this diftinftion is not altogether fatisfa&ory. Some, as in the firft place they have engaged to make it appear that it never was a conftant, nor even a common, or general cuftom, to wear white in mourning ; lb they have Ihowed that all thefe diflinftions in drefs, between the matrons, the women of the theatre, and thofe of the town, were per- petually confounded by fome abufe. In Tarpilius, as quoted by Nonius Marcellus, cap. ii. n. 497. a matron complains, that the courtefans purfued their occupation rn the drefs of the matrons. And T-ertullian, Apolog. cap. vi. — " Video et inter ma- " tronas atque proftibulas nullum de habitu difcrimen relittum." And more largely dc Cultu Foemiiiarum, cap. xii. " Aut quid minus habent infoeliciftimae publicarum " libidinum vichmae? Quas fi quae leges a matronis et matronalibus decoramentis " coercebant, jam certe faeculi improbitas quotidie infurgens honeftiffimis quibufque '** foeminis ulque ad errorem dignofcendi coaequavit." And this abufe was not re- and PLATE XX. 89 and the drapery is well defigned: the fandals are bound with red ribands. moved before the time of Theodofius the Great, /. x and xi. Cod. Theod. in cit. tit. de Scaenic. : and hence they infer the impropriety of (topping to examine fuch matters as admit no certain conclufion. Laftly, others have thought, that without entering into thefe refearches, and any of thofe matters which concern not the point in queftion, it is fufficient to fay, that the drefs of our cymbalift is not fimply white, but bordered with red; and befides, that it is not a tunic, but only a mantle, or palla: and therefore they will have it, that as Homer, OdyJf.JL. fays, " Agyvpzcv p.zYu. mv\o vvjj.tpvj." fo the painter gave to this figure the white mantle. They difcover fome relation to Bacchus in the conjunction of the two colours white and red : for as red was the proper colour of the Bacchants, fo in the Naucratic diftricT-, during the folemniza- tion of the orgies, the priefts were all apparelled in white. Athenacus, iv. 12. And they conclude, that for the fame reafon which Apuleius, Met. viii. affigns why fome of the miniflers of the goddefs Cybele wore Tunicas albas purpura circuviflucnte, our prieftefs is exhibited with a white mantle, bordered with red. [n3 " Limbus (fays Nonius) muliebre veftimenrum quod purpuram in imo ha- " bet." And Ifidorus, xtx. 33. " Limbus eft quem nos ornaturam dicimus. Faf- " ciola eft quae ambit extremitates veftium : aut ex filis, aut ex auro contexta adfu- " taque extrema parte veftimenti vel chlamidis." It was alfo called injiita. Horace, i. fat. ii. 29. " Quarum fubfuta talos regit inftita vefte," on which Acr&n fays, " Inftita TvipiTrohov, tenuiftima fafciola quae praetextae adjicieba- M tur." " Praetexta (fays Varro de Ling. lat. v.) toga eft alba purpureo praetexta *' limbo." Young women alfo wore this fort of veft till they were married ; whence Fejlus : " Nubentibus depofitis praetextis, a multitudine puerorum obfeaena verba " clamabantur :" and hence verba praetextata came to mean obfeene fpeeches. Voffius, Etyrn. in Praetexta. See Pollux, vii. cap. 13. where, in fegm. 52. he men- tions tjjici]ic( i&ipiXsvKoc, which were garments of purple, or any other colour, bor- dered with white. And on the other hand, in fegm. 63, he calls garments which had a border of purple luajtoi zvcpiTrop/pvco'.. .And the Praetexta is fo called by Plu- tarch, in Horn. Livy, lib. ii. decad. iii. fays, " Hifpani lineis praetextis purpura " tunicis candore miro fulgentibus, conftiterant." See Bayfus de re Vejliaria, .cap. x. [12] Of fandals we Avail fpeak in the notes on the following plates. Vol. I. N PLATE I 90 3 PLATE XXI. ['] t u ^ PI I S figure too reprefents a young and beautifully fhap- Jjf. ed woman dancing and playing. The wreath of * v y [ 2 ] w * tn wn i cn her undifhevelled hair is bound; the fkin of a panther^ or fome other bead of that kind [3], which [1] Catalogue, n. 531. 7. [2 J To be crowned with ivy, was cuftomary with thofe who celebrated the feafts- of Bacchus. Euripides mentions it in many paffages of the Bacchae, and particu- larly v. 176 and 177. where Tirefias, exhorting Cadmus to folemuize the orgies of Bacchus, thus informs him what he has to do : ** ©vpcrag ttvenfjeiv, xmi v£puiv Sogecg c%«v, $< ?L,T£ 70 xv^QaAo:- c-wco&>:" The collTfion of cymbal ivitb cymbal. In the very fame action in which our cymbalift is figured, of ftriking one inftrument againft the other, are fome women of this kind reprefentcd, in feveral of Spon's marbles, p. 21. tab. xj. xli. and xlii. in the laft of which the handles are two rings, like thofe in the piece before us; in the other two they are made like croffes. In fome marbles we find no handles, but the whole hemifphere is grafped in the hands. See Lampe, ii. cap. 3. [6] The ufe of the cymbal and drum in the feafts of Bacchus, is explained by Uvy, xxxix. cap. 10. " Eos deduccre in locum, qui circumfonet ululatibus, can- tuque fymphoniae, et cymbalorum, et tympanorum, ne vox quiritantis, quum ** per vim ftuprum inferatur, exaudiri poflet." But in general the ufe of theie in- ftruments in the feafts of Bacchus and Cybele was to accompany the dancing. Lu~ clan de Saltat. Jfidorus, iii. 21. exprefsly fays : " Difta cymbala, quia cum balle- " matica fimul percutiuntur. Ita enim Graeci dicunt cymbala ballematica. Ubi " (adds Vojfius, Etymol. in Cymbahwi) ballematica dixit faltatoria, five faltationi " idonea. Sane pofteriores Graeci $oiKKi & c < fings of Bacchus : which PLATE XXIV. I03 which fhe holds in her left, are her charadleriftics [9] ; all " XctipH (x.;v Qcchiaicriv, " $>ihH 0X^0^0] npixv etpyj- " vocv, 7Ui^olpo(pov ©sav." Bacchus, fon of Jove, Delights in banquets, and in peace. Fair peace Parent of riches, nurfe of youths Or becaufe Horace, lib. i. ode xxvii. recommends peace at feftivals, and forbids quarrels, which he fays become only barbarians ; glancing perhaps at the feaft of the Lapithae. It is agreed there is no improbability that this figure may reprefent Peace, every fort of fruit being in general her characterise ; but it is remarked, that the bough which on medals is found in the hand of this deity, is ordinarily believed to be olive. The golden apples gave rife to two other conjectures about this figure : fome being of opinion it is Juno, others Venus. Thofe of the firft opinion had in their eye what Athenaeus, cap. vii. p. 83. mentions of Afclepiades, who relates, that the earth produced the tree which bore this fort of fruit, upon the nuptials of Jupiter and Juno, to whom alfo the mythologies particularly affign the apples of gold. The fceptre is the fpecial fymbol of Juno, the queen of the gods ; and (he is very often reprefented with it in antiques. The diadem or fillet, which furrounds her forehead, is given her both by artifts and poets for the fame reafon, Apuleius, Met. x. The yellow veil correfponds with the jlammeum or fcarf, or that which brides ufed to throw over their heads ; and therefore proper for Juno, the deity who prefides over nuptials. The azure upper-veil agrees to the goddefs of the air; Juno being ftiled by Orpheus, Hymn, in Junon. ct;pcjj,op m defcribing Dido as dreffed for hunting, Aen. iv. 138. fays: " Crines nodantur in aurum." to roll up their long hair, and to tie it in a knot, was charatteriftic of the Germans. Thus Seneca, epijl. exxiv. " Quid capillum ingenti diligentia comis? quum ilium " vel efFuderis more Parthorum, vel Germanorum nodo vinxeris." Tacitus, de mor. German, cap. xxxviii. fays, that this is the diftinftive mark of the Suevi, who in- habited a great part of Germany. Juvenal a'.fo, fat. xiii. v. 164, 165, mentions the blue eyes of the Germans, their yellow hair, and their locks twifted into a knot. Martial, Spcclac. epig. iii. calls the hair tied in this manner, " crines in no- " dum tortos:" and Seneca, de Ira. iii. 26, " in nodum coa&os." Now there are fome who think, that to wear the hair twifted in this manner is proper to the bac- chants ; becaufe this kind of head-drefs approaches to the ferpentine knot which Horace, b. ii. ode xix. attributes to them; this way of plaiting the hair refembling the knot into which ferpents naturally fold themfeives. Upon this fubject fee alfo Heinftiis upon Ovid, epijl. ix. 86. and Art. iii. 139. Now Cajlellanus, de Fejt. Graec. in Aicvvcr. and Buonarroti, Medaglioni, p. 55. are of opinion, that to wear the hair either entirely difhevelled, or in locks flowing over the neck, is fo efTential to the bacchants, that they never have their hair tied up : but it has already been mentioned, that this was not always obferved by the artifts ; and, to omit other in- ftances, in the pictures of the Royal Mufeum we meet with women who have their hair tied up, and whom we know to be bacchants by their thyrfus, or fome other mark. See Muf. Rom. torn. i. feci. ii. tab. ix. and xi. However, the true Maenades had their locks difhevelled, as we are informed exprefsly by Euripides, Virgil, and Ovid. [5] The centaurs were ufually cloathed with the fkins of wild beads, as we have feen Chiron was. Ovid, Met am , xii. v. 414, fpeaking of the beautiful fe- male centaur Hylonome, fays : " Nec hifi quae deceant, ele&arumque ferarum, " Aut humero, aut lateri praetendat vellera laevo." [6] Lucian, in defcribing the picture executed by Zeuxis, tells us, that the fe- male centaur refembled in her lower parts a beautiful mare, fuch as the ThelTalian mares generally are ; that the upper parts were thofe of a woman, extremely beau- tiful in every refpeft except her ears, which refembled thofe of fatyrs. Pbilojlra- tus indeed does not make this diftinction : " The female centaurs, fays he, if it " was not for the horfe-part, would very much refemble the Naiades : if we con- " fider both parts of them together, they are like Amazons." In the picture before us indeed the ears, with more propriety, are thofe of a horfe ; not of a goat, fuch as thofe of the fatyrs mould be, and as we have already feen in two fauns, tab. xv. and xvi, and in a fatyr, tab. ix. [7] Pbilo/lratus, in the fequel of his difcourfe upon female centaurs, mentions coats of three different colours, and fays, " fome of thefe centaurs are joined to me PLATE XXVI. in fhe has a feftoon which feems to terminate in two fmall handles-, at the ends of which are two little buttons; one of thefe handles (upon which are two firings or ribands) fhe holds with her left hand over her head, the other with her right, which pafTes under the girl's arm, as if fhe was going to faften her with it [8]. If we will not allow this compofition to have " white, fome to bay mares ; in others a very fair woman rifes from a black mare.*' Daniello, in his comment upon this paffage of Virgil, Georg. jii.- v. 82. l< color deterrimus albis « Et gilvo j" which he tranflates: " il bianco e' peffimo, e'l cervatto writes thus : " in the firfl place we mufl remember that horfes are not like many " other things called red, white, or black ; but the firfl are called bat, the fecond : " leardi, and the third 7norelli. ,y After having fub-divided thefe three principal colours, he fubjoins, " How can it be faid that white is the worfl colour of all, *' if the fecond place, both for beauty and goodnefs, be generally allowed to «* it? The poet feems to contradict himfelf, when in the Acneid he com- «* mends white horfes, and fays, that they furpafs the fnow in whitenefs, and the " wind in fwiftnefs ; whereas, here he fays they are the worfl. It ought, however, " to be confidered, that in the Asneid he is not fpeaking of a ftallion, whereas in *' this place he is defcribing one that is molt perfecT: ; and in order to have a hand- fome and perfect breed of horfes, both the flallions and mares ought to be either •* of a dark or bright bay." Whether this be fufficient to reconcile Virgil with himfelf and others, or whether we mufl have recourfe to Servius*s diftindtion be- tween albus and candidus, or to any other confideration, let others judge. See Bo- chart, Hieroz. p. i. lib. ii. c. 7. Thus much is certain, that while horfes have al- ways been in efteem. Thus Homer, Iliad, x. 437. " More white than fnow, and like the winds in Jpced"' which is imitated by Virgil, Aen. xii. 84. : " Qui candore nives anteirent, curfibus auras."' Who alfo, Aen. iii. 537, t3c. affirms, that fnow-white horfes, candore nival/, are proper for war and triumphs. Scrvius, upon v. 543, fays, " qui autem triumphat, " albis equis utitur quatuor." Propertius, iv. cl. i. 32, derives the cultom of ufing white horfes in the triumphal car from Romulus : " Quatuor hinc albos Romulus egit cquos." But Livy, v. c. 23, and Plutarch, in the life of Camilla:, affirm, that the full who ever ufed fuch in triumphs, was Camillus. [8] Thofe garlands, which hung from the neck over the breaft, and were called- v7ro9viJ.!Cihg, of which Plutarch,. Sympof. iii. qu. i. makes mention, and Athenaeus, xv. p. 678 and 688, were fo named, (according to fome whom they quote, but whofe opinion however they difapprove) from Bvy.&, becaufe they placed the feat of the foul in the heart. Buonarroti, upon the Cameo reprefenting the triumph of been I I 2 PLATE XXVI. been the creature of the painter's imagination [9], it is not eafy to comprehend the meaning of it [10]. Bate fills, p. 447, produces a bas-relief, in which is Mark Antony habited like a Bacchus, with a necklace, fuch as we have in this picture. Schefferus alfo, de Torquibus, cap. xi. Graevii The/, xii. p. 940. is of opinion, that necklaces of this fort anfwered to the Phalerae : we will here tranflate his words, becaufe they will ferve to illuftrate what has been faid : Between the Phalerae and the Torques there feems to be alfo this difference ; that the latter hung from both fides of the neck over the brcafil, whereas the former came from one fide of the neck under the oppofite arm, like a belt. There are fome figures upon Trajarfs pillar with ornaments which I take to be Phalerae ; and a Bacchus in a marble bas-relief at Rome publifhed by Guari- noni and others. Women formerly wore chains of gold, and military men filill wear them in this manner, probably in imitation of the ancient Phalerae. £9] It may have reference in general to the Centauri Nymphas gerentes of Afinius Pollio, or to ibmething of that kind. £10] As from the coupling of Neptune with Ceres when he was changed into a horfe, lhe brought forth a horfe ; fo it has been fuppofed, that from the coupling of a man with a female centaur, an offspring whofe form was entirely human might be feigned to have been produced : and accordingly it has been concluded, that the girl whom our female centaur carries upon her back, is her daughter. This opinion has alfo been fuppofed to be confirmed by a picture of Zeuxis's. Lucian fays, that the centaur holds one of her children in her arms, fucking at the human bread as infants do ; while the other Hands like a foal under her belly at the mare's dugs below. And then he adds, " of thefe two infants one is favage like its fire, and at that tender age is already terrible." Hence it is concluded, that of this centaur's two children painted by Zeuxis, one was entirely human, and the other part human and part horfe. But this conjecture meets with powerful objections: and Gronovius has corrected the paffage of Lucian fo as to have this fenfe, " both " the one and the other infant was, at this tender age, already become fierce and " terrible and thus vanifhes all doubt and fufpicion of any difference between them. PLATE C "3 3 PLATE XXVII. W f | ^ HIS centaur, though perhaps he may feem to one who JL judges from the countenance only, to be reprefented by the painter rather as an elderly man than a youth, has however no beard [2] ; his hair on the contrary is rough and difordered [3]. By the thyrfus which he carries over his [1] Catalogue, n. 529. 2. [2] 'Hie centaurs are commonly figured with beards : Nonnus, Dionyf. xiv. 264, thus describes a centaur belonging to Bacchus : ' " A centaur with a rough and briftly beard. And Zeuxis painted his centaur's hufband " Xatriov to -sroAAa," according to Lucian's account. But it does not therefore follow, that they are not fometimes alfo repre- fented without beards. The centaur in Plate xxv. is of this kind : and in a corne- lian in Muf. Rom. torn. i. feci. i. /. lii. there is a young centaur without a beard, with a fpear upon his flioulder, and a helmet on his head. That which is here figured has an old meagre face, but without a beard. This centaur has been taken for an hermaphrodite ; and in confirmation of the opinion, this paffage has' been quoted from Pliny, xi. 49. " Sicut hermaphroditis utriuique fexus : quod etiam ** quadrupedum generi accidifle Neronis principatu primum arbitror. Ofientabat " certe hermaphroditas fubjuges carpento fuo equas in Treverico Galliae agro reper- y tas : ceu plane vifenda res effet, principem terrarum infidere portends." But the fex of our centaur is fufficiently plain in the original. Whence others are of opi- nion, that this was defigned by the painter to exprefs their weaknefs and inconti- nence. See Galen de uf 11 part. lib. ii. [3] No fmall doubt has arifen whether this centaur has horns upon his head ; of fuch Nonnus, Dionyf. v. v. 615. fpeaks, when he is relating the ftory of the centaurs who fprung from Jupiter in the illand Cyprus, at the fame time when he would have debauched Venus, who fhunned his embraces : " <1>Yi(>ca)v evKsptxoov h^vixoy^o^ qvQu (pvlfcj." Hence the two-coloured race Of horned monjicrs fprung. Ailvyxy^cQr-is commonly tranflated bicolor, of two colours ; here it might be ren- Vol. I. flioulder, ii4 PLATE XXVII. fhoulder, and the cymbal which is hung upon it by a firing tied in a knot, he is eafily known to be a bacchant [4]. The hoiTe part is a bright bay [5]. He is teaching a young lad, . dered with more propriety, of two /kins, figures, or forms, for xpoa fometimes lignifies the ikin, or furface of the body. From a careful examination of the pic- ture, it is plain, that the anift has fcrupuloufly drawn the rough and difordered hair with theutmoft exa&nefs. [43 The celeftial centaur in Hyginus, J ft r on. Poet. iii. 37. has a bottle, or wine- bag, hanging from his right arm ; and a fpear (the iron point of which is not wreathed with leaves, but naked) upon his Ihoulder : Produs calls this Svpo-oXoP/pv, others limply thyrfus. The Scholiajl upon Germanicus, on the article Centaurus, thus defcribes him : " Qiiidam arbitrantur tenere in finiftra manu arma, et leporem ; " in dextra vero beitiolam, quae B^tov appellatur, et (3uprciv, id eft, utrem vini ple- " num, in quo libabat diis in facrario." Either on thefe accounts, or becaufe Ma- nilius, Afiron. i. 407. fays: " Et Phoebo facer ales : et una gratus Iaccho " Crater : et duplici centaurus imagine fulget:" many have been of opinion, that the celeftial centaur was an attendant upon Bac- chus. But Ovid, Faftor.Y. 379. exprefsly affirms, that it is Chiron. Germanicus, in his tranflation of Aratus, article Centaurus : " Hie erit ill e pius Chiron, juftiflimus omnes " Inter nubigenas, et magni do£tor Achillis." and Hyginus, ii. 38. are of the fame opinion. From all that has been faid, there may arife a doubt, whether the painter intended to reprefent the wife Chiron among the bacchants, from the mere caprice of his own fancy, or to (how that even wife men are the friends of Bacchus. Upon this fubjeft fee Plutarch, in the life of Cato. £5] Ovid, in the paffage before cited, thus defcribes the centaur Chiron : " Nofte minus quarta promet fua fidera Chiron " Semivir, et flavi corpore miftus equi." But as the colour of the horfe in the piece before us has a tendency to red, it cannot properly be called fiavus, which is the colour of honey ; and from thence perhaps comes the German falb, and the Italian falbo: though others derive it from fulvus, which is a dark yellow, or tawny ; and to which they fay it correfponds. On the other hand, it cannot properly be called badius, which is a colour between red and black, and agrees with the chefnut, according to that of Tajfb : " Bajo e caftagno, onde bajardo e detto." For this reafon we have called it bright bay [bajo chiaro~], as there are different fhades of this colour, according as it is more or lefs charged. Bay horfes are in general of a good fort: See Bochart Hieroz. p. i. lib. ii. cap. vii. where he has a long and learned diiTertation upon the colours of horfes. Daniello, in his comment upon this paffage of Virgil, Georg. iii. v, 82. " honefti " Spadices glaucique." fays, that the colour of the former of thefe refembles that of the date, or fruit of the palm ; which is a dark bay, or chefnut : the latter is the colour of the bark of thofe fallow twigs with which the vines are tied and fattened together, and may with propriety be called a bright-bay. whom PLATE XXVII. n 5 whom he holds with one hand and fupports flightly with one leg, to play upon the lyre [6]. The colour of the drapery which hangs down from the left fhoulder of the centaur, and that of the young lad, is purple. [6] This inftrument agrees well with the conjecture that this centaur is Chiron ; he, as we have already obferved in the notes upon Plate viii., being extremely fkilful in playing upon it, and having taught Achilles the full grace of the inftru- ment. There are fome indeed, who think it ftrange to fee the lyre in the hand of a bacchant ; fmce it is well known that it was invented, or at leaft was particularly made ufe of by Orpheus, who was torn in pieces by the bacchae, for the oppofition that he made to Bacchus. Ovid, Metam. xi. 16. in his defcription of the murder of Orpheus by the bacchae, oppofes their inftruments to the lyre : " inflato Berecynthia tibia cornu, " Tympanaque, plaufufque, et Bacchaei ululatus M Obftrepuere fono citharae." To this it is anfwered by others, that although Hyginus, Aft r on. Poet. ii. 7. among the different opinions which he enumerates concerning the reafon of Orpheus's death, fays, that it was done by the command of Bacchus, who was enraged with him becaufe he had not been celebrated by him ; yet Ovid tells quite another ftory, and relates, that Bacchus himfelf avenged the murder of Orpheus, by transforming thefe barbarous women into trees : " Non impune tamen fcelus hoc Unit elTe Lyaeus, " AmilToque dolens facrorum vate fuorum, *' Protinus in fylvis matres Edonidas omnes, " Quae fecere nefas, torta radice ligavit." We learn alfo from Diodorus Siculus, i. 23. and others, that it was Orpheus him- felf who brought over the orgies of Bacchus from Egypt into Greece. Other ar- guments are alfo produced in defence of this opinion ; and it is obferved, that it is by no means unufual to fee the lyre in the hands of the bacchants, and particular- ly of thofe centaurs who draw the car of Bacchus. Some beautiful antiques of this fort may be feen in Montfaucon, torn. i. fart. i. /. iii. c. 17. pi. lxxxvi to Ixxxviii. PLATE [ "6 ] PLATE XXVIII. [-] ^ | HIS picture greatly exceeds the three former its com- JL panions, though they have beauty and elegance in them, and feem to be of the fame hand. Every thing in the centaur, who is a female, is full of grace and delicacy, and deferves particular attention. The union of the human with the horfe part is certainly admirable : the eye readily diftin- guifhes the foftnefs in the fair complexion of the woman, from that brightnefs which mines upon the white coat of the beaft ; but it would be puzzled to determine the boundary of each [2]. [1] Catalogue, n. 529. 3. [2] In the three others this part is executed in a mafterly manner : but nothing can exceed the exquifite art with which the flefli of the woman is made to pafs in- fenfibly into the hair of the horfe in this picture. Lucian, in his Zeuxis, feci, vi. fpeaks thus concerning this part of a piece executed by him : " the union of the " two bodies, or the place where the horfe is fet on to the human part, is not to " be perceived ; the tranfition from the one to the other is fo nice as to elude the " light, neither is it polfible to difcover where the one begins and the other ends." The whole Ikill of the artifl ought to be employed in this union ; as Philojlratus obferves in his Chiron, Icon. ii. 2. "To paint, fays he, a horfe united to a man is " nothing extraordinary ; but to blend them together, and to make each of them " begin and end in fuch a manner as not to be able to difcover where the human " part terminates, this, in my opinion, fliows the great painter." The delicacy, and the mafterly touches which we fometimes meet with in thefe pictures, confirm us in the opinion that many of the painters were not ignorant of the art, but were generally carelefs, and did not always take the trouble of correcting their firll Iketches ; as they might eafily have done, fince we may fometimes obferve feveral layers of colours upon the flucco. The PLATE XXVIII. n 7 The pofture of the left hand, with which fhe touches the firings of the lyre [3], is elegant ; and equally graceful is that by which fhe fhows herfelf defirous of touching with one part of the cymbal [4] which fhe holds in her right hand, the other part, which, with a fancy truly great and picturefque, the ar- tift has placed in the right hand of the young man ; who em- braces the woman clofely with his left, which pafTes under her arm and appears again upon her fhoulder. The drapery of the youth is purple ; and that of the centaur, which hangs from her arm and flies behind her, is yellow : the head- drefs [5], her bracelets, and her necklace [6], all deferve our [3J It is in every refpecl like that in the foregoing picture. See note [1 1] upon Plate viii. [4] Thefe cymbals are of a gold' colour, as are indeed thofe a!fo in the forego- ing pi&ures. Dicaearchus, de Graeciae ritibus, in Athenaeus, xiv. 9. p. 636, writes thus : " the cremball are inftruments much in ufe, and are proper for dances, ** or to accompany ladies in fmging ; if they are (truck by the fingers, they make an ** agreeable found. There is mention made of thefe in a hymn to Diana : " And others fing ; while in their hands they hold u The brazen cr emboli, wafh'd o'er with gold." Some are of opinion, that thefe inftruments are the fame with the caftancts ; others •confound them with the tympana : others again with the cymbals. See Cafaubon upon Athenaeus, v. 4. and Spon. Mifc. Er. Ant. feci. i. art. vii. tab. xliv. p. 22. However this may be, it is fufficient for us if thefe inftruments of brafs ufed to be gilt. Ifidore obferves, that they were made alfo of different metals melted together, in order to improve the found. [5] See Ovid, Metam. xii. 409 to 411, where he defcribes the pains which Hy- lonome took in dreffing and adorning her hair, in order to appear more beautiful in the eyes of Cyllarus. [6] The artifice of the painter in giving an ornament to the neck, equally worn both by horfes and women, is excellent. Virgil, An. vii. 278. fpeaking of Lati* nus's horfes, which were prefented to Aeneas, fays : " Aurea pe&oribus demilfa monilia pendent." Lipjius, de Milit. Rom. v. dial. xvii. is of opinion, that the Phalerae were dif- tinguiftied from the torques, or necklace, by their hanging loofe over the bofom: *' Phalerae demilfae ad pe&us pendebant ; torques ftringebant magis, et ambiebant *' ipfum collum." Juvenal, fat. xvi. v. ult. fpeaking of the prefents which the foldiers received in reward of their valour, fays : •* Ut laeti phaleris omnes, et torquibus omnes." And Silius Italicus, xv. 255, alfo makes the fame diftinction : attention. n8 PLATE XXVIII. attention. The back- ground of this, and the three preced- ing pictures, is blue. ■ " Phaleris hie peftora fulget : " Hie torque aurato circumdat bellica colla." Schcjferusy as we have remarked in another place, will have the phalerae to be the fame with the baltei. It is not however agreed among the learned upon what part of the horfe thefe phalerae were worn : fome infilling upon it that they were an ornament of the forehead, and the fame with the frontalia of Pliny : others that they hung over the chert, and therefore correfponded to the monilia of Virgil: others again, that they were the entire furniture of the head, back, and cheft. PLATE PI. XXIX. »■ ■ »— "I [ «9 ] PLATE XXIX. ['J TH E pi&ures [2] which are engraved in the two parts of this plate have a great deal of beauty and grace ; they are alfo in a pretty good manner, and the colouring is excellent. They reprefent two grand and lofty feats, whofe workmanfhip feems to be executed in a mafterly manner, and with great neatnefs : without doubt, we may fafely call them two thrones [3] with their footftools [4] : the whole is painted of a [1] Catalogue, n. 465. [23 They were taken out of the fame place, Auguft the 31ft, 1748, at Refina. [3J Homer diftinguifhes three kinds of feats, Spoi^, y>.it[l%^, and $ipg&>. The throne belonged to thofe on whom they had a mind to bellow fome mark of honour or diftin&ion ; and was fo high that it was necefTary to put a low ftool before it for the feet to reft upon. The clifmus was not fo lofty as the throne, and the back of it was not like that upright, but fomewhat leaning, in order to eafe the back by refting againfl: it. The diphrus was a fimple bench, or (tool, fuch as was ufed by the vulgar. Tekmachus^ Horn. Odyjf.'x. 130. places Minerva upon a throne, whilft he contents himfelf with a clifmus ; a diphrus, on the contrary, is afTigned, Odyjf, xvii. 330. to Ulyjfes, when he appears before the fuitors in the character of a beg- gar. See Odyjf. xix. 63. and in, 112. Thus Eujiathius, upon Odyjf. iv. "The " throne is a fuperb feat with a foot-ftool, which is called SprjWi from SprpourGui to " fit down. The clifmus, or couch, is much ornamented, and is ufed to recline upon. " Of thefe the diphrus is the meaneft." Athenaeus had before made the fame ob- fervation, lib. v. cap. iv. p. 192, where he feems to make fya(&> the fame with Spvivvg. Hefychius makes vJkH the fame. See alio the Etymological under KA/->, and Pollux, iii. 90. and x. 47. The diftinftion indeed between thefe three kinds of feats is not always obferved by Homer himfelf. In Iliad xxiv. he exprefsly makes the throne the fame with the clifmus ; for after having faid, v ' 5I5 ' ,' " he fubjoins, v. 597. gold 120 PLATE XXIX. gold colour [5]. The firfl of them belongs to Venus [6] r the dove [7] upon the cujhion [8] is a certain fign of it 3 and and in the feventh Iliad, he makes He&or fit upon a diphrus. It is alfo well known., that the Greek authors, when they are writing upon the affairs of the Romans, call the curule chair h. Suidas, under the word Qpov<&>, obferves, that by throne is figriified the regal dignity. Indeed, except to gods and heroes, the throne was given to none but royal perfonages, who reckoned of the fame rank with them. In a bas-relief, produced by Montfaucon, torn. i. /. ii. eh. vii. pi. xxvi. we may obferve a throne refembling thofe which are here reprefented; and by a tri- dent and othtr fymbols, known to belong to Neptune. In feveral medals of both Fanjiinas in Mezzabarba there is a throne with a peacock upon it reprefenting Juno, with this motto, ivnoni reginae. Nothing is more frequent than to reprefent deities by means of their fymbols. Inftances of this may be feen among others, in Mez- zabarbanino in Antonio Pio, and in Nwnif. max. mod. Ludov. xiv. tab. xix. Confuk Paufanias, \iii. 30. [4] When a throne is mentioned in Homer, the foot-flool is generally fubjoined in thefe or the like words : " V7T0 h Borivvg T^OtTiV v^v** Paufanias, v. n» defcribing Phidias' s Olympian Jupiter, fays: " to vttoQy^oi h to " v7ro T8 AiQr 1 Toig tzctiv, vtto tw sv rt\ ArjiTt'/j kuXxuzvov Spxvtov the fiool under the feet of Jupiter, which is called by the Athenians Spaviov. See Buonarroti upon me- dallions, p. 115. where he concludes, with Chimentelli, that the foot-ftool was efteemed an honour peculiar to gods and illuftrious perfonages. Some critics are of opinion, that the fcot-ltool was the diftinguifliing mark of the throne ; which, if it was without this, was no longer called a throne, but a feat of fome other kind : and they found their opinion upon the paflages quoted above from Athenaeus and Eujlathius, who define a throne to be a feat with its foot-ftool ; which they think is confirmed by the epithets of fublkne and lofty, which we find often given to. it, and by other reafons of the fame fort. [5] Thus Virgil, Aen. x. 116. " Solio turn Jupiter aureo- " Surgit. Homer alfo, Iliad xiv. 238. calls it " yjpvoscv Bpovov," and often gives it the epithet of TtciXa, locilatea, beautiful, haridfomely worked, as thefe are which are here re- prefented. [63 hi the Pervigilium Veneris, afcribed to Catullus, we read: " Cras Dione jura dicit fulta fublimi throno." [7] It is well known that doves were facred to Venus. Ovid, Met am. xv. 386. gives them the epithet cythereidas ; and in another place, fpeakingof this goddefs 1 " Perque leves auras junctis inve&a columbis." For the fame reafon doves are called paphiae by Martial, viii. epig. xxxviiL Ful- gentius, Mythologic. lib. ii. 4. fays : " in Veneris etiam tutelam columbas ponunt, " quod hujus generis aves fint fervidae." See Munckerus upon that paffage. In the Etymologic on we read that the dove is called wc-pigc-pa,, wapcx, to ■urspto-crw$ spew, from her loving extremely, and for that reafon is facred to Venus. Phornutus, in Venere-, on the contrary, will have it, that this goddefs delights in birds, and efpecially in doves, for their purity. P L A T E XXIX'. . i2i the other Jymbols correfpond : fince both the fejloon which is held by the Genius in his right hand, and which feems to be of myrtle [9], and the fceptre [10] which the other Genius has in both hands, are attributes of this goddefs[n]. The cloth which covers the back of the feat and the pofts, is of a change- able green [12] ; and the cufhion is of a deep red [13]. The [8] Voffius, Eiym. in Puhinar diftinguifties the Pulvinus from Puhinar ; and will have it, that the firft was a cufhion, and the fecond a pillow: but this diftinc- tion is not always obferved. Apuleius, Me tarn. x. 336, thinks that the puhinar, (trictly fpeaking, belonged to the gods only» Augujiin, de Civ. Dei, iii. 17. feems to make puhinar the fame with leclijlernium ; that is, with the bed or couch itfelf, upon which they placed the ftatues of their gods at the folemn entertainments which were made in honour of them. Servius, upon Georg. iii. 533, fays : " Pulvinaria, the former plain, becaufe they were g pocket] a kmJoo];^, placed underneath ; the latter hand feme and dyed with beautiful colours, becaufe thefe were -mpigpoo^u, placed Vol. I. R fecond i22 PLATE XXIX. fecond throne belongs to Mars ; this is apparent from the helmet [14], with its crejl and plume [15]. The Jhield [16] which one Genius fupports with his right hand ; and the fef- toon y feemingly formed of grafs\i*f\ y which the other Genius on the outfiJe. Eujlathius upon this paflage fays, that p^iise, properly fpeak- ing, were " (Zonfjoi ifjuqitf, r] v(pa Kapx.®*. At firft the fkins of animals were ufed for helmets ; for which reafon the creft was ftill made of horfe-hair. They often added to this, three upright feathers, higher a great deal than the other parts. See Potter's Grecian Antiqidties, iii. 4. Polybius, vi. 21. fays, that the plume ferved both for an ornament to him who wore it, and for a terror to thofe who looked upon it, by making the perfon feem taller and more majeftic. [163 Thus Virgil, Aen. xii. 332. " Sanguineus Mavors clypeo increpat." This fort of fnield is peculiarly called clypeus. Varro fays, it is round and concave. Ovid compares the eye of Polyphemus to a fliield of this fort : " Unum eft in media lumen mihi fronte, fed inftar " Ingentis cljpei." Metam. xiii. 851. So does Virgil, Acn. iii. 637. Homer, II. v. 453, calls thefe fhields " svxokkas " ao-TTiloiq." The firft who made ufe of them were the Argives, in the battle be- tween Proems and Acrifius. Patifanias, ii. 25. See Potter in the place quoted above. [17] Grafs is one of the peculiar attributes of Mars ; and it was from hence, according to fome, that he was called Gradivus. Servius, upon^w. i. 296, fays: *' Mars appellatus eft Gradivus a gradiendo in bello — five a vibratione haftae — " vel, ut alii dicunt, quia a gramine fit onus." And although Befiod, in his holds PLATE XXIX. 123 holds in his left, confirm the fuppofition. In all the four Genii [18] we may obferve their double necklaces, their brace* lets, and the rings upon their legs, all of a gold colour [19] ; and their attitudes, which are all of them beautiful and grace- ful [20]. The connexion between Mars and Venus [21], be- Theogony, will have him to be the fon of Jupiter and Juno ; yet Ovid, on the other hand, gives him no other origin but this: he relates, in the Fajli, v. v» gxij &c. how Juno, being chagrined at Jove's having produced Minerva without his wife, and thinking that this might be an example very injurious to wives would needs try herfelf to produce a fon without the affiftance of her husband \ the nymph Chloris fet her at eafe, by (hewing her a flower, which by the touch of it only made women pregnant : Juno plucked it, and thus became the mother of Mars. [18] The loves are here with propriety employed in bearing the fymbols of Mars and Venus ; of whom, as Orpheus fays " AQoivczjoi z cvjsu TOivja. ti;&> yctpiv, w KvGipe-ioz, ** Avjcv Apj yvy.v/i yotp oc(pum7uo~o!.s, h XiXfirfjoii R 2 twee.i. 124. PLATE \ XXIX. tween the loves and arms [22], is well known. The height of the whole is eleven inches and a half, the breadth two feet and a half. " And wherefore Venus wear thefe ufelefs arms? " Mars fell a victim to thy naked charms. • • " The peerlefs goddefs that unarm'd fubdu'd f( The god of war, what mortal had withftood ?" Whether it be that "tyomen admire in others that courage which (fetting afide cMj mate and education, that fometim.es render them fuperior to their fex) they are not ufually capable "of themfelves : or whether ambition prompts them to attach them- felves to men of courage, in order to partake of their glory, and to be partners in their fame ; or for the pleafure of triumphing 'over thofe who triumph over others; or for what other reafon it may be : this is certain, that military men difpute the, preference with all others, if not in the hearts, yet at lead in the fociety of the ladies ; and if they are not always beloved by. them, they are however generally well received. On their parts alfo, they are accuftomed to pafs with the utmost eafe from ftricl and fevere difcipline to relaxation and pleafure ; from fiercenefs and flaughter to all the foftnefs of love. " De duce terribili fa&us amator erat," fays Ovid of Mars. Hiftory will furnifh us with many other examples of this. [22] The obfervation is not new, that the poets can never fmg of Mars without introducing Venus ; as if arms could not be Separated from the company of love. Among the many reafons which are given for this, one is, that there are no wars in which the women have not fome concern. It is well known however, that irt the heroic ages the rape of women was, if not the only, yet at leait the principal and moft frequent caufe of wars. Before the famous war which was occaf;oned by the rape of Helen, there were others fought upon fimilar accounts with equal fury. Horace, fat. lib. i. 3. 107. affirms this in general. Duris and Callijlhenes in Athe- naens, xiii. p. 560, defcend to particulars. Herodotus, lib. i. cap. iv. writes, that the Perfians affirm women to have given rife to all the wars between the Greeks and Afiatics: he adds, moreover, that thefe rapes were committed by unjufl men ; that the avenging of them was the bulinefs of madmen ; and that men of prudence would not 'have paid any attention to them: becaufe thefe women would not have, been carried off, -if they had not been inclined to it themfelves ; fuch injuries being done only to the willing. PLATE PI . TO T. [ "s 3 PLATE XXX. E'l TH E pi&ures comprifed in this [2] and feveral fucceed- ing plates, are all in the fame tafte. They reprefent winged boys, or Genii [3] as they are called ; fome of which are exercifing themfelves in dancing and mujic^ others playing at fome childifli games ; fome are employing themfelves in arts of different kinds, whilft others are taking the amufements of hunting or fifiing. In the firft part of this plate, one of the boys is in a pofture of dancing [4], and holds in his hand a . [1] Catalogue, n. 466. 4. 467. 3. [2] Thefe pi&ures were found at Refina, with the two former, September the 7th, 1748. [3] Some have conje&ured, that the painter intended by thefe little boys to re- prefent the education of children, and their various exercifes. Others have thought, that the genii of thofe employments to which they are defcribed here as applying themfelves, are exprefTed in thefe pieces : this conjecture will be treated at large in a note upon the following plate. [4] Dancing has been held in very great efteem, and commonly praftifed by al- molt all nations. With regard to the facred and convivial dances of the Jews, Exod. xv. 20. and xxxii. 6. fee Spanbeim upon Callimachus, Hymn, in Jpol. nx, 12. and in Dian. v. 266. Luciaii, typi cyyjpsniq, tells us, that the Indians as foon as they rofe in the morning worfhipped the rifing fun, dancing, and imitating by their man- ner the motion of that planet ; and that they did the fame in the evening to the fitting fun. He adds moreover of the Ethiopians, that they never fought without a dance ; and that they did not fo much as throw a dart without firft making a kap^ in order to ftrike a terror into their enemies. But not to infill upon other nations, the Greeks, a moil wife and polite people, certainly efteemed dancing a commend- able exercife, and worthy of every one who would be thought well bred. Pindar alfo, among the excellencies of Apollo, reckons dancing : and another poet fays.; 1 • ' ' * • ' «< Joins i26 PLATE XXX. " Joins in the dance the fire of gods and men." Atbcnaeus, i. 18 and 19. They were indeed of opinion, that the dance was pro- duced along with love, the firft author of all things; that the heavenly bodies alfo danced, and that men took the hint from them; and therefore at firft they were in- troduced only in honour of their gods. See Meurftus upon Arijloxenes, Elem. Har- mon, and Benedetto Averani in Anthol. Dijfertat. xviii. However this may be, among the firft and principal matters which they made their children learn, were mufic and dancing: the firft in order to form the mind.; the fecond to make the body active, and eafy in all its motions, and the limbs firm and robuft : Socrates was of this opinion, who not only bellowed great commendations on thofe who danced gracefully, but would learn himfelf, although he was now far advanced in years. Xenophon, in Convivio, Diogenes Laertius in Socrate, Plutarch de fanitate tuenda, Athenacus, i. 17. and xiv. 6. p. 628, and Lucian, vrzpi opxyosoog, are all likewife of opinion, that dancing is of fervice to make young men ready at martial exercifes: thus Socrates in Atbenaeus, cap. vi. " 0/ %opoig yxxXkiqu Seng Tipuxriv, cepi$oi " El> , OT0?.E[JUa) " He at the facred rites who dances well, " Will in the feats of Mars no lefs excell." And not only Homer commends the dexterity of Merione, who, at the fame time that he was an excellent dancer, knew how to defend himfelf againft the fpear of Aeneai ; but ttiere were many other heroes who excelled in the dance : among whom Pyrrhus the fon of Achilles cultivated the art fo far as to become the inventor of a dance, called from him Pyrrhic. See Lucian, zvspi opyvpzoog. Arijloxenus in Atbenaeus, xir. 6. 630. attributes the invention of this fort of dance to Pyrrbicus the Lacedaemo- nian. The Spartans it is well known were not only very Uriel: warriors, but rigid to an excefs in the education of their children. It is related of them, by Plutarch t zsspi zsoiiluv otywyy\g, at the beginning, that they impofed a mulct upon their king Arcbidamus for having taken a little wife; becaufe, faid they, Ihe will produce dwarf kings. The fame author, in his KnrotyQ£y.oc\a, tuv sv ioig Aunu. xix» Gronovii The/. Graec. viii. 1522, and Aver ani in AntboL dijf. xvi. Vol. I 5 PLATE [ *3° 3 PLATE XXXI. ['] IN Number I. of this plate [2] we have two boys as be- fore ; one of them carries in his hands two tibiae y or flutes [3], which being, as is well known, in great efteem, £ 1] Catalogue, n. 466. 2 and I. [2] Thefe pictures were found at Refina, with the two foregoing ones. [3] Of the invention of the tibia fee p. 38. n. [5]. Authors are full of the .great efteem in which this inftrument was held among the ancients. We learn from Athenaeus, iv. 25. p. 184. that there was not any people in Greece, who did not learn the art of playing upon .it: and in the fame author, xiv. 2. p. 61 an ancient poet calls this art ttpifaojalav, mojl divine.. Indeed there feems to have been no a&ion among them, facred or prophane, ferious or gay, chearful or mourn- ful, in which they did not employ this inftrument. Not to mention particularly the many occafions upon which it was ufed, the cuftom of the Lacedaemonians is worth remarking; inftead of trumpets and other martial inftruments of mufic, they made ufe of thefe in war. Befides Polybius, Plutarch, Athenaeus, and others, who make this obfervation, Thucydides, in book v. relates, that the Lacedaemonians, who were fo famous in war, did not ufe the horn and trumpet in battle, but the flute. Mar- tianus Capella, Ub.'ix. fays the fame of the Amazons. Pollux, iv. 56. affirms, upon the authority of Arijlotle, that the Tyrrhenians not only fought, but fcourged their criminals, and even drefled their meat, to the found of the flute. With regard to the education of youth, we learn from Plato, in Alcibiade, and from Arijlotle, de Rep. viii. 6, that among the Greeks, playing on the flute was one of the arts that were learned by their noble youth : though the cuftom, by the influence of Alcibiades, was afterwards abolifhed in Athens. Thus Gellius, xv. 1 7. " Alcibiades " having been educated by his uncle Pericles in all genteel accompliftiments, among " others, Antigonidas, a famous mafter on the flute, was fent for to teach him on " that inftrument, which was then much in requeft : but, having put the flute to " his mouth and blowed, obferving how it diftorted his face, he threw it away and " broke it. When this was noifed abroad, the inftrument went quite out of fafhion " among the Athenians." The Mythologies relate, that Minerva did the very fame thing for the fame reafon. But Arijlotle, in the place quoted above, is of opinion that Minerva caft oft" this inftrument, not fo much becaufe by puffing out her cheeks it made her appear deformed, but rather becaufe this inftrument was not calculated PLATE XXXI. 131 and much ufed among the ancients, are frequently met with every where ; he is playing upon them both at once [4] : they have flops [5], fuch as thefe inftruments are ufually furnifhed with. The other boy is in a pofture of dancing, or hopping upon one foot [6], and carries upon his fhoulder a flender ftick or cane [7]. to improve the mind. Plato, de Rep. iii. banifhed it from his republic, becaufe it carried the mind out of irfelf, and moved the violent paflions. The Romans in ge- neral made no great account of ringing, playing, and dancing, but efteemed them all unworthy of a grave and ferious man, as we obferved a little above. [4} Thus Theocritus : e< A$V 11 jJ.01." And Augujlin, tracl xix. in Joan. ft fi unus flatus inflat duas tibias, non potefl unus " fpiritus implere duo corda, fi uno flatu tibiae duae confonant V* And Martial, xiv. 64. : " Ebria nos madidis rumpit tibicina buccisy " Saepe duas pariter, faepe monaulcn habet." The monaulon, or Jingle tibia, was called Tityrina according to Athenaeus, iv. p. 176' and 182. though Hcfychius and Eajlatbius fay, that the reed with which the fhep-~ herdspipe or whittle, is properly called t^v^ ; and that from hence, the fhepherds themfelves were called TiJvpoi. See Bartholinus de Tib. Vet. i. 6. In fine, the cuftom of blowing two flutes at once was very common, and we often meet with inftances of it on antiques. Montfaucon, torn. iii. p. ii. /. x. ch. v.. is of opinion that the two flutes were feparate, and that the two pipes united in the mouth of the player, who held one of them in each hand. Pet. Viclorius, Yar. lecl< lib. xxxviii. cap, xxii. will have it, that the right and left handed tibiae fo much ufed in the theatre were fo called, becaufe the one was held in the right hand, and the other in thp left; both of them being -fitted to the correfpondent part of the mouth : and that they made ule of the expreffion cancre fibiis dextris et Jinijiris, when they blowed two flutes together. See however Bartholinus, i. 5. who obferves, that there are fome antiques upon which two flutes may be feen to iflue from one pipe, which was put into the mouth ; and Averani, Ant hoi. dijf. ix. who produces the different opi- nions concerning right and left, equal and unequal flutes. [5] We often meet alfo with flutes which have thefe pegs, ferving to vary the modulation, by opening or clofing the holes of the inflrnment according as there was occ?.fion for it. See Bartholinus deTib. Yet. lib. i. cap. v. [6] To dance upon one foot was called aa-xuXuxfav, Pollux, ix. 121. and they ufed to contend who could thus leap highefi or oftenefl ; or one leaping in this manner, ufed to purfue and endeavour to overtake the others who ran from him on both feet. See Mercurialis de Art. Gymn. ii. 11. [7] Some will have it that this is a leaping pole, to balance the body in dancing : others, that it is a fhepherd's Half, to fignify that the boy io dancing after the ruflic manner. S 2 The 132 PLATE XXXL The firft of the two children in Number IL carries upon his fhoulder a long ftick, which feems to be fplit at the upper end of it [8], with a ring or clafp in the middle. The other boy holds a lyre [9] ; and whilft he gracefully ftrikes the firings, accompanies the mufic with dancing [10]. [8] This, fay fome, may be a cleft flick, like the crota turn ; and the ring ferved (becaufe the ftick was not fplit to the bottom) to keep it from fplitting any farther. They fay, moreover, that it may perhaps bear fome relation to dancing, either to balance the body, or to reprefent a bacchant, or other like character. Pollux, iv. 105. fays, that one kind of dancing was " to uintilian, ix. 4. fays: " Pytha- " goreis certe moris fuit, et cum evigilallent, animos ad lyram excitare, quo effent *' ad agendum ere&iores ; et cum fomnum peterent, ad eandem prius lenire mentes, *' ut fi quid fuiffet turbidiorum cogitationum, componerent." Mot the Pythagoreans only, but whole nations, efpecially in Greece, fancied that the found of the flute, but ftill more that of the harp, had power to heal the plague, and many other difeafes; nay, that it could excite and aflfuage by turns the paflions of men, and even of beafts. The reafons for this, as alfo inftances of it, may be feen in Plato, Plu- tarch, Athenaeus, Cicero, and others. [io] Mufic is either vocal or inftrumental. Pollux, iv. cap* xiii. adds dancing alfo, confidering it as a part of mufic ; though others make it a part of the palaejlra. In genera!, mufic, comprehending alfo dancing (which undoubtedly is a companion to if), was held in the higheft efteem by all civilized and poliftied nations. Polybius, lib. PLATE XXXI. 133 lib. iv. Writes thus of the Arcadians, who boafted that they were the oldeft people in the world : " the Arcadians, though they were extremely fevere in all their ** other cuftoms, yet taught their children mufic from their very infancy, till they " were thirty years old, choofing that their boys and youths Ihould celebrate every * f year in the theatre bacchanals, with ringing and dances, to the found of the " flute. Among this people a man might be ignorant of any other art without " difgrace ; but not to underfland mufic, was a great dilhonor." Indeed, throughout all Greece, not to know how to dance, play, and fing, was a difgrace. At ban- quets the harp was introduced, and the guefts were expecled to fing to it. Cornelius Nepos relates, that the not being able to play on any inftrument was reckoned a reproach to Themiftocles ; and that dancing, fmging, and playing upon the harp and flute were reckoned among the excellencies of Epaminondas : he fubjoins, " haec ad noftram confuetudinem funt levia et potius contemnenda : at in Graecia " utique olim magnae laudi erant." And, though at flrll among the Romans, " mos fuit epularum, ut deinceps qui accumberent canerent ad tibiam claro- ts rum virorum laudes, atque virtutes," according to Cicero, Tufc. Sguaeji. iv. at the beginning ; and though the Roman ladies brought up their daughters to fing* ing, dancing, and playing upon the harp, as Plutarch in Pompeio, Sallujl in Catilin. and Macrobius, fat. iii. 10. obferve of Cornelia the daughter of Metellus; yet thefe accomplishments were by no means approved and commonly received ; but on the contrary, were found fault with by grave and wife men : unlefs we mould fay, that it was not the ufe, but the abufe of mufic, which was condemned at Rome. See Averani, Anth. Dijf. xviii. Wherefore Cicero, de Leg. ii. admits mufic into the city ; " cantu, voce, ac fidibus, et tibiis ; dummodo ea moderata fint, ut " lege praefcribitur." The Romans had alfo their college of Tibicines and Fidi- cines, eftablilhed by Numa with the other colleges of artifls: and Ovid, Fajt.v'u 657, &c. fays : " Temporibus veterum tibicinis ufus avorum u Magnus, et in magno femper honore fuit:'* becaufe the tibia was ufed in all the facred rites, in public entertainments, at ban* quets, and on many other occasions. The muficians themfelves were however in no efteem. It is difputed whether they were Romans or foreigners, flaves or freemen. However, if they were citizens, they were of the fcum of the people, mercenary and vicious ; infomuch that they who lived fplendidly, but at another's coft, were faid proverbially tibicinis vitam vivere, and mujice vitam agere. See Bartholinus de tib. ii. 7. and iii. 1. Hence it came to pafs, that although the Romans made ufe of mufic, yet ic never arrived at that efteem among them which it had obtained in Greece: and we may fairly fuppofe, that if the profeffors of the art were vicious themfelves, they could not produce virtuous effects in others. On the contrary, they were not perfuaded, like the Greeks, of the great power of mufic upon the mind. Cicero laughs at Damon in Plato, for being afraid left the City itfelf mould be altered if the kind of mufic which they were accuftomed to received any change; whereas Cicero, on the other hand, was of opinion, that when the manners of a city changed, the mufic would alfo change along with it. Polybius, in the paffage referred to above, obferves, that the inhabitants of Cynaetha, a city of Arcadia, could never accuftom themfelves to muf c, becaufe their climate and natural difpofition were fuch as to render them incapable of having either dancing or in- ftrumental mufic. Whether the Egyptians ever cultivated this art is a doubt. Die* dorus, i. 80. fays plainly, that they paid no attention either to gy mnaftic exercifes, or 134 PLATE XXXI. or to mufic ; becaufe they looked upon the former as of no ufe to the body, the latter as injurious to their manners. But this does not appear to be wholly true, fince we read of Mofes in Philo, that he learned the whole art of mufic in Egypt. However this may be, mufic and dancing were exercifed in Rome by girls of Mem- phis, as Petronius calls them, and by Egyptian boys. The two other fatyrifts, Horace and Juvenal, fpeak of Syrian tibicens, who were called Ambubajae in Syriac. See VcJJii Etymolog. in Ambubaia, and Spanheim upon Callimachus, Hymn, in Del. v. 253. And here we may obferve, that in general at Rome the minftrels were the loweft of the people, and that they employed the very worft and mod (hamelefs of thefe at their entertainments. Under the emperours, luxury being increafed, danc- ing, playing, and finging became common ; but were found fault with, not only : by the fathers of the church, but by the heathen philofophers. PLATE P. S. Ztim bat -n fen fy>. [ 135 ] PLATE XXXII. M TH E attitudes of the two beautiful and delicate figures reprefented in the firft pi£ture [2] of this plate, in a tafte not inferior to its companions, are really fine, and ex- tremely graceful. One of the boys fupports upon his left fhoulder an inftrument of feveral firings [3], which he touches with his right hand [4], and dances at the fame time. The £1] Catalogue, n. 466, 3. and 468. 3. [2] This pi&ure was found the 7th of September, 1748, atRefina: the other was found Augufl the 13th, of that year, in the fame ruins, but not in the fame place. [3] Athenaeus, iv. 25. p. 182, 183, reckons up many forts of mufical inftru- ments with firings. Pollux, lib. iv. cap. ix. f. 59, &c. alfo gives us a confiderable number. They both mention among the reft the triangle. Socrates in Athenaeus , calls this inftrument fyvyiov. And one of the guefts in this author fays, that one Alex- ander Alexandrinus played fo well upon this inftrument; that, having exhibited in public at Rome a fpecimen of his art, the Romans became fond of this mufic even to madnefs. This is all that we know of the 't riangle. The inftrument reprefented in this picture may very well be called by this name, though it wants the third fide. The trigonimi is diftinguifhed by Athenaeus from ihefambuca, which is defcribed by Porphyry to be " a triangular inftrument, with firings unequal both in length and " thicknefs." See Bulenger de Theat. ii. 45, 47. Graev. the/, ix. p. 1056, and Spanheim upon Callimachus, Hymn, in Del. v. 253. In the hand of a lady, in Spon, Mifc. Er. Antiq. p. 21. tab. 48. is a ftringed inftrument of a triangular form, and clofed on all the three fides. Spon gives this account of it : " Citharam cernis, " triangular; forma, qualis defcribitur in epiftola, quae Hieronymo tribuitur, de ge- " neribus mujicorum : torn. ix. epijl. xxviii. Cithara autem inquit, de qua fermo eft, *' ecclefia eft fpiritualiter, quae cum xxiv feniorum dogmatibus trinam form am ha- " bens, quafi in mod urn A literae," &c. Indeed all ftringed inftruments may be reduced to the cithara, with which we may obferve in particular, that not only the lyre, but the tejludo alfo, and the barbiton, are confounded by the poets, though in reality they were different inftruments. [4] Stringed inftruments ufed generally to be played upon with the plectrum, as we have feen in the Chiron, and as we may alfo obftrve in the lady above-mentioned other 136 PLATE XXXII. other boy feems alfo dancing to the fame mufic, and is hold- ing in each hand two nails [5] ; unlefs thefe alfo be inftru- ments which make a fort of mufic by (Inking them together [6]. In the fecond picture three boys are playing together in this manner [7]: one of them holding a rope with both his hands tied at one end to a nail fattened into the ground, endeavours to draw it towards him ; whilft another of the boys draws the rope the contrary way towards him with one hand, and in the other holds a rod or fwitch : the third has alfo in his hand a fwitch, and feems going to hit the firft boy with it [8], in Span : there are numberlefs paffages in the Greek and Roman poets which atteft it. Plutarch, in his Laconic Apophthegms , near the end, tells us, that the Spartans,, who were ever religious obfervers of ancient cuftoms, puniflied a harper becaufe he did not make ufe of the pleclrum, but (truck the firings with his hands. There was more art however required in playing with the fingers, and perhaps the tone was thus rendered more pleafmg. [5] Some fufpeft that thefe nails are fymbolical, and defigned perhaps to repre- fent fome myftery of love, or fome more remote and fublime fecret. Others how- ever do not think there is any thing fo recondite in them. [6] Others are of opinion, that thefe are not nails, but little bones, or fome fuch thing, which made a found by being ftruck together ; and think they may be con- sidered as a fort of crumata, Kpajju^a. The inftruments in the hands of fome young men in Span, tab.xYw. p. 21, and which he calls crumata, are however different from thefe. [7] Plutarch, in his treatife upon the Education of Children, {hows, that boys fhould be permitted to intermix plays proper for their refpeclive ages with their ftudies. It was the bufmefs of thofe who had them under their care to make them play at fuch games as might contribute either to render their bodies more fupple and robuft, or to form their minds. There are two treatifes upon the plays of children among the ancients, one by the learned jefuit Eulenger, and the other by the celebrated John Meurfius. [83 Pollux, ix. cap. vii. when he is defcribing the various games in ufe among the ancients, fays, fegtn. 112, " the dielcijlinda was ufually performed in the pa- " laefira, though fometimes in other places. There were two parties of boys who " dragged one another in oppofite directions ; and they who drew the other party " to their fide got the better." In fegm. 116, he adds, " the fcaperda is this : they " place in the midft a perforated ftake ; through the hole they put a rope, to each " end of which a boy is tied, with his back towards the ftake ; he who can by : ** main force draw the other to the top of the ftake is conqueror : and this is called " (x-HMUc^av ikHm" Homer, Iliad xvii. v. 389, &c. defcribing the contention be- tween the Greeks and Trojans about the body of Patroclus, compares it to thofe who are playing at this game ; Eujiathius upon this paflage, defcribes the Elcijlinda and PLATE XXXII. i 37 and fcaperda, and makes this only a part of the firft. Meurjius diflinguimes the elcijlinda from the dielcijlinda, but they feem to be the fame game, as Jungermannus has obferved : and it is remarked by Hejnjlerhuys, that when they played with a flake, it was called fcaperda, when without, it was called elcijlinda or dielcijlinda. Plato alfo, in his Theaetetus, fpeaks of this game. See Mercurialis Art. Gymn. lib. iii. cap. v. See alfo Cafaubon upon Per/ius, fat. v. where he deduces the common proverbial expreflion ducere funem contentiofum, or funem contentionis, from the elcif- tinda. Pollux, in the fame chapter, fegm. 115. defcribes the Schoenophilinda thus: " Several boys fat down in a ring : one of them having a rope fecretly laid it down " by another ; if he did not difcover it, they beat him whilft he ran round the ring ; " if he found it out, he who laid down the rope was beaten himfelf." It is not eafy to determine to which of thefe games that which is here reprefented may be referred; or whether to both of them together, or to fome other different from either. Vol. I T PLATE [ *38 ] PLATE XXXIII. [] IN both pictures [2] of this plate are flill reprefented the plays of children. In the firft there is a little carnage [3] with two wheels [4] ; it has a pole [5], at the end of which is a round piece of wood [6], to which are faftened two boys ferving for horfes, and guided by a third boy who holds the reins with both his hands, and adts as charioteer [7]. [1] Catalogue, n, 467. 2andi. [2] They were found in digging at Refina, in the year 1748 : this the 31ft of Augull, and the other on the 7th of September. £3] It exaftly refembles in form the chariots which were ufed in the Circenfian games, as we fee upon marbles and coins ; and differs from others which were clofe even on the fides, and from thofe which were in the form of a calk, clofe all round ; figures of which are often met with upon medals and intaglios. [4] The carriage with two wheels was ufually called XUfw/pv by the Greeks : among the Romans we find alfo the birota or birotum. For the race they moft com- monly ufed two-wheeled carriages ; and Voffius thinks thefe were called ci/ium, from caedo, as it were half a currus or carruca t which had four wheels, as had likewife the rheda, the pitentum, the petorritwn, and the carpentum fometimes ; that they made ufe of it chiefly in the city, and to travel in alleep, and at eafe. The cifium correfponds to our calajhes ; and in fome ancient monuments is furnifhed with bars as ours are. See Scbefferus de re Vehicul. W. 17, 18, &c. (5] The ancients ufed as many poles as there were pair of beafts to the carriage. Thus Ifidore, xviii. 35. (t Quadrigarum currus duplici temone erant." And Xeno- phon y Cyrop. vi. " the carriage of Abradates had four poles and eight horfes." The carriage was called biga or quadriga from the number of beafts that drew it. They went as far as lixteen : for Xenophon fays, that Cyrus's chariot had eight poles, and confequently it muft have been drawn by eight pair of horfes : Cyrop. vi. *' Kupf^j 2s 3wv 70 T^ax^jujw uvja apfjux, Tutfsvoqo-zv wg oiov tj hv\ xexi oxIctgvjjLov TVorqa-ua-Qotiy *' ugs ok]oo £evBcckvh i7T7r^>. ,y Clemens Alex andrinus, Strom, I. vi. alfo fays: *' Many are terrified at the philofophy of the heathens, jufl: as children are at " [jLcppoXviiici, or bug-bears. " Hence the ^o^qXvkhov is taken in general for any " thing which terrifies children, and particularly for thofe ugly masks, either tragic " or comic, at the fight of which they are affrighted," according to the Scholiafl upon Arijlophanes in Pace. See the fame alTerted in the Etymologicon, in Acharn. <& Equit. and by Suidas in Mo^Kvyj-tot. Of the fame fort with thefe were the masks called by the Romans lamiae, manias, manduci, and the like. Thus the Scholia/l upon Perfius, fat. vi. v. 56. we meet with this infcription : " genio. " collegi. tibicinvm. roman orvm. o_. s. p. p." In Gruter, p. 175, we read, " TIBICINES. ROMANI. QVI. SACRIS. PVBLICIS* PRAEST. SVNT. COLLEGJO. TI- " BICINVM. ET. FIDICINVM. ROMANO RVM. QVI. S. P. P. S. TI. IVLIVS TYRAN- " nvs, &c." In Reinejius again, cL'i. n. 302. " genio. colleg. cent." (the cen- tonarii belonged to the company of carpenters) and n. 160. " genio. collegi. " peregr." The learned Heineccius is of opinion, de Coll. Oplf. § vi. torn. ii. ex. ix. that the carpenters worfhipped particularly the deity Sylvanus; becaufe there is an infcription Sihano dendrophoro. [7] The manual arts were called spfoca-toti, as Dr. Hammond obferves upon Tit. iii. 8. where St. Raid gives them the name of xccKa spfoi, honourable employments ; he fays alfo, Thejfal. iii. 12. " that the bufy-bodies ftiould work with quietnefs, and " fo earn their living." Schefferus, in Ind. Gr. ad Ael. v. Bavocw(&> Tf%wj. diftin- guifiies between the mechanic and the more mean or fedentary arts ((3. See Joannis Meurfii Orchejlra in this word. Gronovii Tbef. Graec. viii. 1253. The ufe of the prefs was the fame as it is now, to fqueeze grapes and olives ; and, as far as comes to our knowledge, the writers de Re Rujlica now extant, make mention of no more than two forts of prelfes, one which was worked by a fcrew, and the other by weights. Vitruvius, vi. 9. does not feem to admit of any others : if ipfum autem torcular, fi non cochleis torquetur : fed vecYi- " bus, et prelo premitur :" and then he goes on to affign the meafures proper for thefe two forts of prelfes, without hinting at any other. There is a palfage in Pliny, xviii. 31. very much to the purpofe, where, fpeaking of the laws relating to the vintage, he gives an account of the different forts of prelfes, and the time of their invention : " antiqui funibus, vittifque loreis prela detrahebant et vectibus." Of thefe Cato fpeaks in chap, xviii. " Intra Cannos inventa Graecanica, mali rugis C( per cochleas bullantibus, palis affixa arbori ftella, a palis areas lapidum attollente " fecum arbore, quod maxime probatur." Of thefe Vitruvius and Columella muft be underftood to fpeak : " Intra xxii. hos annos inventum parvis prelis, et minori " torculari, aedificio breviore, et malo in medio decreto, tympana impofita vinaceis, " fuperne toto pondere urgere, et fuper prela conftruere congeriem." All thefe, however, may be reduced to the two before mentioned. Indeed, to this day, the board which preffes the grapes or olives, is either moved by a fcrew, or by long planks with weights hung at the ends of them. Cato de Re Rujl. cap. xviii. de- fcribes the manner in which the ancient prefs was conftrucled : but his defcription is fo obfeure, that, as Turncbus obferves, a learned and ingenious architect is want- ing in order to underftand it: and Popma, after having attempted to explain it, de- filled, from a confeioufnefs of not being able to illuftrate it by words. It is certain, however, as Popma alfo remarks, that the prefs defcribed by Cato is different from Vitruvius's, as well as from that which is now in ufe : nor does it in any refpeet refemble that which is here painted ; this of ours being extremely fimple, and his compound and intricate enough. [5] Cato, in the place quoted above, fays: " There fink an hole in two Hones, " ferving for feet or bafes ; in thefe holes place a couple of upright ports :" Popma explains pedicinus to be a (lender worked foot or bale, into which the poll was in- ferted. We may obferve that Cato directs the beams and polls to be of oak or fir : " arbores ftipitefque robuftas facito, aut pineas." [63 Thus Cato : " Over the polls place a fiat timber, two feet wide, one foot " thick, and thirty-feven feet long ; or if you have not one piece big enough, put " in two." Probably he means this crofs timber, which is necelfary in all prelfes. [7] In fcrew prelTes there is ufually only one prelum, or tranfverfe board, which comes down upon the grapes to prefs them : in thofe which are worked by weights, though there be in them likewife only one board to fqueeze the grapes, yet other wooden PLATE XXXV. 147 wooden wedges [8], form the whole machine. The hammers [9] which the two Genii have in their hands, and with which they are Itriking the wedges on the oppofite fides, let us into the bufinefs they are about, and the ufe of the crofs timbers and wedges [10]. In the wooden vat [11] the grape [12] may- be diftinguifhed ; and by the red liquor which runs through rranfverfe boards are alfo neceffary, which, by being preffed one upon the other, make the whole weight ultimately act upon that plank which lies over the grapes. This was called in Latin prelum, quafi premirfum. See Vofl'. Etym. upon that word. The Greeks called it totthov, or rovriov, and op&>. See Harpocration. Cato, cap.xxiri. fays : " Inter arbores, medium quod erit, id ad medium collibrato, ubi porculuin t( figere oportebit, uti in medio prelum recte fitum fiet. Lingulum cum fades, de " medio prelo collibrato, ut inter arbores bene conveniat, digitum pollicem Iaxa- ** menti facito." Popma explains the lingula to be " noviffima pars preli, quae in- " ter duas arbores reftas inferitur in modum linguae." In the prefs which is here painted, upon fuppofuion that all the crofs timbers ferved for prela, they ought alfo to be called by that name, according to the explanation which we fliall give prefently. [8] Cato alfo mentions cuneos, but his feem to have been defigned for a ufe differ- ent from that in which thefe are employed. In the neighbourhood of Portici a prefs refembling that which is here painted, is ufed at this day ; only inftead of wedges they ufe wheels to prefs the crofs timbers together. [93 From the form of thefe hammers fome have conjectured, that they rather ferved here to cut off the hufks of the grapes, as is the cuftom among the vigner- ons ftill; thus Varro de Re Rujl. i. 54. " Cum defiit fub prelo fluere, quidam cir- " cumcidunt extrema et rurfus premunt ; et rurfus cum expreffum circumcifitura ap- f pellant ; ac feorfum quod expreffum eft fervant, quod refipit ferrum." But the attitudes of the genii (how that this is not the cafe. [10] The mechanifm of this prefs may be thus conceived: let us fuppofe the crofs timbers to be loofe at the two ends, which are fitted into grooves made all along the inficle of the two upright pofts, fo that the tongues or ends of the crofs timbers may freely rife and fall perpendicularly. The wedges placed in oppofite directions between the crofs timbers being knocked in by the hammers of the genii, by coming clofer together, prefs upon the crofs timbers in fuch a manner that their whole force is ultimately employed upon the laft, which lies over the grapes, crufhes them, and preffes out the juice. [11] The bed, or that part of the prefs into which the grapes were put, was anciently called forum. Thus Popma : u Forum eft pars torcularis in quam uva " defertur, ut prelo fubjiciatur." Varro, de Re Rujl. i. 54. calls it forum •oinarium. See Index Script. Rei Ritjl. by Gefner, under the word Forum. [12] Varro, i. 54. fays: " Quae calcatae uvae erunt, carum fcopi cum folliculis " fubjiciendi fub prelum, ut fi quid reliqui habeant mufti, exprimatur in eundem *' lacum." Columella, de Re Rujl. xii. 29. fays : ?' Ante quam prelo vinacea fub- tc jiciantur." Concerning the word Vinacea, fee Gcfncr in the Index quoted above. U 2 the • 148 PLATE XXXV. the trough [13] into the veflel[i4] underneath, we know the mult [15]. The veflel which is apart from the prefs upon a lighted furnace, with a Genius who is (tirring the liquor in it with a wooden ladle [16], exprefles the cuffcom of boiling the muft [ 1 7]. [13] In the preiTes which are now in ufe, the forum (which modern vignerons call the bed), the trough, and the veflel or vat into which the liquor runs, are all of" them the fame as in this. [14] We have already feen, in note [12], that Varro calls this lacus. Thus alfo Columella, xii. 18. " Turn lacus vinarii, et torcularii, et fora." Urfinus reads tor- cularia : Gefner remarks, " potuerunt tamen effe etiam lacus torcularii a vinariis " diverfi." It is mentioned alfo by Ulpian, I. xxvii. § xxxv. ad L. Aquil. where Budaeus thinks we ought to read laccum. See Cujacius, x. obf. ix. [15] Mujlum in Latin fignifies properly any thing new. Thus Nonius : " Muftum " non folum vinum, verum novellum quicquid eft, refte dicitur." Whence Naevius fays: " Utrum eft melius virginemne, an viduam uxorem ducere ? Virginem, il " mujla eft." Thus Cato, cap. cxx. " Muftum fi voles totum annum habere, in " amphoram muftum indito, et corticem oppicato, dimittito in pifcinam, poll: xxx. diem eximito. Totum annum muftum erit." See Columella, xii. 29. who calls that which had been prelTed one day by the fame name. The ancients feem to have diftinguifhed three forts of muft. I. Protopum : thus Pliny, xiv. 9. '* Protopum " appellatur a quibufdam muftum fponte defluens, antequam calcentur uvae :" thus alfo Hcfychius and Pollux. II. Lixivum: thus Columella, xii. 27. " Lixivum, h. e. " antequam prelo prelTum fit, quod in lacum mufti fluxerit, tollito." Gefner will have this to be the fame with the Txpoiptmrn ■> but if the grapes were trod before they were preffed by the prelum, it Ihould feem that they were different. III. Tor- tivum : which is, " quod poft primam preffuram vinaceorum circumcifo ptde ex- '* primitur." Columella, xii. 36. [16J The flick with which the genius is mixing or ftirring the muft in the kettle, was called rutabulum. Thus Columella, xii. 20 and 23. " Rutabulo ligneo agitare, " permifcere;" when he is fpeaking of boiling the muft : and in chap. xii. upon the fame fubjecl: : " fit puer, qui fpatha lignea, vel arundine permifceat." [17] The Greeks ufed to boil their wines: whence in Athenaeus, i. *. 31. the poet Alcman calls the wine of the five hills near Sparta ajrvpov, that is, as Athenaeus explains it, " 8% s^jti[jlsvov' zyjMvjc yap :- s-^-/ijjLs^-> hc, yXvKvl-^a though afterwards he confounds the sxfyuoc, or boiled wine, with the oivoytXt, or mulfum, which is wine adulterated with honey. He mentions alfo the E^xiov (called by Hcfychius, and alfo by Galen, M;9. Bspavr. lib. ii. by the fame name), which he defcribes to be muft boiled to fzveetnefs. Pliny, xiv. 9. joins the. v\/;]\i.a and cripatov of the Greeks with the fapa of the Romans: " Siraeum, quod alii hepfema, noftri fapam appellant, ingenii non naturae opus eft, No PLATE XXXV. t 49 No lefs beautiful or interefting is the other picture, which prefents to us the fhop of a Jhoemaker : two Genii are fitting upon ftools[i8], by a table, at work [19] [20]; a fmall round inftrument [21] lies upon the table; there is a fhelf n mufto ufque ad tertiam partem menfurae deco&o. Quod ubi faclum ad dimidiam " eft, defruturn vocamus." If then the muft was boiled to one half, it became de~ frutum ; if two thirds of it were boiled away, fapa ; if one^ third only, it was called caroenum. ft Caroenum cum tertia perdita, duae partes remanferint," fays Palla- dius, xi. 18. See Gefner in the index before quoted in Carenum. The manner of boiling the mud in order to make thefe wines is defcribed by Columella) xii. 10, &c. where what he fays at the beginning is worth our attention, on account of this picture : " Muftum quod defluxit, antequam prelo pes eximatur, fatis de lacu in " vafa defrutaria deferemus, Unique primum igne, et tenuibus admodum lignis quae " cremia ruflici adpellant, fornacem incendemus." They ufed, in order to give their wines fweetnefs and fragrancy, to put in apples and fpices ; and to make them keep, they mixed tar, turpentine, chalk, afhes, and the like. Columella, Pliny, and Palladius, in the places quoted above. As to what relates to the wines in the neighbourhood of Vefuvius, fee Strabo, v. p. 243 and 247, and Pliny xiv. 1. and 6, where, concerning the wines of Pompeii, he has thefe words : " Pompeianis fum- " mum x. annorum incrementum eft, nihil fene&a conferente. Dolore etiam capi- " turn in fextam horam diei fequentis infefta deprehenduntur." The praifes which Martial, iv. ep. xliii. gives to the wines, and the fruitfulnefs of Mount Vefuvius and its neighbourhood, are well known. [18] Thefe ftools, called in Latin fellulae, are ftill ufed by the fhoemaker?. Perhaps it was from hence that thefe employments were called Jellulariae, nr.iuu. [193 The employments of the two genii have beauty and propriety. The fir ft: feems endeavouring with his right hand to ftretch, probably upon a laft, the upper- leather of a ftioe, which he holds tight with his left. Martial, ix. 75. thus ex- preffes the manner of doing this, which was in moft general ufc among the fhoe- makers : " Dentibus antiquas folitus producere pelles." Pliny, xxxv. 10. fpeaks of Pireicus, who " tonftrinas, futrinafquc pinxit." [20 J Among the companies eftablifhed at Rome by Nwna, Plutarch reckons that of the flioemakers. But this fliared the fame fate with the reft : and therefore under Alexander Severus we find it re-eftablilhed, together with the other companies, according to Lampridius; who fays, in cap. xxxiii. of the book quoted in note [33, " Eum corpora conftituifTe omnium vinariorum, lupinariorum (Cafaubon reads popi- " nariorum), caligariorum et omnino omnium artium, hifque ex fe defenfores dediffe.'* The jlooemakers dwelt in the fourth ward at Rome, where was the vicus fandaliarius, of which mention is made in inferiptions in Pancirollus and Cudius. See likewife Aldus Gellius, xviii. 4. " In fandaliario forte apud librarios fuimus ;" and Seneca, epijl. cxiii. The invention of this art is attributed by Pliny, vii. 56. to one Boctbius. The ufe of flioes however is very ancient ; Mofcs and Homer make mention of them: and Balduinus, de Calc. cap. i. fuppofes that, if not regular lhoes, yet forne defence at leaft againft thorns, was ufed by Adam himfelf. ~[ 21 3 ^ rctembles that which is now ufed to fit the flioe to the foot. Pollux, vii. fixed 150 PLATE XXXV. [22] fixed againft the wall with fhoes upon it [23]; on the other fide is a prefs, containing feveral things appertaining to the trade, among which are fome wooden lafts [24], and vef- fels perhaps to contain different colours [25], with which fhoes ufed anciently to be ftained. cap. xxi. names feveral of the flioemakers tools : H o-jjuXt], TVeptTopivs, cvyithk, xu7.c- " Trohg:" which are dill in ufe among us. [22] The flioemakers ufe exaclly fuch an one now, to fet their {hoes upon when they are finifhed : and accordingly upon this there are two pair laid up and finifhed, [23] Different forts of fhoes were made ufe of among the ancients; fome for men, fome for women, and fome which were common to both. Horace, fpeaking of the fenatorial calcei, i. fat. vi. fays: " Ut quifque infanus nigris medium impediit cms, " Pellibus." Tertullian, de Pa Mo, cap. iv. fays the fame of calcei in general. The perones, which belonged to the clowns, and were ufually worn by the Romans in the coun- try, and even in the city by the plebeians, reached alfo to the mid-leg. Apollinaris Sidonius, lib. iv. ep. xx. The Greeks ufed the fccafii, whofe form has however been much controverted. The cothurnus was worn not only by tragic actors, but alfo off the flage : Virgil, Aen.'i. 341. attributes the cothurnus to hunters. Baldui- ?ms, de Calc. c. xv. will have it, that it was the very fame with the hunting boot, and that it came up high like our half-boots. The fhoes which are here figured may be referred to all thefe forts; and to others alfo among the many which are reckoned up by Pollux, vii. c. xxii. [24] Pollux, vii. cap. xxi. fays, that the ancients called the lajls vjzfamohs, and that they retained the name in his time. Galen alfo, lib. ix. ©spam: calls them by the fame name ; whence the interpreter of Horace, ii. fat. iii. 106. calls them calo- podia. Horace himfelf, however, in this paffage calls them formas, and fo does Ulpian, I. v. § ii. ad Leg. Aquil. [25] The atramentum futorium mentioned by Pliny, is that which was ufed for ftaining the fhoes black : and thus of other colours, with which they were accuflom- ed to die them. See Chryfojlomi Homil. xxvii. PLATE PL XXXVI. [ "Si ] PLATE XXXVI. w T does not feem an eafy matter to determine what trade the [i^ Catalogue, n. 470. 4. and 2. [2] The firft of thefe was found the 13th of Auguft, and the other the 24th, in the year 1748, in digging at Refina. [3]] In Monifancon, torn. iii. p. 358. there are two looms copied from two minia- tures ; one in the celebrated Vatican Mamifcript of Virgil, and the other in a com- mentary upon Job, which is thought to be of the tenth century ; but they are both very different from this. [4] This conjeclure feems to receive fome fupport from the obfervation, that the pod upon which the third Genius has his hand does not reft upon the feet of the oblong board, as the others do, but comes quite down to the ground, arid the fiool, which is under the loom, is joined to it at one end; whence the Genius, by drawing this long poft towards him, feems to communicate alfo a motion to the ftool. Upon fuppofition therefore that thefe Genii are weavers, we may fay, either that the manner of making thofe nappy cloths, mentioned by Pliny, viii. 48. is in- tended to be reprefented, or elfe the method of weaving nets. And we may ob- ferve what is faid alfo by Pliny r xix. i.- where, fpeaking of the different forts of thread, he fays : " Eft fua gloria et cumano {lino) in Campania ad pifcium et alitum 14 capturam. Eadem et plagis materia — Sed Cumanae plagae concidunt apros, et " hae, caffefve ferri aciem vincunt. Vidimufque jam tantae tenuitatis, ut anulum u hominis cum epidromis tranfirent ; uno portante multitudinem, qua faltus cinge- " rentur. Nec id maxime mirum, fed fmgula earum ftamina centeno quinquagcno u filo conftare." As to what regards the manner of weaving in ufe among the ancients, fee Ferrarius, Anal, de Re Vcjliar. cap. xiii. Braunius, dcvefl. Saccrd. llcbr. and others. any 152 PLATE XXXVI. any of the inftruments which are neceflary to this art [5], one of the winged boys is rather in a pofture of fpiitning [6] the thread which is hung upon one of the little hooks that are driven into the upper crofs pieces of the frame. We cannot very well fay in what it is that the other boy, who has alfo a thread, like the firft, in his hand, is employed : indeed the picture has been much damaged, and is in bad prefervation. In the bajket) which is on one fide, were perhaps rcprefented bottoms of thofe materials which they are at work upon [7]. [5] The implements of the weavers are defcribed by Pollux, vii. 36. See Seneca, <»/>. xc. Pliny, vii. 56. attributes the invention of weaving to the Egyptians. The honour of it is ufually given to Minerva, to whom indeed all the other arts were likewife attributed. Hence (he was called by the Athenians spyocvvjg. Paufanias, i. 24. and elfewhere. Amongft the employments of the heroines thofe of the loom are fpoken of with the higheft praife. Eujlathius, Iliad, i. 31. pag. 30. See Potter, iv. 13. Herodotus, ii. 35. among other ltrange cuftoms of the Egyptians, men- tions this : et oa fji-v ywowcsg afoptx^iitrt Teat vjUTf/iKiVHTi' 01 h avfysg koct otxag «ovj-g, " v. 106, remarks, that upon medals we frequently meet with Diana either in a car drawn by flags, or fitting upon one of rhele animals. And it mould feem that this goddefs was particularly fond of hunting flags, hares, deer, and other timid animals ; from whence fhe had the name of sAst^goA^w, though Homer, Z. 104. adds wild bears; and Ovid, Fajl. ii. 163. fays in general: " Mille feras Phoebe fylvis venata redibat and in the Anthologia, iv. cap. xii. it is faid of Diana: " n«o"(3J y§m oKifov tuS; yjjy/iys The whole world' 's a field Too fmall for her to /port in. See Spanheim, upon the Hymn of Callimachus, quoted above, v. 2, 12, and 151. However this may be, it is certain, that other deities befides her, were addicted to hunting. Not to mention Faunus, Bacchus, and Sylvanus, who are invoked by Gratius ; and Apollo who is invoked by Hercules in Acfchylus, when he is about to moot at a bird: Ariflaeus alfo is invoked by thofe who make pits or lay fnares for bears and wolves, becaufe he firfl invented this fort of hunting, as Plutarch, & EpujiKLo, informs us. In fhort, many and various were the forts of hunting in ufe among the ancients, according to the fort of animal which they purfued, and the manner in which they took them. See Xenophon, Oppian, Nemcjianus, See. upon this fubjecl. The hunting of lions, tigers, and other ferocious animals was very dangerous, and therefore not proper for women, unlefs it were Cyrene, Atalanta, or fuch heroines, who were fuperior to the reft of their fex. The other kind of hunting, which is properly the venatio of the Romans, and the Kw/jFiTiK'/j of the Greeks, and which confifted in the purfuit of flags and fuch timorous animals, and where pleafure, exercife, and dexterity only were confulted, was more fit for the nymphs who are the attendants of Diana. Taking of birds is put by Plato, leg. x'u. in the fecond place; and as Athenaeus, i. p. 25. obferves, was alfo pradifed by the heroes. [6] Seneca, epijl. x. 77. thus diftinguifh.es three properties of hunting dogs: " In cane fagacitas prima eft, fi invelligare debet feras ; curfus, fi confequi ; auda- " cia, fi mordere, et invadere." A good nofe for trailing, a good foot for purfuing, and courage in attacking. Gratius, v. ] 54, fays : " Mille canum patriae, duclique ab origine mores " Cuique fua." Befides the ancients before mentioned, there is an excellent poem by Fracaflorius de cura Canum ; and a treatife by Cuius, de Canibus Britannicis. See alfo Uhfius's Pre- face to Gratius. The defcription of a perfect" hound by Nemefianus, v. 108, &c. is Yery good, and fuits the picture before us : With PLATE XXXVII. i 57 With no lefs tafte, though in a manner fomewhat fantaftic, two Genii [7] are reprefented in the fecond picture upon cars, drawn by dolphins [8]. It is pleafant to obferve thefe dol- phins yoked together [9] : and no lefs piclurefque than ele- gant, is the fportive manner in which one of the Genii is painted upon the point of falling into the water [10]. " Sit cruribus aids, " Sit rigidis, mukamque gerat fub pectore lato " Coftarum fub fine decenter prona carinam, " Quae fenlim rurfus ficca fe colligat alvo : - " Renibus ampla fatis vadis, didu&aque coxas, " Cuique nimis molles fluitent in curfibus aures." [7] We often meet with winged Genii like thefe drawn in cars both by land and fea, reprefented upon marbles and gems. If the general idea which has been hinted at before be not fatisfa&ory, we may fuppofe that by the wings is fignified fwiftnefs in the courfe. Sometimes the charioteers appeared thus accoutred in the circus, [8] Dolphins, as we have elfewhere obferved, were particularly facred to Venus : and in the Anthologia we read, that Cupid is carried by dolphins, in order to fignify his power even over the fea. Concerning the natural affe£Hon which this fifh has for mankind, and efpecially for boys and virgins, fee Plutarch de Indujtr. Animal. and others. [9] In carriages which were drawn by four horfes abreaft, the two middle ones were called juga/es, becaufe they were yoked together : of the other two, one was called funalis dexter, and the other funalis fmijler. See the Scholiaji upon Arijlo- phanes in Nub. On a red jafper in Agq/iini, p. ii. tab. 59. there is a car refembling this drawn by dolphins, guided by a Cupid with reins, and a whip in his hand, but without the yoke, executed like the piece under confideration, in a beautiful and elegant taite. [10] Much might be faid upon the diligence of pilots; and one might quote Pa/inurus, who fell afleep and was drowned. But, all allufions and fymbols apart, this is undoubtedly a very elegant fancy of the painter. P L A T E [ '58 ] PLATE XXXVIII. [0 f I 1 H E picture [2] which is engraved in the firft dividon JL of this plate muft not be ranked among the more finimed pieces, or thofe which excell the moft in colouring or defign: it excells however in the livelinefs and grace with which the fubjeft is treated, and alfo in a certain beauty and elegance in the difpofttion and attitudes of the figures. A little Cupid [3] is reprefented with his fingers [4] ftriking a lyre [5] : he (its upon a car [6], drawn by two griffons [7] > [i3 Catalogue, n. 467. 4. [2] It was found September the 7 th, 1748, in the ruins of Refina. [3] Paufanias, ii. 27. makes mention of an ancient picture by Pau/ias, in which there is a Cupid who has thrown afide his bow and arrows, and holds a lyre in his hand. On a very beautiful cameo in Agojlini, Gem. Ant. p. ii. tab. lv. which has the name of a Greek artiit, there is a Cupid with a lyre in his hand, fitting upon a lion. So in Begerus, The/. Pal. Sel.fecl. i. c. i. n. xvi. there is a Cupid on a gem in like manner, ftriking a lyre. [4] All the different forts of harps which we have hitherto met with in thefe paintings are played upon with the fingers ; excepting that in which Achilles is inftrufted by Chiron, where the centaur has a pleclrum in his hand : and yet, fince he was a confummate mufician, we fhould rather fuppofe him " xSugcuv pf/a %sp? \xoi%iKa., xai oux uichv " ywatKas, Kett BsXFhv," as it is explained by Aelian, Hijl. ix. 38. Eujlathius alfo afierts, that the' cithara was fo called, quafi xtvwa tj nzv^xva. s^oojot, from moving or containing in it, love. And CaJJiodorus is of opinion, that the firings were called chordae q. cor movent, becaufe they move the heart. Thefe etymologii s indeed are falfe ; they prove however, and have an allufion to the effect which this inftrument produced. But as to the ufe of the lyre in this piece, fee note [10]. [6] Carriages of this kind were peculiar to the courfe: it does not appear that they had, or indeed could have, either box or feat 5 for their form was fuch, that the charioteer could only ftand up to drive. The painter, having put the lyre into his Cupid's hands, which therefore could not guide the reins, has reprefented him as fitting down in the infide, by means of a crofs bench which he has put in the fore- part of the carriage. Of the capfus, ploxcmus, or feat, fee Schcfferus de Re vehic. ii. 1 to 4. and Ghimentelli de Hon. Bifel. c. xxiv. [7] Aelian, V. H. iv. 27. thus defcribes the griffon : " It is a quadruped of In- «' dia, refembling the lion, being armed like it with very ftrong claws : the feather? " of the back are black, of the fore-parts red ; it has white wings, and the face "of an eagle." Pliny, x. 49. gives it alfo long ears, calling it auritum. The animals in the piece before us agree well with this defcription. Herodotus, Hi. 116. iv. 13. makes mention of griffons who guard gold, and engage with the Arimaf- pians, a people with only one eye, who endeavour to take their gold from them: But Herodotus himfelf looks upon this relation, the author of which was Arijleus Proconnefnts a poet, as fabulous. Bochart. Hieroz. p. ii. lib. vi. c. ii. is cf opinion, that the griffons which Mofes forbad the Jews to eat, were only a fort of large eagle, with-a very hooked beak, and called from that circum fiance, by Acfchyltis and Ariftophanes, yfnffitti6$ot. Philofiratus, in his life of Apollonius Tyancus, iii. 48. tells us, that the griffons were efteemed facred to the fun, and that therefore the Indian painters reprefented the fun upon a chariot drawn by thofe animals. How- ever, though thefe fabulous animals were particularly given to the fun (and there- fore not to mention medals and marbles, on which we often meet with this deity plate i6o PLATE* XXXVIII. plate of fruit in his left hand [8]. In the back- ground a large green cloth is hung up, with two yellow tarTels in the middle of it [9]. If any one mould fuppofe that fome myftery of along with griffons, there is a piece of ancient painting in Fabretti, where Apollo is reprefented with a griffon on his right hand, and a lyre on his left); yet we find them alfo attending upon Nemefis, Diana, Bacchus, and Minerva. Buonarroti, in Medagl.p. 136 to 142, and in his Canvneo di Bacco, p. 429, has collected, and with his ufual judgement, illuftrated all that has been faid of thefe monfters. The piece before us is valuable, becaufe it {hows us that thefe animals were alfo given to Cupid. It Ihould feem that the griffon on the right, by his mane, is intended for a male. [8] Fruits are with propriety affigned to love. Philojlratus, Imag. vi. lib. i. defcribes a group of naked, winged Cupids, who are gathering fruit and putting it into balkets: and after having obferved, that two of them are throwing an apple from one to the other, he adds : " the boys who are at play with the apple point " out to us the firft beginnings of love ; therefore one of them kiffes the apple be*- " fore he throws it, and the other catches it in his hands : it is clear that as foon as " he has catched it, he alfo kiffes it, and then throws it back again to the firft." Innumerable are the paffages in Theocritus, Virgil, Ovid, &c. where we fee this done by the wanton nymphs, and the (hepherds and lhepherdeffes. See Virg. Buc» iii. 64. Theocr. Idyll, v. &c. And there is none more to the purpofe than this of Arijiophanes, Nub. acl. iii. fc. iii. ^.35, &c. " MjjS' »g opxyi<;pi%i& j eicn-voa, ivoi jjLTj zs-p(&> nxvjcn V^yj\VM<;,. " M/?Aa; Qk$Hg vivo 'zvom&ix, TYjg suxXnag U7ro8pcwo-9'/}s. The dance's wanton pleajures flee : Lejl while its /ports your heart employ j The harlot's apple tojl at thee, Thy innocence and fame dejlroy. Wherefore the Scholiajl explains M-^AcS«A«y, «g A f H^yj hx(popoi sgt, yjx]a, zuvja to/j ovopoart, vxx.i 10c " spFcx <$ u z^wTf, yjxi "x/ipuv, vj oi?0\a tiv&> tuv c£w£. : v, s£ aw Toe Konrtx Qaoi rag Kivr^ng tvoihtoii," without feet, hands, or any of thofe limbs, by means of which other animals perform their motions. The way of a ferpent upon a rock appeared wonderful even to Solomon. Prov. xxx. 19. In note [17 J there will be fome obfervations upon the reafon why the ferpent was reputed the genius of places, and was given as an attribute to the god of phyfic. [15] Bochart, Hieroz. p. ii. lib. hi. cap. 14. proves, that dragons have neither feet nor wings, and that they differ from other ferpents only in fize, and fome few other trifling particulars, as in having the mouth large ; the neck fcaly or hairy ; and a beard, or a prominence from the lower jaw rcfembling a beard, as Aviccnna Y 2 defcribet 1 64 PLATE XXXVIIL defcribes them. By thefe marks, which an attentive examiner may difcover in the animal under confederation, we may be allured that this is intended for a dragon. The fize of dragons, if we may believe the Greeks and Arabians, is exceffive ; for there are not wanting fome who allure us, that they have been feen of eighteen miles in length. Aviccnnd fays, that in fome places their greatelt length does nor exceed four cubits. What Lucan, b. ix. 727, Sec. affirms is remarkable, that dragons are venomous only in Africa: " Vos quoque, qui cunftis innoxia numina tern's " Serpitis, aurato nitidi fulgore dracones, " Peltiferos ardens facit Africa." " And you, ye dragons ! of the fcaly race, *' Whom glittering gold and Ihining armours grace, ** In other nations harmlefs are you found, " Their guardian genii and protectors own'd ; " In Afric only are you fatal." Rowe. Authors ufually defcribe dragons to be either black or yellow, fometimes deeper and fometimes lighter, or elfe grey. In confirmation of our alfertion, Pan/arias? ii. 28. has thefe words concerning the ferpent of Epidaurus : " Aguxovjsg h 01 homo* M yjxi sfs^ov ys;^> sg to ^mvSots^ov psyrovTSg yjioocg, ispoi [xsv ix A(TK?.r,7rifs vofju^ovjou, kxi Hcriv w c6>9fM7roig rip-por." " All other dragons, and efpecially thofe which are of a deep " yellow colour, are efteemed facred to Efculapius, and are harmlefs to men." Pliny, xxix. 4. fpeaking of the fame kind of ferpent fays : (( Anguis Aefculapius Epidauro " Romam adve&us eft, vulgoque pafcitur et in domibus ; ac nifi incendiis femina •* exurerentur, non effet fecunditati eorum refiftere." Aefculapius it is well known was worlhipped at Epidaurus under the form of a ferpent ; he was therefore called anguis Aefculapius, and was tranfported to Rome, and worlhipped under the figure of fuch a kind of ferpent in the year of Rome 463 or 462, not 478 as Hardouin, upon the palTage in Pliny juft cited, has inconfiderately affirmed. The reafon and manner of this ferpent's coming to Rome, is poetically defcribed by Ovid, Metam. xv. v. 630, &c. ; and told by Livy, b. x. c. the laft, and Valerius Maxbnus, I. viii. f. 2. It may indeed admit of a doubt, whether the ferpent here painted is of the fame kind with the Aefculapian ferpent. We may however obferve, that Lam- ■pridius, in his life of Heliogabalus, affirms, that the emperor " Aegyptios dracun- " culos Romae habuit; quos illi agathodaemonas vocant." And Servius, upon this paflage of Virgil, in the third Georgick, (t caelumque exterrita fugit," remarks, *' id eft, te<5tis gaudet ut funt ayccOoi ^oay-o-^g, quos latine genios vocant." Thefe ferpents, or little dragons of Egypt, are probably not the fame with the Epidaurian or Aefculapian ferpents. Eufebius \ peaking of thefe animals fays : 11 Qomteg h ccvjo " otyoSov ^ou^qvoi KuXxTi' ojjLOtwg xat AifijTrjicf Kv/jcp zirovo^otiiSYi (f The Phoeni- " cians call this creature good genius, and the Egyptians in like manner name it " Cnepb.' } We may remark farther, that the animal before us cannot be referred either to the Epidaurian or Egyptian ferpent ; becaufe both thefe, as we have feen, were of the tame domeftic kind; whereas this of ours is undoubtedly reprefented in the fields, and feemingly upon the brow or ridge of a hill, in adefert place : though indeed it is a common property of dragons, " iy\v sprjfxttxy zwovzs txxpac The hills and mountains lofty tops are dear. And Potter remarks, that mountains in general were efteemed facred to the gods, becaufe altars firft, and afterwards temples, were erected upon them. And Spanheim upon Callimachus's hymn to Delos, v. 70. obferves, that falfe gods are called in fcripture gods of the -mountains: whence David, Pf. cxxi. 1. fays: that he looks for help from God, and not from the hill's. Nay, from other paffages of fcripture we collect, that idolaters worshipped even the mountains themfelves : and Lucian, de Sacrif. exprefsly fays : xcci op? aysOecnxv. If mountains ever deferved the honour of being fuppofed to partake of the divine nature ; Vefuvius, not to mention the effects of its wrath, upon which fee Vitrwvius, ii. 6. and Strabo, v. p. 247. and Cafaubon upon the place, both for the fertility of its territority, and the excellence ef its climate, might bed deferve it. Varro, de Re Ruft. i. 6. celebrates the falubrity of Vefuvius in general ; fo alfo do Tacitus, Pliny , Statius, Martial, and Galen. Procopius, Bell. Goth. lib. ii. fays : that they who laboured under d.i ford era of the lungs were ordered to this mountain ; whither, becaufe the air is extremely pure and falubrious, phyficians fend thofe who are far gone in confumplions. Strabo, in the place juft quoted, fays particularly of Herculaneum, that it was a very healthy place to live in; but upon this fubject we fhall fpeak in another place. This wholfomenefs of the air makes it probable that our picture reprefents a facrifice to health, which was recovered at this place. [20] Three conjectures have been made concerning this piece. One infifts that it is a reprefentation of a facrifice to health ; and fuppofmg that one of the Aefcu- lapian ferpents is intended by the dragon, and a facred libation by the fruit ; he conjectures that this lad is either a minifter of the facrifice, or the fick perfon himfelf juft healed, and offering facrifice; he has called the divine ferpent with a whittle, and has charmed him with a rod ; which are the two inftrumcnts ufed by right 168 PLATE XXXVIII. right hand, and putting up to his mouth a finger of his left [23]. This piece, for its fingularity, may be ranged with the four Monochromi upon marble ; and deferves to be efteem- ed One of the moft precious jewels that adorn the Royal Mufeum. the ancients to command this animal. Another, fuppofing the ferpent to be the good genius, or Egyptian Cneph, finds no difficulty in determining the lad to be Harpocratcs ; who is often reprefented exactly as we fee him here ; with a crown on his head, a branch in his hand, and clofe by an altar, about which a ferpent is entwined. Others agree to the opinion that the ferpent reprefents the genius of the place, being indeed clearly marked out as fuch by the infeription : but they will not hazard a conjecture upon the lad ; though fome of thefe are inclined to fufpeft, that it may perhaps be he, who has made an offering of fruit upon the altar. [21^ Perfons who offered facrifice were always crowned. We may fee Aefcu- lapius and Hygieia themfelves with crowns in Muf. Rom. torn. \.f. 1. torn. ix. and x. [22] Sacrificers ufually carried a bough, especially the priefts of Aefculapius, and thofe who facrificed to health. [23] This a£Hon ufually expreffes filenee ; Harpocrates therefore is always thus reprefented : we alfo meet with the goddefs Angerona exprefled in the fame manner. See Muf. Rom. torn, x.fecl. ii. tab. 33, 34, 35. £24] The infeription in this pifture renders it extremely valuable. It is not, however, the only piece m the Royal Mufeum which has one. On the contrary there are feveral with very rare and truly fingular inferiptionson them. PLATE 1 [»] kind, which vve may ob- amenters [3], Dver the wall ition and co- ible to fketch ous fituations in gufti aetate, qui icus, ac topiaria t indeed painting is Pliny himfelf •orticos, arbours d the like. Vi- ibove, fpeaks of views of archi- lght them more ■ibus i. e. vernis, funt ab av.tiquis bus inftitucrunt, >cationes, deinde varias diflribu- umnarumque et )cis, uti exedris, ambuhitionibus ' And then he nebantur, nunc lvcntor of this fque manner of in the room of )ccaufe the fame :afte. It feems hat Pliny meant, out PLATE XXXIX. M IN this, [2] and other pictures of the fame kind, which reprefent imaginary pieces of archite&ure, we may ob- ferve once for all, that the painters, or rather ornamenters [3], intended, perhaps, no more by them, than to cover the wall with fomething that was pleating in its compofition and co- louring [4] ; without giving themfelves the trouble to fketch £1] Catalogue, n. 66. [2] This, and the others which follow, were found in various fituations in digging at Refina. [3] Vitruvius, lib. vii. c. 5. calls thefe ornaments, expolitiones. [4] Pliny, xxxv. 4. fays : " Non fraudando et Ludio divi AugufH aetate, qui or porch. Height twenty-nine inches and an half, width three feet four inches. [5] In the fubfequent volumes will be exhibited other pictures, which will clearly decide this doubr, which has been fo much controverted among the moderns. [6] Vitruvius, iii. 3. fays : " Gradus in fronte ita funt conllituendi, uti fint femper " impares ; namque quum dextro pede primus gradus adfeendatur, item in fummo " templo primus erit ponendus." [7] Vitruvius, iv. 6. fays, that folding doors, fuch as are reprefented here, V aperturas habent in exteriores partes." Sagittarius, de Jan. Vet. .cap. iv. § i. re- marks, that folding doors were appropriated to temples, and that they opened out- wards. See alfo Cujacms, obf. xiii. 27. /. iii. p. 378. upon the difference between the Romans and the Greeks : the fir (I of whom had ilie doors of their houfe open- ing inwards, the latter outwards. PLATE M.XLT/1. [ i8i PLATE XLIII.U THIS is a very pleafing picture. An ionic portico [2] (of which no more is feen than the capitals, and the entablature, with the frieze, ornamented with dolphins, tri- tons, and fome other fea monfters^ fupports a wooden building,, partly clofe and partly open. This latter part may be design- ed for a gallery [3] : the capital moft refembles the corinthian\ the entablature, front, and roof, are fomewhat rambling and whimfical. On one fide there is a fragment in the fame tafte, confirming of two wooden pilafters, which are united below ; and the outermost of them fuppcrts an amphora. On the other fide appears another building, and a very long column, upon which a vafe is fet for ornament. From all this we may con- jecture, that the painter defigned here to reprefent a dining- room ; or elfe a tower, with a building of that fort [4], over the hall of a country houfe : the trees, which are made by the painter to extend their branches into the infide of the building [1] Catalogue, n. 74. [2] The different ufes to which the Greeks and Romans put their porticos is well known : as alfo that they were annexed not only to temples, theatres, and other public buildings, but even to private houfes. [3] See Vitruvius, lib. ii. cap. viii. where, fpeaking of the neceffity there was to build a greater number of ftories in houfes, on account of the great multitude of inhabitants, he fays: u Altitudines extructae, contignationibus crebris coaxatae*, . " et coenaculorum fummas militates perficiunt et defpeftationes." [4] Sec Pliny, cpiji. xvii. lib.'u. in 1 82 PLATE XLIII. in a whimfical manner, add fome weight to the conjecture [5]. We may obferve the nfual feftoon hanging from a little wheel [6]. The back-ground is blue. The height three feet feven inches, and the width three feet three inches. The land/cape^ with different forts of animals [7], is beautiful. The back-ground of it is white, bordered on the top with red. The height is three inches and a half, the width four feet three inches. [5j Vitruvius, lib. vi. 8. " Ruri vero — atria habentia circum porticus pavimenta- " tas, fpeclantes ad paleftras, et ambulationcs . See Pliny, lib. v. epifi. vi. There were always annexed to magnificent palaces " fylvae, ambulationefque laxiores :'* as Vitruvius tells us, vi. 8. See alfo v. 2. and 9. [6[] One has fuppofed that this piclure represents a Scena comka. See Vitruwius 3 v. S. and the rather, becaufe the painter feems to have attempted through the open- ing of the gallery, to mow the upper portico of the feats of a theatre, which was adorned with columns; five of which appear in this piece, and are of the ionic order. M Catalogue, n. 73. PLATE T. S JLa/n born fai fp . [ ] PLATE XLIV. '"pHE firft pi&ure [i] which is engraved in this plate, JL though no lefs extravagant than the foregoing ones, is not without its beauty. It feems deligned to reprefent a tholus [2], veftibulum [3], or fome fuch building [4] ; and the quad- rangular building in the middle may point out the principal entrance, and the two lateral ones the leiTer doors [5]. The columns, which are, like the reft, of the ionic order, and with- out bafes, fupport the roof, and an entablature, which however [1] Catalogue, n. 139. [2] One thinks it is a fpecies of tholus, Servius, upon Aen. ix. and the words fujpendive tholo, obferves : " Tholus proprie eft veluti fcutum breve, quod in medio " teclo eft in quo trabes coeunt, ad quod dona fufpendi confueverunt — alii iholum " aedium facrarum dicunt genus fabricae Veftae, et pantherae. Alii tectum fine pa- " rietibus columnis fubnixnm." But although the tholus of Vefta was round, as Servius affirms, and Ovid, Foji. lib. vi. it will not follow, that it was never of any other form : the fcutum was certainly an oblong. Servius's mentioning the Tholus Pantherae, and there being fuch a wild beaft in the piece before us, give a confider- able weight ro the conjecture. And this picture, which reprefents a roof without walls, fupported by columns, with a panther in the midft, may ferve to inform us, that VoJJius's correction of Tholus Panthei inftead of Pantherae was unneceflary. But this conjecture has been rejected. [3J We have already mentioned the magnificence of the veftibules of temples and houfes. [4] Some are of opinion that it is one of the alcoves, which are put in the mid- dle, or at the end of walks, in gardens. [5] This conjecture correfponds very well with the opinion that it is a veftibnle: for we know that in the Grecian houfes, and on the Roman ft age which kept the fane form, there was one principal door, which led to the apartments of themafter of the family, and two others on the fide which opened to thofe of the guefts, or llran^ers. See Vitruvius, v. 7. and vi. 10. feems 184 PLATE XLIV. feems rather doric, by a kind of triglyph, and the modiUions that are upon it. The Uonefs, or whatever wild bead it is, and the ufual fejloon interwoven with red ribands, and the filver-coloured difcus, all feem put there in order to fill up the void fpace, and to give the piece a fpirit, and an air of light- nefs. The little piclure [6] which appears above this fancied architecture, like a frieze or rinifhing to the piece, deferves at- tention [7]. The back-ground is white, the building is red, yellow, and green. It is thirty one inches high, and twenty- nine inches in width. Of the remaining four fmall pieces in this plate; the two trltons [8] which are coloured of a high red, \Chiarofcuro giallo, Catal.~\ and reft upon two fragments of an entablature, founding each a conch [9], and holding in the other hand a bqfket of fruit, are perfectly alike, and feem to be fragments of one picture. Height thirteen inches ; the firft is ten inches and half, the fecond nine and half, wide. The next [10] little picture exhibits the buft of a lady, who has a pleafing and majeftic countenance, her head is crowned with leaves ; and by the fide of this, part of another head is difcovered. As [6] It is a view of the fea, with buildings, human figures, and a boat with rowers in it. In the following plates there are veffels of a larger fize. [7] This little piece mull be reckoned among the parerga, or hors d'oeuvres. Th )fe tilings are properly called by this name which are put in for ornament, and to fill up the void fpaces of the piclure, but are not necefTary to the principal a&ion. Pl'ny, xxxv. 20. fays : " Argumentum eit, quod quum Athenis celeberrimo loco Mi- " nervae delubro Propylacon pingeret, ubi fecit nobilem Parbalum, et Hammo- " .niada, quam quidam Nauficaam vocant, adjecerit parvulas naves longas in iis, quae " pi&ore^ parerga appellant*" See alfo FitrnviuSj ix. cap. ult. [8] See Ovid, Metdin. i.'v. 335, &c. and Apolionhis, Argon, iv. ; -who defcribe the tritons both as to ihape and colour, as they are here reprefented. In Rome, upon the top of a temple of Saturn, was placed a very large triton, whole conch founded when the wind blew. See Natalis Comes, viii. 3. at the end. [10J Catalogue, n. 331. this PLATE XLIV. 185 this has no diftindtive marks, it is not eafy to give any account of it. The back-ground is white. It is a fquare of ten inches and half. The peacocks which the laft piece exhibits [n] are very natural, and perch upon fome (talks of white flowers. The back-ground is yellow. It is ten inches high, and thir- teen inches wide. £11] Catalogue, n. 724* Vol. I. B b PLATE [ ] PLATE XLV.H IN the picture [2] which is engraved in the nrft part of this plate, two fhips of war [3] are reprefented, between which there is an obftinate engagement, and a third either wrecked upon the rock that is near it, or burnt and funk by the enemy, fo that the remains of it are fcarcely difcoverable upon the fur- face of the water : through the flame and water a figure ap- pears, which feems to be that of a woman. A little ifland rifes in the middle, with an altar, and a fmall temple between two trees, where Neptune is reprefented with his tride?7t [4]. Near the more, a young man is difcovered with a helmet on his head, and armed with a fhield and fpear ; near him is another man, but very indiftincl:, armed alfo with a fhield, and who feems to be walking towards the fea. Though this pidure is not in good prefervation, and does not carry the marks of hav- fi] Catalogue, n. 497 and 5 13. £23 This was found in the ruins of Civita, the 13th of July, 1748; and the- other at the fame place, the 6th of the fame month. [3] The veffels of the ancients may be reduced to two principal kinds, merchant Ihips, arid gallies. The firll of thefe were called onerariae, and were for the moil part of a conhderable burden, and worked only by fails. The fecond were named from their form longae, and were almoft always worked by oars alone. Pliny, vii. 56. relates the different opinions concerning the invention of fhips of war; which fome attribute to J a/on, fome to Semiramis, and fome again to others : Hippo of Tyre was the inventor of merchant (hips. [4] This is the raoft common attribute of this deity^ ing PLATE XLV. 187 ing been executed by one of the beft hands ; it deferves how- ever an attentive examination. It may be remarked in all the three veffels, that the oars [5] feem to be in one line [6], yet [5] It is a well-known controverfy yet undecided, whether the (hips of the anti- ents had more than one bank of oars. The fentiments of the learned upon this fub- ject may be reduced to two : firft, the opinion which is fupported by the greater number is, that the biremes had two banks of oars, one above the other : the tri- remes three ; and fo on as far as quinquagintaremes, of which we find mention in ancient authors. All however who have adopted this fyftem, are not precifely of the fame opinion; for fome will admit no more than two, fome three, fome four, fome five, others nine, and others as far as flxteen banks of oars, but no farther. Nor do they agree in their manner of explaining how thefe benches were difpofed ; fome being of opinion that one oar was directly over another, others that they were placed triangularly, others again that they were difpofed diagonally. The fecond is the opinion of thofe, who not being able to reconcile the enormous height of the veffels, the inconceivable length of the oars, the unavoidable confufion in the mo- tion of them, the impoflibility of managing them, and many other great difficul ties hardly reconcileablewith the laws of mechanics and with practice, are of opinion, that all their veffels had no more than one row of oars. But thefe are alfo divided into two parties: one of which fuppofe that by the oar we are tounderftand the rower himfelf, fo that the biremis had two, the triremh three men to each oar, and fo on to forty : the other, not underftanding how an oar could be managed by forty men in a line, fup- pofe that the (hips of the antients had three different longitudinal ftages or floors, difpofed one above the other in fuch a manner, that the rowers at the head fat lower than thofe who were in the middle of the veffel, and thefe lower than thofe who were in the ftern : and they d.ftinguifh the biremes, triremes, &c. by the oars being placed in pairs, in threes, and fo on fucceffively. But, according to this fy ftern, how great mu ft be the length of their veffels to place 400, 1600, nay 4000 rowers (if we may give credit to the accounts of Pliny, Photion, and Athenaeus') along the fides of them \ Upon the whole, if we attend to the fa<5t, it does not feem to admit of a difpute. The teftimonies of authors are fo clear and decilive, that they admit no room to doubt of the antients having veffels with two, three, four, and even fo far as fifty rows of oars, one above another ; beiides, triremes are thus reprefented upon Traja?i's pillar; and we have biremes, triremes, and quadrircmcs of the fame fort upon medals and bas-reliefs. The whole is laid together in Mmtfaucon, torn. iv. p. ii. lib. ii. cap.lv. and xi. and in tab. exxxvi. to exxxviii. If, however, on the other hand we would find out the manner how this was done, or confider the practice, we fhall find it fcarce poffible to give an account of it. All the argu- ments and reafens which may induce us to doubt of the fact are fet forth by M. Dejlandes, in his Effai fur la marine des Ancicns. He is of opinion, notwithftand- ing, that biremes were built at Genoa, and quinquercmes at Venice, p. 116. See Zeno, in his notes on FontaninTs Ehquenza Ital. torn. i. p. 42. n. 6, not to mention here the fyftems of Vojfius, Meibomius, Scheffcr, Palmier, Fabbrciti, &c. [6] The holes through which the oars were put they called raj/^^j Tptnrtipetlct, c^SuK^ot, but moil: generally slxmiix. See Potter's Antiquities , hi. 15. B b 2 there i88 PLATE XLV. there is room left for fu.fpicion that they might be in more[7j. The Shields [8] alfo which are hung to the fides of the veffels, the different machines [9], and the arms of the combatants [10], mufl none of them be neglected. In the middle fhip, befides the tower [11] at the ftern, and the two long beams [12] at the head, the ftandard with the eagle [13] is worthy [7 J There have been three different opinions upon this fubjeft. Some will have it tlieie veffels are quinquir ernes, becaufe, fay they, in that which is burning and ready to fink, we may clearly difcover five oars, one above another, though in the other three the painter has not made the ranks diftin£r, but has only given a hint of the divifion. Others can find no more than two rows of oars, one in the line in which they are reprefented in the picture, the other marked out by the upper line, where the holes only are obferved : and they remark, that in an engagement the firft row of oars was taken away, as we learn from Plutarch, in his Life of Antony, Laftly, others maintain that there is no more than one row of oars; and think thefe veffels may be called libumae. See Vegetius, iv. 53. and 37. And it is well known, that thefe were afterwards called, by the later Greeks, TaKuiai \ for we read in the Taclicks, yccKocLxg jj-ovr^iu, Galaeae, veffels with one row of oars. See Scaliger's remarks on Eufebius, ann. mcxxx. [8] The fame may be obferved in the fhips which are reprefented in the next plate, where we (hall fpeak of the cuftom of hanging flnelds at the fides of veffels. Here it may fuffice to obferve, that it was a fignal of a battle. Plutarch, in The Life of Lyfander. [9] Ships of war were covered with a deck, which protected the rowers, who were placed under it; and on the top of this the foldiers fought. It had the names of xoiTacMjAot, and ■xa.Tufya.fy.K ; whence this fort of mips were called Ka.Ta(ppix-Kjot. Homer calls them mpm vqpv. But in the times of the Trojan war, only the head and ftern were covered, and they fought from thence. The Thafii were the firft who covered the whole veffel. Pliny, vii. 56. There were alfo other flickers; for the foldiers were covered f rom the arms and machines of the enemy. There was befides a Bucutuov, made like a tower, from whence the foldiers threw their darts, he. on the adverfe veffels. See Potter, iii. chap, xvi, xvii. [10] Befides the ftiields with which the combatants are furniftied, we may diftin- guid) the long fpears, called by Flaccus, tela trabalia, and by Homer ^ a becaufe it was a kind of parapet, covered with fkins, or interwoven with other matters, to defend the men from the weapons of the enemy, and alfo from the breaking of the waves, as Cafaubon obferves on. Polienus, lib. iii. [11] Thefe may be either fhields taken from the enemy, or clfe they have a re- ference to the cuftom of hanging iheir own arms over the fide 01 ftern of the veffel.. See Scheffer, iii. 3, and Alexander, D. G. \i. 32,. about,, i 9 2 PLATE XL VI. about, and placed at different diftances, forming altogether a very rich landfcape [i 2]. Among the buildings, the large!!, with a long portico fupported by a great number of columns, and two fhitues before it upon their pedeftals, merits a particu- lar attention [ 1 3]. Size, fifty inches by thirty. The firjl [14.] of the three remaining pieces in this plate re- prefents two birds, of a green colour with red breads. The fecond\\$\ has figs, grapes, and other fruit. And the third [i 6] a partridge pecking a plant, and another bird upon the point of feizing an infed : the back-ground of thefe is black. [1 2] So many towers feem to be here reprefented in order to (how the ufe which Whs made of them ; that is, to announce the approach of the enemy, and to give notice of it by means of lighted torches: indeed thefe towers were from hence call- ed by the Greeks ppyx]uptu t and fuch lights are named by Pliny, ignes praenunciativi. [13] It feems to be either a praetorium, or a magnificent cou-ntry-houfe. But upon this fubject we (hall fpeak hereafter. [14] Catalogue, n. 697. [15] Catalogue, n. 696. £103 Catalogue, n. 697. PLATE 1 [ *93 ] PLATE XLVII.M TH E pictures which are engraved in this plate do not feem to require any explanation. What is here rep re- fented is fo clear, that it may be eafily underftood at firft fight. If any one however would confider them with a more attentive eye, he cannot but admire the tafte and fancy of the painter. In the firft [2] we fee a parrot executed with much grace and beauty, drawing a little car [4], and guided by a [1] Catalogue, n. 304. [2] It was found October 10th, 1745, in the fouterrains of Refina. [3] Pliny, x. 42. thus defcribes thefe birds : " Super omnia humanas voces rcd- crn sea//'. PLATE XLVIII. i 97 ftands a nymph [5] with a bill\p] in her hand; and from her middle, inftead of limbs a number of roots extend themfelves in a grotefque tafte [7], ftretched out and twifted about on all fides. On each fide of the oak is a fmall palm [8]. In the other landfcape, which is an oblong, we may obferve in the firft place a fmall temple, to which we afcend by five fteps [9]. The portal is adorned with a feftoon: on the frieze Thus tranflated by Amafeus : " Ex auro phialam capta pofuere Tanagra, " Juverat haec bello quod Lacedaemonios, M Cecropidae, Argivique duces, et Ionica proles <( Vi&ores, partis de fpoliis decimam." Here Kuhnius obferves, that Amafeus is miftaken in faying, that the Athenians put up this fliield in memory of their having overcome the Lacedaemonians : for they were the conquerors according to Plutarch ; and the Tanagrians their allies put up the fliield from among the fpoils of their conquered enemies ; and he makes ajuft re- flexion that the Doric dialect, in which thefe verfes are written, does not fait with the Ionians. But not to infift upon this, we may remark, that Paufanias calls vanr&oi a jhleld, what in the epigram is called (Pich>mv a cup. If we confider the figure of a Ihield, which is round and hollow, we fhall perceive that it might be call- ed indifferently by either name. Ariflotle, Poet. cap. xxi. exprefsly remarks, that we may fay with equal propriety : " oio-rrt^ fytetfaq Apeuis, hml (p-iuXy owttic, A is by Suidas explained to be one who Jews Jkins together. St. Paul was bred up to the trade of tent-making, as is related mThe Acls of the Apoflles, chdp.w\\\. where he tells us, that he worked in the houfe of Aquila and Prifcilla, who were tures which are engraved in it, feem all of them to relate to Egyptian fubjects. In the firft, the painter feems to have intended to reprefent only the view of a rural cottage [3], upon the banks of the Nile. The animals which are here painted certainly belong to this river: for we difcover not only the crocodile \_^\, but the hippopotamus [5] likevvife. Near to the laft of thefe is a duck, [1] Catalogue, n. 72, and 544, n. 1, 3. pal Thefe were all found in digging at Refina, in the year 1748. £3] It will appear to be nothing more, if we confider the roof which feems to be of reeds ; and the inclofure and little tower, which feems to be either of wood or reeds. See Heliodorus, Aetb. i. and Diodorus, i. 36. Others will have it to be a temple. [4] The crocodile is not peculiar to the Nile. Paufanias, iv. 34, attributes it alfo to the Indus. Strabo, xx. p. 696, and xvii. p. 826, gives it to the Hydafpes, and the rivers of Mauritania. Aelian, Hijl. Anim. xii.41, to the Ganges. Stephanus, and Pliny, to other rivers befides. Both painters, however, and fculptors, make the crocodile a diftinguilhing made of the Nile. The figure of this animal is fuffi- ciently known : and we meet with it on medals, as a mark of Egypt, as in AEGYPTO CAPTA of Auguftus. [5] That the Hippopotamus is found in the Nile we learn of Paufanias, in the place quoted above. Pkilojlratus, Imag. i. 5. alfo, and Lucian, Rhet. Praec. make both that and the crocodile to be marks of that river. Herodotus, ii. 71. Diodorus, i. 35. and Pliny, viii. 25. defcribe them as they are here reprefented; and as we meet with them upon fome medals. Spanheim, de Ufu et Praejl. Numifin. p. 274. makes the Hippopotamus to be different from the Hippocampus, or Sea-horfe. See Olearius upon Philojlratus, Her. c. xix. n. 6. Pliny, viii. c. xxvi. obferves, that the Egyptians learned the art of bleeding from the Hippopotamus : " Hippopotamus " in quadam medendi parte etiam magilter extitit : affidua namque fatietate obefus " exit in litus, recentes arundinum caefuras perfpeculatus, atque, ubi acutiffimum " videt ftipitem, imprimens corpus, venam quandam in crure vulnerat ; atque ita pro- " fluvio fanguinis morbidum alias corpus exonerat ; etplagam limorurfus obducic." or t P L A T E L. 203 or goofe [6], In the trees and herbs, though they have the appearance of caprice, we may however difcover a refem- blance to fome of the Egyptian plants [7]. The fize of this is forty- three inches by thirty- nine. In the other two pieces the two principal deities of Egypt, Ifis and 0/£w[8], feem to be reprefented, together with fome of their fvmbols. In the flrft is Ofiris on the right, with the head of a hawk [9], crowned with the tofio], and he has a v:cmd\\ 1] in [6] The duck is efteemed to be the fymbol of winter. See La Chauffe, torn. ii. feel, v. tab. xx. But fome are of opinion, that the painter has put the duck along with the crocodile, to fignify that this creature does not eat at all during four months, as Pliny, viii. 25. and Herodotus, ii. 68. affirm. Others fay, that the duck, living on land or water indifferently, {Aelian, Hif.Anim. v. 33,) fignifies here, that the two other animals, which accompany her, are of the fame amphibious nature. But neither of thefe accounts are fatisfaclory. Others therefore will have this bird to be a goofe, which we meet with on the Ifiac table, and frequently on other Egyptian antiquities. And then it may denote the fuppofed divinity of the crocodile and Hippopotamus, becaufe the goofe was a victim in facrifices. Herodotus, i. 45. obferves, that in Egypt it was permitted only to facrifice fwine, oxen, calves which were clean, and gecfe. [7] The trees are palms. [8] Of all the Egyptian deities, Ofiris and Ifis, who were at the fame time bro- ther and fifler, husband and wife, were chief. See Herodotus, ii. 42, Diodorus, i. 13. Plutarch, de Ifde et Of ride, and others ; who explain the whole mythology of theie two deities. £9] The hawk is one of the birds which was efteemed facred among the Egyp- tians; Aelian, Hif. Anim. x. 14 and 24. Ofiris, who was the fame with the fun, of which this bird was the fymbol, was fometimes worfhipped under a figure which had only the head of this bird, he is reprefented in the lilac table. See Pignoriits, p. 62. [10] It is notorious that the principal mark of an Egyptian divinity was the lotus, of which they made fo many myfteries. Hence the lotus was ufed by the Egyptians, as an ornament not only for their gods, but alfo for their heroes, kings, queens, and magiftrates, in the fame manner as the bay and oak among the Greeks and Romans. Profper Alpinus, and Spanbeim, have collected all that can be faid upon the ufc, properties, and myfteries of this plant. [11] Some will have this to be a ferula, with which Egypt abounds very much, and where it grows to a confiderable height. Pliny, xiii. 22. Bacchus, who is the fame with Ofiris, is armed with a ferula inftead of a fpear. The benevolent genii, and the Dii Averrunci, who were theaverters of evil, were reprefented with whips and flicks in their hands: and Ifis, Ofiris, Anubis, and the other bene;olent gods D d 2 his 204 PLATE L. his hand. On the left is another deity [12], who, befides the lotus on his head, and a ferpent [13] in his hand, has the face of a man, and a long beard [14]. In the middle is an altar y and over it a vaje [15]. In the fecond picture is Ofiris, bearded and crowned with *Vy[i6]; and His, who, as ufual, has a female countenance [17], and, like Ofiris, holds a fpear in her right hand; and in her left, fomething which is not clearly to be diftinguifhed [1 8]. of Egypt, are reprefented in the fame manner upon the Ifiac table, and other fimi- lar antiques. See La Chaujfe, torn. i. fed. i. tab. xxxiii. and feci. ii. tab. x\. and xlii. [12] The flatties of Ills were crowned by the Egyptians, with ferpents, Aelian, Hfjft. Anim. xvii. 5. And the ufe which was made of ferpents in the procefiTons and myfleries of Ifis, is well known. It is fuppofed that here they are intended as fym- bo!s of health, and that perhaps thefe two might be votive pictures. Tibullus,, fpeaking of Ifisj fays : r tpoiaai A^. In fhort, 1 do not know what one authority in parti- cular our painter has followed for his whole picture ; but if the ancients, never thought of executing night, or lamp pieces, then he has followed Theocritus as far as the compafs of his art would allow him : as he could not make a night fcene of it, that accounts for the characters being dreiT- ed. He has omitted the cradle, or rather what ferved for it, the fhield of Theocritus ; and the lamp ; he has alfo borrowed the nurfe, or bromia, from Plautus. The child is too flight an one for Hercules, by no means ftouter than his brother. But the principal view of the painter was, to make a happy compofition, which he has effected by placing a figure of Alcmena, almoft more than human, in the middle ; contrafled by a vene- rable king, kept down in his feat on one fide ; a wrinkled nurfe, bent down with age on the other; and two young children. The holy family, a favourite fubject among modern painters, ufually has the fanle number of figures, and of the fame fort. A. In a defcription of this picture by Blondeau, Philof. Tranf. vol. xlvii. p. 18. the old man is faid to be drawing a dagger ; and the perfon holding the child is called an old woman. 6. In Montfaucon, pi. cxxiii. 1 . is a ftatue with one ferpent only. See alfo a coin of the family Pedania. In the fame plate, n. 2. is a gem, where Hercules is flrangling two ferpents ; but he is walking freely, and feems four or five years old. A. 9. However obfcure the head of Alcmena may be in the original paint- ing, it is clear enough in the engraving. 14. Who would have thought to have met with fo elaborate a difcourfe on the Unities, and fo levere a critique on tragi-comedy, in th i ? place ? A» 18. I fee nothing in this Epomis different from fome in Montfa-ucon for women, torn. v. See pi. iii, iv, xi. of this volume. A. Dimenfions of the picture four feet one inch, by four feet three inches.. PLAT E VIII. The drawing is bad ; the mufcles of the body and arms of the centaur are notjuft; the contour of the arm is bad; his hind legs are ill chofen, and APPENDIX. 215, and have a bad effect. The figure of Achilles is preferable ; it is better put together, and the contour is flowing enough ; it is doubtlefs from a beautiful ftatue. Upon the whole, this figure is not ill painted : the middle tints are well difpofed, and have a good deal of truth, though there is fomething of a greynefs over them. Cochin, p. 33. pi. xvii. Chiron and Achilles, fays M. Blondeau, and fome other pieces, are fo well executed, that Francefco de la Vega, a painter, whom the king of Naples fent for from Rome as one of the beft hands, to take draughts of thefe paintings, told me, that if Raphael were now alive, he would be glad to ftudy the drawings, and perhaps take leffbns from them. Nothing can be more juft and correct : the mufcles are moft exactly and foftly marked, every one in its own place, without any of that preternatural fwelling; which is fo much overdone in fome of the beft Italian matters, that all their men are made to appear like Hercules. It is furprizing how frem all the colours are, confidering that they have been under-ground above 1650 years. He obferves, however, of this piece, that part of the horfe is a very difficult forced attitude. Philof. Tranf.vol. xlvi. p. 15, 17. 12. — " De marmoreo citharam fufpende coloffb." Juv. viii. 230. Size of the picture four feet two inches, by four feet. PLATE IX. The old man is no fatyr, and he is not fitting upon a rock; which are two of the circumftances mentioned by Paufanias, in the lliort account of his picture. The attention to what they are about, is well exprefied in the figures both of this and the foregoing plate. A. Size of this picture, four feet one inch by three feet three inches ; and of that which is engraved in Plate X. two feet one inch fquare. PLATE XI. Tis pity but we knew the fubject of this picture; as the compofition is more varied, and the paliions better exprefied, than ordinary. A. This plate was reverfed by a miftake of our engraver. 5. If the fubject of this piece were the difcovery of Oreftes to his fitter, the prifoners, or viftims, would not be feated, nor would Thoas, &c. be prefent. A. " 9. The ftool on which the naked figure fits, is remarkably light ar plain j whereas that in the next plate is juft the contrary. A. 12. The chorus was often confidered as a fingle perfon : Vol. I. ? f 2l6 APPENDIX. " Acloris partes chorus, officiumque virile « Defendat. " A. Dimenfions of the picture, five feet one inch by fix feet one inch. PLATE XII. jV. i. Five feet eight inches, by one foot feven inches. N. 2. One foot eight inches by five feet three inches. PLATE XIII. A man on horfe-back now-a-days might more eafily be wounded in the thigh, by the end of the pommel coming ofT than the tip of the fcab- bard. Moft of the ancient fwords, indeed, were fhorter than thofe of the modern?, and perhaps hung higher, and fo might occafion Cambyfes's accident. Now the button, or knob, at the end of the pommel has fome refemblance to a fungus before opening ; whilffc the guard at the lower end of the fcabbard is totally different. A. 8. Hair cannot be faid to be difhevelled which is bound with a diadem or fillet. Why may not this be the tragic mufe ? v " Oft to her heart fad tragedy addreft " The dagger wont to pierce the tyrant's bread. " A. 17. The prafericulum, or pitcher, which is generally held flanting, commonly appears with a fmall fquare cafket called Acerra. A. Dimenfions of the picture, four feet five inches, by two feet five inches. PLATE XIV. 9. V. TJrJini App. ad Ciaccon. p. 365. A. 10. This mode of drinking is {till ufed in fome parts of the eaft. Knox± part iii. chap. vi. tells us of the Ceylonefe, that when they drink, they touch not the pot with their mouths, but hold it at a diftance and pour it in : and this cuftom he has thought it worth while to illuftrate with a plate. 16. The antients frequently performed fome religious rites at their meals ; and for this purpofe the acerra may be brought in. See n. 17. on pi. xiii. and Potters Gr. Ant. i. c. iv. p. 211. In Virgil, Aen.i. 740. only the libation is mentioned ; but the fimplicity of the materials might eafily allow of '* Farre pio et plena fupplex veneratur acerra." Aen. v. 745. On fuppofition that this is a funeral banquet, (fee Wright's 'Travels^ 485.) fuch as are frequent on farcophagufes, we may take the long flender thing with a circle at the end, for a patera with an handle. See Horfeley % p. 191, 7 192. 7. APPENDIX. 217 192, 7. B. All the materials for a bloodlefs facrifice. The former ferved to make the libations, xii. 12. ; the latter held the incenfe. SeeCaylus. A. 19. I have no notion the wine pafled through the fnow. I mould guefs, they contrived to furround the {trainer with fnow. A. The dimenfions of this picture are, two feet five inches each way. PLATE XV. 3. Faunus was of Italy, and unknown to the Greeks. See Caylus. A bas-relief on a vafe in the Giufliniani Palace at Rome, exhibits a fawn getting a thorn out of an old fatyr's cloven foot, with a knife, or pointed inftrument. The fatyr's ears hang down ; the fawn's are very upright. Under the feat of the former, lie, on the ground, a mafic, or cfciUuw, much like herfelf, and a pipe compofed of four reeds tied together. See pi. to p. 332. of Wright's Travels, and pi. xxvi. n. 6. of this work. A fawn is nothing but afavage man, with a fhort tail, or fcut, as reprefented in this and the following plate. A. The dimenfions of this and the next picture are, one foot five inches, by one foot three inches. PLATE XVII, &c. Befides thefe (landing figures, or walking figures without any ground for their feet, there have been alfo found fitting figures without any thing to lit on. The Romans feem to have been fond of thefe celeftial attitudes, implying lightnefs, and a facility of motion from place to place. Caylus, vol. v. p. 192. pi. Ixviii. n. 1. 'Tis hard to call thefe full-cloathed women libidines. A. Thefe beautiful figures are all of the fame fize as in the original pictures. 5. There does not feem to be more ftrength employed here than when a gentleman and lady give hands in a modern minuet. A. PLATE XXI. 4. Two forts, or rather fizes of cymbals, juft like thefe, are ufed to this day by the Parfes. See Duperron, Voyage to the Rajl Indies, pi. vol. iii. The defcription of the crotalum being like a pear cut through the centre lengthways, anfwers very exactly to our caftagnets. '1 he a ala- lia were perhaps loofely pendent, which might allow them to clicket. A. 2l3 APPENDIX 10. To me Ifidore feems to mean, that the ob/irigilli were loops, fet or fewed round the edge of the fole, through which the latchets, or thongs, went, and were tightened at pleafure above. Sec Baldwin, p. 100. Jig. B. F. and P. VoJJius l s authority in this cafe is nothing, without the teftimony of fome antient. The thongs, or latchets, were called lor a, amenta, cor- rigia, teretes habenae, vincla. Why mould one part have fo many names, and the other none ? A. PLATE XXV, &c The dimenfions of this, and the three following pictures, are, one foot ten inches, by four feet two inches. 2. The gilvus feems to correfpond beft with our light dun, or cream- colour ; but not at all with afh-colour, which may probably be the fame with Ifidore s dofmus, or ufual colour of the afs. 4. See Mufeum Florentinum i. /. 87. and /. 94. 7. Alfo n. 4. on,; pi, xxvi. 5. " Quarum una (nubes) etiam centauros peperifle dicitur," fays Cicero, de Nat. deor. iii. 20. Tzefzes, vii. 99. tells the flory of the impofition upon Ixion, of Juno; and relates, that from Ixion and Aura fprang Imbrus, and from him the centaurs. The centaurs were fo called q. Kevjcpes : thus Homer, Iliad iv.. " KctSyMot xevjopes rTnrm" And Iliad v. " Tpcoeg ptefczQupioi nevjopeg nnttov" Concerning the form of the centaurs, iee Spanheim, Numifm. DiJ/'. v. 12. It is not true, that centaurs are univerfally reprefented as in this picture : for in Mitf. Etrufc. lxv. the man is eompleat, and the horfe part grows out of his backfide. On a coin of the Nicaeans, Gordian (as is believed) rides- on an horfe, whofe left foot is like a man's ; in his right, as in an hand, he holds a (lick, round which a ferpent twifts. Left it mould be thought a fault of the engraver, there is an infcription : innoN. EPOTonoAA. nik. A. The centaur, as it is reprefented, mud be fuppofed to have a double infide; as it has that of the man, and of the brute, eompleat. Perhaps the wit of man cannot invent a new creature with fuccefs. Chimaera,. fphynx, fatyr, fawn, &c. are all wretched. A. 6. See Bacchus and Ariadne drawn by centaurs^ in Mufeum Florentinum i. /. 92. 2. 7* See Mufeum Florentinum i„ /. 94. 7. PLATE APPENDIX. 219 PLATE XXVI. 4. The antient fculptors rarely expreffed hair quite loofe ; not even on the head of liberty. See the confular coins, and xx. n. 4, but no flatus is produced. A. 7. Serviuss distinction between albus and candidus has no foundation. 10. I rather think, that, of the two infants in Zeuxiss picture, one was perfectly human, the other all brute: that is, the dam was refolved into her two conftituent parts, and each completed. One objection, however, I am aware of, is, that the look of a young colt is not ufually terrible. A. I mould think this picture more agreeable, if the fcarf had covered the junction of the two creatures : fome break is wanted, to reconcile the eye to the vaft mafs of flefh occafioned by the addition of an horfe's cheft to the bottom of the human trunk ; nature acts otherwife in both inftances taken feparately. A. PLATE XXVIL The circular plate at the bottom of the back of this lyre is remarkable : perhaps it ferved for a belly or founding-board. Some traces of it, or at leaft a bar, or bridge, appears in plates viii. and xxviii. in which laft it may be the (hell of the tejiudo. See x. n. 9. The female figure is carried in fuch a manner as to be in danger of dropping, or of being kicked by the horfe in galloping ; which has alfo occafioned his left leg to be unnaturally bent. See alfo xxviii. Here, as before, the fcarf is thrown over the fide of the horfe, which is no difagreeable part, and the cheft is left bare ; as if they prided themfelves in expofing to view that part, which could not be made pleafing. A. 4. The centaur in Hyginus and Germanicus s tranflation of Aratus, has a hare hanging at the end of his fpear, and cloven feet, like thole of an ox. 5. La Cerda, on the contrary, thinks, that fpadix is the bright-bay,, and glaucus the dark-bay. But in truth, glaucus has nothing to do with bay, or the red colour of the young (hoots of willows and fome other trees : it feems to be a blueiuh grey, fuch as is the colour of fome eyes, and the under fide of the leaves of willows, &c. Ifidcre, Orig. xii. 1. fays, " Glaucus, eft veluti pictos oculos habens, et quodam fpiendore per- " fufos : nam glaucum veteres dicebant album." 6. The invention of the lyre is afcribed to Mercury : " Te canam magni Jovis et deorum " Nuncium, curvaeque lyrae parentem." Hor. Oil. I. 10. Though 220 APPENDIX. Though he refigned it afterwards into the hands of Apollo, in exchange for the caduceus. See Pbilojlrat. Imag. B. i. Homer, Hymn, in Mercur. Ovid, Metam. ii. 11. Hygin. Poet. Afiron. ii. Lyra (according to whom it was given by Mercury to Orpheus) and the Scholia/} upon the tranila- tion of Aratus by Germanicus, Art. Lyra. PLATE XXVIII. The centaur could not touch the lyre, as a performer, without ufing the other hand (which is otherwife prettily employed) to hold it : the motion (for fhe is galloping) muft throw it down. A. 2. In plates ii. and viii. the junction of the two beings is furficiently plain : indeed the appearance is that of a man's body ftuck into the ca- vity of an horfe's, from whence the head and neck have been cut off. In pi. ii. it is like a welt, or rope, round the place of junction. See Buonar- roti, 452. A. 6. See the lunata tnonilia very plain on the horfes necks that draw Ti- tus's car on his triumphal arch. See one on a contorniate coin \n Haver- camp, and in Battel/ s Antiq. Rutup. now carefully preferved, with the reft of the collection, in Trinity College Library, Cambridge. 'Tis bronze, and the points are not (harp, which might hurt the horfe, if the thing got bent; but rather knobbed. A. PLATE XXIX. 3. The original curule ftool might be well called only <^©-, being no more than a folding ftool, carried after the magiftrates by their attendants, to (how that they were ready to fit down and do juftice any where on the ipot. A. PLATE XXX. The cleft flick in the boy's hand feems only like Harlequin's fword, made of two flat thin boards, in order to produce a found upon being £haken. A. PLATE APPENDIX. 221 PLATE XXXI. • If the flute, in N. i. is of the proper fize for the child to play on, then nothing was to be done with the pegs in playing, they being out of his reach : they might ferve for tuning the inftrument. I think there are feven of them on the right hand flute ; three being pufhed in alternately : and five on the left hand flute and only one, that is the laft but one, pufhed in. A. 3. See Scaliger, de Com. et Trag. cap. xvi. Gronovli The/. Graec. viii. p. 1 53 1. Alfo Mufeum Florentinum i. p. 100, &c. Fabri Agonijiicon, I. i. cap. iv. GronoviiThef. Grac. viii.^. 1802, &c. With regard to the noble youth among the Greeks learning to play upon the flute, the words of Arijlotle are : 01 itoXkoi ruv e\evQepo>v. But this feems principally to have been after the Perfian war : for he exprefsly tells us, that before that time, young men and gentlemen were forbid to play on the flute, and condemns the teaching upon that inftrument and the harp, as a part of education. For the opinion of the Romans concerning ringing, playing, and danc- ing, fee Meurjii de Tibiis Colleclanea* Gronovli Thef. Graec. viii. 4. For the cuftom of blowing two flutes at once, fee Mufeum FlorenH- num, vol. i. t. 91. 3. /. 93. 6, 8, 9. t. 78. 1. t. 89. 5. t. 94. 1. Alfo an engraving from a marble in Tomafinus de Donariis Veterum. Graevii *Thef, xii. p. 849. Fanvinius de Lud. Circenf. in Graev. Thef. ix. p. 370. And Aldus Manutius de Tibiis Veterum, Graev. Thef. vi. p. 12 10. And Cay/us, vol. iii. pi. liii. 3. and iv. pi. lxvii. 1. 5. The double flute in the bas-relief, publifhed by Turnbull, Londoji, 1740, 4to. is quite plain, without any pegs and feems to go feparatc inio the mouth. A. 9. Helen is celebrated by Theocritus, Idj/II.xv'm. 35. for her fkill upon the harp : 10. Mufic and dancing has been generally erteemed, not oily by civi- lized nations, but by favage ones too. A. They made a great part of the employment of the happy in Elyfium, according to Virgil, Aen. vi. " Pars pedibus plaudunt choreas." v. 644. «« laetumque choro paeana canentes." v. 657. PLATE XXXII. 3. See the triangular harp, with the point upwards, in Muf. EFruJc. clxvi. A. Of 222 APPENDIX. Of the fambuca, fee Hieron. Epijl. xxviii. torn. ix. 7. The boys among the Greeks were educated in fuch a manner, as to render them not only robuft, but fupple : if only the former had been confulted, they would have turned out mere ploughmen. Their palaeftra was either rough and violent, as boxing, wreftling, &c. or foft and ele- gant, as dancing, Sec. Mercury particularly patronized the latter : " decorae '* More palaeftrae. A, PLATE XXXIII. 3. See Graevii The/, ix. p. 62 and 96, where Cupids are reprefented driving feveral different forts of beads in fuch chariots as this. 4. VoJJius, in Etymolog. only fays, from Cicero s Oration for Rofcius Ante- ritius, and Philip. II. that the Romans ufed the cijium for expedition. 5. See Nero, on a gem, driving a chariot with 24 horfes ; as he pro- bably did, however ftrange it may feem to us. A. PLATE XXXIV. 3. See a great variety of mafks figured, in Mufeum Florentinum, vol. i. 45, &c. and Turnbull on Majks, London, 1740, 4to. 4. " Rufi perfona Batavi." See Turnbull, p. 108. They could reprefent perfons of any nation and complexion, by only wearing the proper mafic. A. The two boys in the lower picture are both of them employed in faw- ing off a bit of a board, which one of them holds faft on the work- bench, by preffing hard on it with his left hand. The plank, or board, which is here reprefented, is flill in ufe ; and of the fame fhape precifely : it is called the holdfajl. A. 7. At Athens, a man was obliged, by Solon s laws, to maintain his fa- ther when part labour ; unlefs he could alledge, that he had not been taught when young to maintain himfelf by fome art or trade. The poor were alfo obliged to learn hufbandry, manufactures, and trades. See Pot- ter, Antiq. i. p. 152. A. In this tedious difcourfe upon the fubjecl: of education, 'tis a wonder they did not tell us, that the Jews and Turks bred their children up to fome profitable manual art, and that the favages of America do not. This faying every thing upon every fubjecl is infinitely fatiguing. A. The Janiilaries at Conftantinople have lefs inclination for war fince they }uve been permitted to exercife trades. A. 9. The APPENDIX. 223 9. The faw in this pi&ure is like the frame- favv, wanting only the bit of ftick (called a tongue) which ftraitens the twitted cord at top, and ftrains the blade of the faw tight : there is another, whofe blade, like this, is in the middle, equidiftant from the longer fides of its frame, but its edge lies in a direction contrary to the plane of the frame, fo cannot be that in the picture. A. PLATE XXXV. If the liquor which runs through the trough be red, it may be wine ; but from the violence ufed in prefling, and the appearance of the fruir, I mould have gueffed it to be anoil-prefs. ■ " teritur Sicyonia bacca trapetis." Virg. Georg. ii. 519. Heat aflifted the operation. See Varro. '« Aut dulcis mufti Vulcano decoquit humorem. " Et foliis undam tepidi defpumat aheni." Georg. i. 295. A. 3. Had Romulus not permitted the exercife of agriculture, his fubjects muff have been all ftarved. They had not room to live by hunting, and had no (hips to import provifions. But the truth is, he not only allowed, but encouraged agriculture. The country tribes were more honourable than the city ones. A. 17. Plafter is ftill ufed to make wines keep. See Miller, Die!. A. 23. All the fhoes in the (hop feem to me alike, or of one fort, which I wonder at. A. Of the cothurnus, fee Virgil, Eel. vii. 32. The tragic differed from the hunting bufkin only in having a higher heel and fole. Juvenal vi. 504. 25. Virgil, Eel. viu 32. mentions the color puniceus, and Aen. i. 341. the j>urj>ureus. PLATE XXXVI. Three of the legs of the frame feem to reach to the ground ; one of the two in front certainly does : the other ends at the table, on which it refts : the table has its own four legs befides. A. 7. Alexander greatly offended the mother of Darius by offering to fur- nifh her with weaving materials ; thinking it would prove an agreeable amufement to her and her companions in their captivity : but he inftantly reconciled himfelf to her again, by affuring her that no affront was meant ; for that the veil he had on was the work of his own mother's hands. A. Vol. I G g PLATE 224 APPENDIX. PLATE XXXVII. Thofe who fay, that the antients always painted dolphins crooked, may be convinced of the contrary from this reprefentation. See Pennant. A. 9. If there were three horfes (which was very common) they went abreaft : the middle horfe was in the (hafts, jugalis 5 the two outer ones drew by traces j as if we were to add another on the off-fide of the fhaft- horfe of our poft-chaifes, as the French often do their bidet. If there were four horfes, then I reckon the two middle ones went in the mafts, which need be only a fimple bar, or pole, betwixt them ; and the fame between them and each outfide horfe, that drew by a trace on his outer fide. The Greeks called the horfe in the traces, or ropes, * Homer It is not properly a yoke by which the car is drawn ; but it is the bar which keeps the two-wheeled car from tipping over, as in modern curri- cles. One rarely fees in medals, Sec. how the carriage is drawn : fome- times only reins in the cattle's mouths appear. A. 10. This fancy of the painter is a plain imitation of a chariot-race in the circus, in which one driver is generally reprefented over-turned. See Sophocl. Eleftra, and n. 6. on the following plate. Somewhat like large handles are plainly vifible, particularly on the neareft chariot: perhaps they were deiigned to raife the fides up to the knees of the driver as he ftands, without increafing the weight. A. PLATE XXXVIIL 6. I hardly allow any bench ; he might Hand upright in the back part : as it is, he reclines againft thefloping, or circular fore-part. A. 7. There are no figns of feathers on the backs of thefe griffons. I fee no mane to the griffon on the right ; but fomewhat that might pafs for a yoke, if the other had the fame : though 'tis not uncommon on medals, to fee reins, &c. on the near horfe, which are omitted on the din-ant onej perhaps to avoid uniformity or confufion. A. See a car drawn by griffons in Caylus i. Ixv. 3. 13. In general, the altars did not rile higher than the knees of the ftanders-by. See Caylus. A* Noah's altar is the nrft we read of : but,, fince Cain and Abel offered facrifices, we may fairly prefume they alfo had their altars. 14. The remark which is made at the beginning of this note, is true of all their obfervations. Many of the prevailing notions concerning fer- pents have probably arifen from an univerfal tradition of the fhare the fer- pent had in the fall of mankind. This animal was given as an attribute to I APPENDIX. 225 to the god of Phytic ; either becaufe it is ufed as a reftorative, or becaufe it calls its fkin, and feems to renew its health and age. A. 15. Agathodaemon is common on medals: he has an human face; Co the lerpent here reprefented is not him. See what is called the temple of the ferpent Cnuphis, in Norden, p. 101, 8°. Saint Schech Haridi is ftill worfhiped under that form, p. 42. A. There is a Draco volans, or flying lizard, found in the Eaft Indies and Africa, but by no means anfwering to the horrid ideas which the fables of dragons have raifed among the ignorant. This is a harmlefs animal, feeding only on infects, and living upon trees ; all other dragons are fabu- lous or factitious : " non naturae (fays Linnaeus) fed artis opus eximium." Had nature given fome of the ferpent tribe thole wings which fable has lent them, the ftories which have been raifed of dragons might have been realized. PLATE XXXIX, 10. See feveral lamp-ftands figured in Caylus, vol. iii. pi. xxxvii. and vol. v. pi. xciv. &c. 12. I believe the Vitruvian fcroll was not known to be upon any actual building till Mr. Stuart reprefented it in his beautiful plates of Demojlhe- nes's Lant/jorn. If an ornament executed in the beft period of Grecian architecture, and approved by Vitruvius, could be fo totally loft ; no wonder this ornament, which he condemned, could not be found by Phi- lander. The Vitruvian fcroll may be collected from fome medals, but appears plainly on many pieces of Tufcan pottery. A. Here are not only the barpaginetulu but alfo the curled leaves which Vitruvius mentions in the fame paflage. A. No great knowledge of perfpective is neceffary, to fee from this and the following plates, how ignorant the ancient painters were of that art. PLATE XLl. The little wheel, or fhield, as it is here called, is the flat bafket that was fie n fide-ways, or edge-ways, in the laft plate^ and./>/. xliii, xliv. A- 3. See ph xliii, xliv, xlviii, xlix. A. PLATE ■I 226 APPENDIX. PLATE XLII. 7. Becaufe the Greeks had doors opening outwards, they made a noife within to give warning to paflengers in the ftreet before they opened the doors. See Terence s Comedies* A. PLATE XLIV. See the triton upon the temple of the Winds at Athens, in Stuart. A. " Coeruleum tritona vocat." Ovid, Met am. i. PLATE XLV. There is a fourth fliip, which is not mentioned in the account. A. 5. Medals are uniformly againft the opinion of more rows of oars than one j and 'tis not eafy to fay, why they mould never reprefent a fingle fhip of the more extraordinary ftructure. The fame is true too of bas-reliefs, except only Trajan's column but 'tis perhaps faulty in this particular, as in feveral others in which a bad perfpective prevails; as in the end of a bridge, which is fo turned, that the army appear plainly to go through the river, on theoutlide of the bridge. In fhort, Count Caylus fays, that Pere Languedoc has intirely confuted this opinion. A. 7. Who would argue from a (hip confumed by fire, and actually funk out of fight, all but a fmall part, rather than from three fwimming at large ? Indeed I fee no fuch thing as they alledge in the funk fhip ; the refraction of the water may diftort the oars. A.. 13. The ftandard is the legionary one. A- PLATE XLVL 2. There is the appearance of a modern top of a chimney above the roof. A. - 3. How could they mount to the top to manage the light? Nor did I ever fee any thing lefs like an altar. A. We are informed by this plate, among others, that the ancients had no more regard to the difpofition of light and made, than they had to per- fpective. L. PLATE APPENDIX. 227 PLATE XLVIT. 3. The torques, ring, or collar, that appears round the parrot's neck in the print, does not belong to the bird, but to the harnefs. A. Vofjius's words are only thefe : " Non dubito quin vox fit ab Indis, unde ** avis ipfa the word PJittacus is undoubtedly of Indian original, for the bird comes from that country. Ptolemy Philadelpbus was a great collector of natural curiofities. See' Diodorus Siculus, Strabo, and Arrian. A. Though parrots are now fo common in Europe, a poet might ftill ufe Ovid's topic of " extremo munus ab orbe datum." A.. Pliny does not fay, that parrots were never feen by any Europeans be- fore thefe travellers difcovered them at Gagaudes but that they were firjl feen from that ifland ; which might be long before the date of this ex- pedition. The Romans were fond of grotelque fubjects : the whims of the Greeks were of a graver caft .. Plate xc. n. 3. reprefents a lion on a car drawn by two cocks ; this is on an amethyft. The other is on a red jafper, and reprefents a dolphin drawn by two caterpillars. Thefe feem to be the mere caprice of the artiff, and to have nothing of that allegory,, which it is much more eafy to fancy than to give fatisfaction to perlons of fenfe concerning it. Caylus* vol.W. p. 316. There has been another picture of this grotefque kind found in Hercu- Taneum : it reprefents a chariot drawn by a griffon, with a butterfly driv- ing. See Catalogue, n.ji. In Cay/us, vol. v. pi. liv. 5. there is a ferpent riding on an horfe : the ferpent holds the reins in his mouth, and the horfe is galloping. PLATE XLVIII. 4. Amafeus does not fay, that the Athenians put up the fliield in me- mory of their having overcome the Lacedaemonians ; but only (though, that perhaps was wrong) that it was offered by the Athenians, &c. upon taking the town of Tanagra, which had afiifted the Lacedaemonians y whereas the Greek fays juft the contrary, that it was a prefent from Ta- nagra, a city in alliance with Sparta, and was the tythe of the fpoils ob- tained in. a victory from the Athenians, &c. But the language was what one might expect from Sparta and its neighbouring allies. A. A drunkard might call his cup his (bield (as FalRaff calls his dram- bottle a piftol) ; but, how a warrior could call his flueld a cup, is not lo. apparent. A. 12. The APPENDIX. 12. The crocodile was facred in fome provinces of Egypt only: in others juft the contrary. A. PLATE XLIX. The circular dome (in the lower compartment) inclofed with a fquare embattled parapet, is exceedingly like fome of the Mamalukes tombs in pi. exxxi. of Nor den : it is probably no water-houfe ; at leaft, if we may truft the perfpective, the bucket can never get into it : the weli ihould feem to be nearer to the fpeclator than any part of the piclure, and confe- quently does not appear. The fquare tower, diminishing upwards, with- out windows, and only a fingle entrance, is exa&ly like many in Norden ; where they generally appear on each fide of a great gateway ; but are fome- times fingle. A. 3. See Norden, pi. liii. middle figure ; but the frame in the piclure is larger, and takes up more wood than ufe requires. In Norden the men always pull at the rope itfelF, direclly over the bucket ; and not at the end of the lever, or handle of the fwipe, as here ; and their practice is right and convenient. A. PLATE L. The altar in the fecond piclure has not an Egyptian air. We mould call it a ftand : 'tis like our candlefticks. A. The unknown thing in the left hand of Ifis, in the third piclure, is certainly the Tau. See Cay/us. A, 1 THE C ] T H B I N D E X. A. Abantes, p. 18. n. 6. Achilles and Chiron, pi. viii. — his beauty, p. 35. ». 10. • education, p. 11. «. 5. />. 35. ». 9. reptefented barefoot, />. 35. n. icx ■ {killed in mufic and poetry, p. 35. n. 9. why 10 called, p. 34. n. 9. Acrochinfmon, what, 78. k. 5. Admetus, />. 49. w. 6. Aegeus, king of Athens, p. 17. ». 5. Aefculapius, the air, p 166. , wnrftiiped under the form of a ferpenr, p. 164. Aglaia, p. 3 and 4. 16. Agriculture, p. 145. n 3. Alcmena, p. 30. />. 29. ». 3. 30. ». 8, g> 14. Aleus, p. 23. »• 5. Alex nder of Athens, p. 2. n. 9, 10. Aliofli, what, p. 5. w. 20. Altar, Cecrops the firft of the Greeks who made one, p. 163. n. 13. firft erected by Noah, ibid. round, with a ferpent, pi. xxxviii. n. %. Altare, whether different from Ara, p. 163. "• 1 S- ... Altars of the infernal deities, called Feci, ibid. ■ in allegory, fymbols of a divinity, 6cc. p. 11. n. 5. and p. 13. . their forms and height, p. 163. n. 13. ■ why erected on hills, ibid. Ambubajae, what, p. 134. n. 20. Amiculum, p. 93. ». 8. Amphitryon, p. 30. p. 29. n. 3. />. 30. ». 8. ^. 31. n. 14. Ampion, what, p. 138. «• 6. Amyftis, what, 64. «. 10. Anclabris, the facred table, p. 57. n. 11. Androgeus, fon of Minos, p. 17. ». 5- /. 20. «. 13, 14- Angerona, thegoddefs, p. 168. 23. Animals, pi. xliii. Anubis, />. 198. n. 14- Aphrodifion, />. 77. n. 4. Apodidrafcinda, a kind of play, p. 139. ». g. Apollodorus, p. 3. ». 14. Apples, facred to Venus and Cupid, p. 162. n 1 1. expreffiveof fenfual pleafure, p. 163. v* |I. Arachne, p. 153. n. J. Architecture, plates of, pi. xxxix, xl, xli, xlii, xliii, xliv- xlvi. Areopagites, p. 50. n. 6. Argives, firft ufed the clypeus, p. 122- n. 16. Ariadne, daughter of Minos, p. 1-7. n. 5. p. 18. n. 9. p. 19. ?z. 13. Arion, a horfe, fon of Ceres by Neptune, p. 12. w. 7. Ariftaeus, the fiift who fnared wild beafts, p~ 156. n. 5. Arne, Neptune's nurfe, p. 12. w. 6. Artifts, maintained at the public charge in Athens, p. 142. n. 7. Arts, manual, p. 142. n. 7. mechanic, not two to be followed at Athens, ibid. fervile, ibicL Afpendius, a famous harper, p. 35. n. \ \. Als, a fymbol of the Nile, p. 198. n. |£„ Afterion, p. 20. n. 14. Aftragalizontes, p. 6. «. 20. Athenians, their tribute to Crete, ^. 19. ». 11. Atrium, how fituated, p. 17-9. w. 4, Averrunci Dei, p. 30. ff-lt. Auge, daughter of Alcus, p. 23. n. 5. ^. 25, *■ 9- B. Bacchanals, their original, p. G9. /?. 4. Bacchants, 230 I N D Bacchants, pi. viii, xx, xxv, xxvi. p. 69. tt. 4. p. 71. ». 9. p. 86. «. 2, 3, 4. p. 87. ». 7. />. 92. «. 6. p. 107. k. 9. />. 109. ft. 3. p. 110. ft. 4. Bacchus, />. 69. tt. 4. />„ 106. «. 6. the full cultivator of figs, p. 97. «. 8. Biclinium, what, p. 65. «. 13. Biga, what, 138. «. 5. Birds, />/. xlvi. Biremes, p. 187. ». 5. Birota, />. 138. «. 4. Board, painting on, />. 16. //. 4. Boys, at play, />/. xxxii, xxxiii, xxxiv. dancing, pi. xxx, xxxi, xxxii. -■ driving cars on the water, pi. xxxvii. ft. 2. — — fifliing, ph xxxvi. tt. 2. hunting, pi. xxxvii. n. 1. playing on flutes, pi. xxxi. — winged, pi. xxx, &c. ■ working, pi. xxxiv. tt. 2. pi- xxxv. ph xxxvi. Tt. I. Bracelets, p. 8r. ». 4- 93. n. 7. Bufkins, />. 15. «. 10. C, Calantica, p. 101. «. 4. Calceus, p. 9.7. w. 11- />. 1 50. w. 23. Caliendrum, />. 101. ft. 4. Cahhula, p. 96. tt. 4. Calyptra, />. 101. tt. 4. Candelabra, columns fo called, p. 172. ». 10. Cantharus, what, 143. tt. 10. Capitiuin, 96. tt. 4. Carians, firft ufed the creft to the helmet, p. 122. tt. 15. Caroenum, a kind of fweet wine, p. 149. «. 17. Carpenters, worfliiped Sylvanus, p. 142. 6. a confiderable company at Rome, &c. 143. tt. 7. Carriages, ancient, />. 138. ft. 4, 5. />. 157. »• 9- r drawn by dolphins,//, xxxvii.n. 2. />. 157, w. 8, 9. Centaur, celeftial, p. 114. ». 4. Centaurs, p. 7. />. 9. tt. 10. />/, xxv. />. 107. tt. 7, 8, 9. pi. xxvi. />. 110. «. 5. pi. xxvii. p. 113. n. .2, 3. />/. xxviii. Centaurs, female, pi. xxvi. /. 109. ft. 1. p. 1 10. tt. 6. />. 112. «. 10. their origin, p. 106. n. 5. Cephalodsfmium, p. 101. ft. 4. Ceres, her clandeltine parturition,^). 12. ». 7. p. 25. ». 7. Cemophori, who, p. 99. «. 5* Cetii, the fame with the Italians and Romans, p. 26. n. 12. E X. Chariots, Circenfian, p. 138. «. 3. />. 159. n, 6. Chenifcus, what, p. 191. ». 8. Cheirapfia, what, ^. 78. «. 5. Chiron and Achilles, pi. viii. his birth and learning, p. 33. tt. 4. mafter of Achilles, p. \\. tt. 3^. ». 9. p. 115. «. 6. the celeftial centaur, p. 114. tt. 4. the firft hunter, p. 34. k. 6. Ciborium, what, p. 172. ». 9. Circenfian games, />. 98. ft. 4. />. 138. ». 3. />. 139. f?. 7. Cilium, what, p. 138. «. 4. Clifmus, p. 119. w. 3. Clofler, fon of Arachne, invented the fpin- d.'e, p. 153. tt. 7. Clypeus, firit ufed by the Argives, p. 122. n. 16. its form, ibid. Cneph, the Egyptian name for a ferpent, p. 164. p. 168. «. 20. Cockalls, game at, pi. i. p. 5. «. 19. Collars of gold or filver, worn by children, /. 32. n. 23. Cothurnum, different forts, p. 15. tt. 10. worn by hunters, p. 150, ft. 23. 1 tragedians, p. 15. ft. jo. Courtefans, anciently diftinguifhed by colour- ed cloaths, p. 88. ft. 10. Credemnum, p. 10 1- ft. 4. Crembali, />. 117. «. 4. Crepida, p. .100. tt. 7. Creft of the helmet, firft ufed by the Carians, p. 122. n. 15. Crocodiles, how hunted, p. 201. w. 10. ' not peculiar to the Nile, p. 202. tt. 4. fymbols of the Nile, ibid. Crocota, what, p. 78. ft. 6. p. 96. tt. 4. Crofs, Hermetic, />. 204. n. 18- Crotala, />. 91. n. 4. />. 127. ft. 5. /». 132. w. 8. Crumata, p. 136. «. 6. Cupid and the fun, the fame, p. 162. ». ir. playing on a lyre, and in a car drawn by griffons, pi. xxxviii. p. 158. n. 3. — — put for the power exciting things to re- gularity, p. 162. ft. 1 1. fprung from chaos, ibid. — — — why faid to be the fon of Venus, p. 161. n. 10. Cupids, fons of Mars and Venus, p. 123. ft. 18. two, p. 161. tt. 10. three, according to others, ibid. Cufhions, fluffed with rofes, p. 122. ft. 13. ■ their ufe among the ancients, p. 121. n. 8. Cyclopes, INDEX. Cyclopes, £.41. ». 3. Cymbals, p. 71. n. 10, Ii, 11. p. 86. ». 5. p. 91. a. 4. ^. 92. n. 5, 6. p. 117. n. 4. D. Daedalus, contriver of the labyrinth, p. 20. n. 14. Dance, a neceflary part of education among the Spartans, p. 126. — — called cernophorum, p. 99. n. 5. ■ dishonourable among the Romans, p. 126. p. 127. n. 5. — — of the Graces, p. 83. ». 2. Pyrrhic, p. 126. 231 Dancers, pi. xvii to xxiv. Dancing, p. 125. ». 4. — — — at banquets, p. 80. «. 3. p. 81. «. 10. />. 84. ». 3. />. 125. n. 4. 1 ' efteemed among the Greeks, p. 125. ». 4. Decks to (hips, when, and by whom, invent- ed, p. 188. n. 9. Defrutum, a kind of fweet wine, p. 149. ». 17. Diana, her ftatue, p. 54. n. 20. ^. 57, ». 9. — — ftags facred to her, p. 1 56. n. 5. ■ hunted only timid animals, ibid. Dido, pi. xiii. Dielciftinda, what, p. 136. ». 8. Diphrus, p. 1 1 9. k. 3. Diptycha, what, />. 44. «. 10. Divination, its origin, p. 165. n. 17. Dolphins carry Cupid, p. 157. «. 8. facred to Venus, ibid. ■ their fondnefs for mankind, Doors, folding ; appropriated to temples, p. 180. n. 7. Dofinus, what colour, p. 105. «. 2. Doves, facred to Venus, 120. n. J. Dragons, how they differ from ferpents, p. 163. n. 15. facred to ./Efculapius, p. 164. ■ their fize and colours, ibid. — — — venomous only in Africa, ibid. Dryads, p. 197. n. 5, 6. Duck, the fymbol of winter, p. 203. n. 6. Embades, what, p. t$, n. 10. Epomis, ^. 32. «. 18. Efomis, ^. 100. n. 6. Eteocles, ^. 49. n. 6. Euriftheus, />. 30. n. 8. Eurytus the centaur, p. 8. F. family meal, pi. xiv. Faun, with a bacchant, xv. an hermaphrodite, pi. xvi. Fauns, their figure, p. 68. 77. 3. />. 73, ». 3. Faunus, p. 25. />. 26. 77. 12. />. 68. ». 3. addicted to hunting, p. 156. 77. 5. icing of the Aborigines, />. 26. «. 12. the fame with Pan, p. 68. ». 3. Feafts of love, p. 161. 77. 10. Fecafii, what, p. 150. 77. 23. Ferula, abounds in rigypt, p. 203. n. ir. carried by Bacchus and Oliris, ibid. Fillets, ornaments of victims, p. 56. n. 7. ■ ■ ■ worn by kings and queens, p. 60. «. 8. Fifh, pi. xlv. — — not eaten by the heroes, p. 153. 77. 8. Fifhing, forbidden by Piato, ibid. - implements, p. 153. «. g. methods of it among the ancients, p. 153. n. to. Filt u la, the molt ancient mufical inftrumeiu, p. 159. n. 5. Flora, p. 26. n. 12. Flute, />. 159. 77. 5. banilhed b) Plato, ibid. its ancient ftruclurc, p. 39. n. much efteemed, p. 130. n. 3. - fingle and double, p. \ 3 1 . n. 4. who invented it, p. 38. «. £■ Foci, the altars of the infernal dei.ies, p. 163. ». 13. Fortune, />. 25. 77. 7. Forum, what, />. 147. n. \ \, Fruit, pi. xlvi. Fruits aliigned to love, p. 160 n. 8. Fungus of a fword, what, p.. 59. n. 5. Fu! ;cs, p. 49. «. 6. E. Eagle, given to heroes, p. 27. 13. Egyptian antiquities, />/. xlvni, xlix, I. Egyptians, applied to mechanic arts, p. 142. n. 7. . the priefts and foldiery mod efteem- ed among them, p. 143. w. 7. Elciftinda, what, />. 136. n. 8. Eleflra, fifter of Iphigenia, p. 52- ». 12. Vol. I. G. Galaeae, what, ./>. 188. ru 7. Galatea, />. 42 and 77. 5. />. 45. 77. 12, 13. Gallic, pi. xlv. p. 1 86.- 77. 3. Games, Circenfian, p. 98. 77.4. p. 1 3S- ». 3. p. 139. 77.7. Garlands, worn in dancing, p. 128- n. 6. Genii, xxx to xxxvi. 1 called Dacmo.ies and Pra: trtcs, /. i65, H b Genii 232 1 N D Genii, their chara&erifticJ, 24. ». 7. . the r nature and office, p. 141. ». 6. p. 165. w. 17. p. 166. ■ whar, ^. 166. Genius of a place, what, p. 165. ». 17. and 166. Germans, ancient, tied up their hair, p. no. n. 4. Gilvus, what colour, p. 105. ». 2. Goofe, a favourite vidtim, p. 203- *• 6. frequent in Egyptian antiquities, ibid. Gorgons, p. 140. n. 4. Graces, not originally reprefented naked, p. Gradivus, a name of Mars, />. 122. ». 17. Grafs, one of the attributes of Mars, ibid. Grafshopper, driving a parrot, pi. xlvii. Grecians boiled their wines, p. 148. ». »7» ■ went barefoot, p. 18. n. 6. />. 32. ». 21. ■ ■ * bareheaded, p. 18. n. 6. — wore a tuft of hair on the upper part of their heads, ibid. ■■ wore rings un the left hand, p.. 18. and n. 10. Griffon, what kind of animal, p. 159. n. 7. Griffon.- drawing Cupid, pi. xxxviii. n. 1. ■ ■ facred to Cupid, />. 160. n. 7. p. 162. ». II. . facred to the fun, p. 159. n. 7. p. 162. n. ri. Giotefque paintings, /». 169. n. 4. p~lji. n. 8. G yllus, a grafshopper, ^. 194,. ». 5. - — a man's name, #id?. H. Halteres, p. 129. w. 9. Hamadryads, 197. «. 5.. Harp, the manner of playing on it, p*. 35. n. 11. p. 158. n. 4. trie number of its ftrings, p. 36. n. 12. whether the fame with the lyre, p. 35. 71. 12. who invented it, ibid. Harpaginetuli, what, p. 173- n. II, 12. Harpocrates, figured, in pi. xxxviii. n. 2. n his fymbols, p. n. 20. ■ how reprefented, ibid, and w. 23, Hawk, facred in Egypt, p- 203- »• 9. fymbol of the fun, ibid. Health, facrifke to it, pi. xxxviii. ». 2. p. 165. n. 17. Helmet, invented by the Spartans, p. 122. Hepfen a, a kit d of fweet wine, p. 148. «. 17. Hercules, his attributes, ^.24. ». 6. p. 27*. m 12, 14. — — — Nhis birth, />. 29. ». 3. his ftrangling the ferpents, pi. vii. p. 29. and w, 2, 3, 5, 6. />. 30. n. 7. why called Alcides, p. 30. «. 7. Heroes, reprefented naked, p. 17. />. 18. n. 6. their extraordinary Itature, />. 18. ». 7. wore (kins, />.. 10. «. 3. Hinds, draw Diana's chariot, p. 156. «. 5. whether they have horns, ibid. Hippodamia, wife of Pirithous, p. 7. n. 5. p. 8. Hippopotamus, found in the Nile, p. 202. »-3* ' mark of that river, ibid. taught the Egyptians the art of bleeding, ibid. Hood, p. 31. and p. 32. n. 18. p. 101. «. 4. Horns, ufed for drinking, p. 64. n. 9. Horfes, their colours, p. 111. n. 7. />. 114, n. 5. Horti, what, /». 201. w. 7. Hunting dogs, their properties, p. 156. ». 6* efteemed by the ancients, p. 154. n. 3. followed by Scipioand Trajan,^. 155. inltruments, p. 155. ». 4. invented by Diana, p. 154. n. 3, ■ — its different kinds, p. 156. n. e, Hygieia, daughter of iElculapius, p. 166. the air, ibid. Hypothymiades, what, p. in. n. 8». I. Iagnis, p. 38. n. 3. inventor of the flute, p. 39. n. Idlenefs,. laws againft it at Athens, p. 142. n. 7. Ileaira, p. 3. and p. 4. n. 15. Images, on the heads of (hips, p. 191. n. 6. Infcription on a picture, pi. xxxviii. n. 2. and p. 165. Iphiclus, />. 30. p. 29. k. 3. p. 30. «. 13. Iphigenia, her hiftory, p. 48. «. 4, 5. p. Cfv «. 8. />. 56. «. 4. Tfis, p. c8. ». 4. pi. 1. ^. 203. ». 8. — called Pan, and Myrionyma, p. 204. n. 13. — her ftatues crowned with ferpents, p. 204. n. 1 2- — the fame with the Moon and Venus, p. 204. n. 14, 17. />. 205,. n. 19. Juno, her attributes, p. 103. «. 8. Jupiter, Hercaeus, or Patrius, had three eyes, p. 44. n. 8. Ivy, INDEX. Ivy, the plant of Ofiris, p. 204. ». 16. worn by Bacchus and his priefts, p. 90. n. 2. Ixion, p. 33. n. 4. p. 106. «. 5. L. Labarum, the military ftandard, p. 201. «. 5. Labyrinth, in Crete, p. 19. n. 13. in Egypt, ibid. Lacus, what, p. 148. n. 14. Lamia, a kind of mafk, p. 141. n. 4. Lamp-ftands, columns fo called, p. i",2. n. 10. Landfcapes, pi. xlvi, xlviii, xlix, 1. Lapithae, a people of Theffaly, p. 7. «. 5. 9. n. 10. Lafts, />. 149. n. 19. />. 150. n. 21, 24. Latinus, fon of Hercules, p. 26. ». 12. Latona, />. 3. «. 12. Leeks, worn in the Circenfian games, p. 98. Letters, their ancient form, p* 52. n. it. LiberaHa, p. 69. ». 4. Libidines, what, p. 74. 77. 7. />. 77. «. 3. Liburnae, what, p. 188. «. 7. Limbus, what, p. 89. ». n. Lingula, what, p. 147. ». 7. Lion, an attendant on heroes, />. 27. 77. 14. Liveries, their origin, p. 99. «. 4. Loom, weaver's, pi. xxxvi. n. 1. p. 15 *• Lotus, the mark of an Egyptian divinity, p. 203. n. 10. uled as an ornament for gods and ma- giftrates, ibid. Love, divine, fenfual, and mixed, p. 161. n. 10. feafts of, among the Thtfyians, ibid. its origin, p. 162. n. 11. reprefented under three different forms, p. 161. n. 10. why called Amor, and Cupido, ibid. Ludius, introduced grotefque painting, p. 169. *. 4. Lyre, approved by Plato, p. 159. n. 5. players on it called phi'olopheis, ibid. — ■ — the inftrument of love, ibid. thepiaifes of the gods lung to it, p. 159. ». 5. whether the fame with the h; rp, p. 35. n. 12. who invented it, ibid. M. Mania, a kind of mafk, p. 141, n, 4. Mantle, P- 3 1 - P> 3 2 « »• *9' 7 2 U Maphorium, p. 101. n. 4. Married perfons, why called conjuges, p. 162. n. if. Mars, grafs one of his attributes, p. 122. f7 .* his origin, z'i/V. the inventor of armour, p, 122- «. 14. Marfyas and Olympus, pi. ix. a mufician, p. 38. >u 3. born in Phrygia, ibid. • companion of Cybele, ibid. confounded with Silenus and Pan, p. 39. n. 6. contended with Apollo, p. 38. h. 3. flayed alive, ibid. his chaftity, ibid. fon of Oeagrus, Iagnis, or Olym- pus, ibid. Mafked characters, p. 14. and 77. 3. Mafks, for women, p. 15. n. 8. gorgon, p. 140. n. 4. tragic, ibid. whether ufed at funerals, p. 14. «. 4. who invented them, p. 15, «. H. p. i 4 o. «. 3. Meal, family, pi. xiv. ea-en fitting, before couches were ufed, p. 63. «. 5, 8. eaten with open doors, p. 63. n. 4, Megalodaemon, what, p. 166. Megalographia, what, p. 16. n. 3. Melanippe, p. 10. «. 4. Menalippe, Hid. Military uniform, its origin, p. 99. >i. 4. Mills, water, p. 201. n. 8. Minos, p. 17. w. 5. p. 18. 77. 9. />. 20 Minotaur, defcription of him, p. 21. devoured Athenian youths and vir- gins, p. 19. tz. ii. flain by Thefeus, pi. v. Mitra, p. 101. «. 4. Monaulon, what, />. 131. ». 4. Monile, p. 81. ». 5. Monochromi, />. 1. 77. 2, 3. Mormolucia, what, />. 140. 77. 4. Mountains, facred to Jupiter, and the gods in general, p. 167. ti. 19. vvorfhiped, ibid. Mourning, white, anciently worn, p. 88. ft. 10. Mulfum, what, p. 148. «. 17. Multicia, what, />. 88. n 9. Mufic, a nectflary part ot education among rhe Greeks, p. 132. 77. 9, 10. belongs properly to love, p. 162. 77. it. in what cflimation among the Egyptians, n. 14. ». 16, P- »33» »34- Hh 2 Mufic, 234 INDEX. Mufic, its rank among the Greeks, p. 132. Paintings, lafcivious, p. 74. ». 7. p. 75. ». ». 10. 8, 9. not in high efteem among the Romans, Palla, the veft of tragedy, p. 15. n. 8. p. 93. ibid. « rendered the gods propitious, p. 158. *■ $' > ufed at all feftivals, ibid. Mufical inftruments, p. 132. n. 9. p n. 3,4. p. 159. — put into the hands of Pafiphae, p. 17. «. 5. p. 20- n. 14. the deities, to fignify harmony and concord, Paufias of Sicyon, p. 21. n. 15. 135- «. 8. p. 96. n. 4. Pallium, />. 31. p. 32. n. 19. Pan, p. 25. and w. 9, jo, 11. />. 26. »• 12. Parerga, what, p. 184. n. 7. Parrot,, drawing a car, pi. xlvii. Parrots, when firft known, p. 193. k. 3. p. 162. tf, II. Muftum, its fignification, p. 148. n.. 15, Myinda, a kind of play, />. 139. «. 8. Myrothecium, what, p. 65. 1. 16. Myrtle, emblem of mirth, />. 128. 7- facred to Venus, p. 12 1» »• 9« 128. ». 7. Myiia, />. 25. «. 10. N. Nature, figured by a ferpent, p. 165. w. 17. Nauuliu^ p. 23. ». 5» Necklaces, p. 112. n. 8. Nep une, enamoured of Ceres, p. 12. n. 7. the concealment of, 11. and n. 6. Niobc, />. 3. v. 1 3. Noah, t. 163. «. 13. Nud, c.iaracteiiftical of heroes, p. 17. />. 18. ». 6. Nymphs, who, p. 74. «. 5. Oars, how many banks among the ancients, p. 187. n. 5. p. 190. «. 4. Olympus and iVlarfyas, pi. ix. his hiftory, p. 38. n. 4. />. 39. ». 6. Oreftes, his efcjpe from Tauris, pi. xii. ■ his hiltory, p. 47. n. 3. p. 48. 5. p. 49 «. 6. 50. n. 7. />. 56. n. 4. the difcovery of him by his fifter, pi. xi. p. 45. p. 4.6. n. 5. O pheus, his murder, p. 115. 6. Ofiris, p. 68. «. 4. pi. f. />■ 203. «. 8. reprelented with the head of an hawk, p. 203. n. 9. — — ihe fame with Bacchus, p. 204. n. 16, 17. or the fun, p. 203. «. 9. P. Painting, on board, p. 16. «. 4. — on walls, ibid. ■ - • ■ on marble, />. I. «. 4. Peace, her attributes, p. 25. «. 7. p. 101. ». 2. />. 102. n. 8. Peacocks, />/. xliv. Pearls, p. 8 1, k. 6. 87. «. 8. Pedicinus, what, p. 146. re. 5. Peribaea, p. 19. w. 12. Periphas, />. 18. ». 8. called Corynetes, ibid. Perones, what, p. 150. n. 23. Petafus, p. 32. ». 20. Phalerae, p. 112. «. 8. />. 117. «. 6. Pharos, pi. xlvi. />. 190. n. 3. Philyra, daughter of Oceanus, />. 33. ». 4. Phoebe, )>. 3. «. 14. Phoenix, the tutor of Achilles, p. 11. n. 5. A 35- »• 9- Phorminx, what, />. 36. n. \%. pl.x. Phrynicus, invented mafks for women, p. 15. n. 8. Piaaeides, a kind of dance, p. 84. ». 7. Pipe, the moft ancient mufical inftrument, p» 159. ». 5. Pirithous, king of the Lapithae, />. 7. 5. p. 9. «. 10. Pifander, author of Heraclea, p. 24. n. 6. Ple£trum > its form, p. 34. n. 8... Pluteus, what, p. 177. and ». 2- Pluto, the helmet laid to be made firft for him, p. 122. n. 14. Polygnotus, p. \ . n. 3- p. 2. n. 8. p. 38. Polyphemus, pi. x. p. 41, 42. n. 4. p. 43. ». 6, f. p. 44. ». 8, 9. />. 45- »• »3- Pompeii, its lituation, p. 77. n. 2. Pre/, xxi. Praeficae, hired mourners, p. 14. «. 4. Praeiexta, what, />. 89. n. 1 i. Prefericulum, />. 96. «. 6. Prelum, what, p. 146. «. 7. PrefTes, their names and ufes, p. 146. n. 4. their form, ibid, and p. 147. 77. 10. Privet, ufed in convivial chaplets, p. 98. «. 2. Providence, 25. n. 7. ^. 27. n. 12. Plila, what, p. 62. «. 17. Pfutacus, a parrot, p. 193. ». 3. — the name of a cicy, ibid. Pthia, p. 11. w. 5. Pugillaies, what, p. 52. ff. 11. Pulvinar, INDEX. 235 Pulvinar, p. 121. ». 8. Pyrrhus, inventor of a dance, p. 126. Quadriga, what, p. 138. «. 5, Quinqucremes, p. 1! Quoits, />. 129. n. 9. R. Regina, daughter of Ceres, p. 12. and n. 7. Rhea, her fcheme to prefei ve Jupiter and Nep- tune, p. 12. n. 6. Rhombus, an inftrument of the bacchants, p. 71. n. 13. Romans, mechanic arts forbid among them by Romulus, p. 143. n. 7. Rutabulum, what, p. 148. n. 16. Sacrifice to health, pi. xxxviii. ». 2< See p. 165. n. 17. p. 167. «. 20. Saerificers, carried a bough, p. 168. n. 22. crowned, />. 1 68. n. 21. Sacrifices, firft offered on hills, />. 167. ». 19. human, p,. 55. ». 3. Sambuca, a mufical inftrument, p. 135. ». .3. Sandaligerulae, who, />. 66. «. 16. Sandaiothecae, what, ibid. Sandals, p. 94. n. 11. Sapa, a kind of fvveet wine, />. 148. n. 17. Saturn and Philyra, p. 33. ». 4. devoured his children, ^.11. n. 6. Satyrs, fons of Silenus, p. 68. «. 3. p. 73. ». 4. their figure, ibid. and/). 73. ». 3.. Saw, by whom invented, p. 143. « 9. Scaperda, what, p. 136. «. 8. Scaphium, p. \q\. n. 4. Sceptre, the enfign of Jupiter, p. 30. n. 12. p. 102. ». 7. Sceptres, ^. 102. ». 7. ^. 121. n. 10. of Juno, ibid. and/). 103. w. 8. Schoenophiiinda, a kind of play, p. 137. n. 8. Scipio, fond of hunting, />. 155. «. 3. Scopas, a ftatuary, p. 161. «. 10. Scyros, the ifland, p. 11. n. 5. Seats of calumny and impudence, p. 50. w< 6. the different kinds among the ancients, p. 121. n. 12; Sellulae, what, p. 149. n. 18". Serpents, called cneph by the Egyptians, p; 164. p. 168. «. 20. commanded by a whiffle and rod, p. 167. «. 20. — gn.edy of honey and fruits, p. 165. n. 1 6.. Serpents, fymbols of health, p. 204. ». 12. of nature, p. 165. n. 17. the genii of places, p. 165. n. 17. /». 166. ufed in the proceffions of Ifis, p. 204. n. it. why looked -upon as divine, p. 163. n. 14. wreathed about columns, are emblems of iEfculapius, p. 165. «. 17. Shepherds, why called 'I ityri, p. 131. n. 4. Shields, hung to the fides of veflels, />. 188. n. 8% p. 191. n. 11. hung up in temples, p. 196. «. 3, 4 . Ships, />/. xlv, xlvi. Shoemakers, pi. xxxv. «. 2. ^. 149. 2 o. their tools, p. 150. «. 21. Shoes, ftained with different colours, p. 93, v. 9. p. 94. «. 10, 11. p. 150. ». 25. ufed among the ancients, p. \ c 0 . n . 22. . Sigmata, what, p. 66. w. 1 8. Sileni, p. 73. w. 3. Silenus, p. 40. ». 6. Sinoefa, a nymph. See Arne. . Siftfum, p. 71. and 12. Slaves, their habit, p. 10. n. 2. Soccus, />. 100. n. 7. Socrates, learned to dance when advanced in years, p. 126. Solea, p. 97. n. 11. Spartans, invented the helmet, p. 122. n. 14. Spinning, in great elieem among the ancients,^ p. 153. n. 7. Stags, lacred to Diana, p. .156. «. 5. Stibadia, what, p. 66. ». 18. Strainers, how uleJ, p. 66. >/. 19. Stucco painting, />. 16. n. 4. Supparum, a woman's garment, p. 65 «. f 4 , p. 96. «. 4. Syrraa, the lame with Palla, which fee.. Tables, facred, p. $1. n. 9., ■ their form, p. 66. n. 18. Taenia, />. 84. n. 5. Tapeftry, wove with fantaflic figures, p. ito. * 9-. . . Tarerninidiae, what, p. 78. «. 7. Tauris, city of, />. 55. w. 3; p. 57. w. 9, ia. Taurus, Paliphae's gallant, /. 20. n. 14. Telephus, furnamed Latinus, Ion of Her-. cules, p. 26. n. 12. thedifcovery of him, pi. vi. Te'.lus, the goddefs, p. 25. ;;. 9. p. 26. «. 12. Teuthras, king or Mvha, p. 23. n 5. 1 hefeus and the minotaur, pi, v. — — — killing Eurytus the cen-.aur, pi, ii. 1 lulpiuns, 236 I N D Thefpians, feafls of love among them, p. 161. 71. 10. Thetis, daughter of Chiron, or Nereus, p. 84* m 9- —— — wife of Peleus, ibid. Thoas, king of Tauris, p. 53. p. 56. ». 4. Tholus, what, />. 183. n. 2. Thrones, />/. xxix. p. 119. ». 3. />. 120- w. 4> 5- Thyri'us, p. 70. w. 7. 71. «. 8. Tibia, ^. 130. ». 3. p. 159. ». 5. banilhed by Plato, p. 159. n. 5. fingle and double, p. 131. n. 4. Tityrina, what, /». 1 3 1 . n. 4. Toiquis, />. 81. n. 5. p. 117. «. 6. Towers, />. 192. «• 12. erefted on the decks of veflels, p. 188. B. it. Trades, had their tutelary deities, />. 142. «. 6. Tragic characters, />/. iv. /». 15. — habit, p. 15. and n. 8, 9, 10. Triangle, a mufical inftrument, />. 135. n. 3. Tricliniares, what, p. 65. ». 13. Triremes, by whom invented, p. 190. ». 4, what, />. 187. «. 5. Tritons, p/. xliv. p. 184. and w. 8. Tunic, p. 31. and «. 17. />. 100. ». 6. Tutela in {hips, what, p. 191. n. 6. Tympanum, />. 86. n. 5. />. 87. «. 6, V. Venus, a kind of dance, p. 84. «• 6. armed, worfhiped at Sparta, p. 123. n. q.1. conjugalis, p. 162. v. 1 1. daughter of day, dolphins facred to her, />. 157. ». 8. * her car drawn by them, p. 46. n. 15. her drefs, p. Si. ». 4, 6, 7. />. 103. n. 8. her throne, pi. xxix. w. I. />. 120. «. 6. maritalis, the fame with Juno, p. 103. n. 8. E X. Venus, myrtia, p. 121. ».. 9. put for the beauty, order, and fymmetry of the univerfe, p. 162. ri. ii. — — three ftatues of her under different forms, p. 161. », 10. vidtrix, />. 123. «. 21. worfhip of her introduced at Athens by Thefeus, p. 161. n. 10. Veftibulum, how fituated, p. 179. n. 2. />. 183. «. 5. Veftments, long laced, worn by tragedians, p. 15. ». 9. Vefuvius, its wholfomenefs, p. 167. n. 19. Victims, crowned, p. 56. and «. 8. Victory, p. 25. w. 7. Violarii, what, p. 95. ». 2. Vitruvius, explained, />. 172. n. 10. />. 1 73. ». 12. Vitta, p. 84. «. 5. Unguents, mixed with wine, p. 65. «. 16. - — ufed at meals, ibid. W. Water-mills, p. 201. ». 8. Weavers inftruments, p. 152. n. 5. Weaving, />. 151. n. 4. 152. «. £. gold thread, />. 152. n. 6. White, worn by Women of chara&er, p. 88. n. 10. 98. n. 3. worn for mourning, p. 88. », 10. worn in the feftrvals of Ceres, and at banquets, &c. p. 98. ». 3. — — — whether a good colour for an horfe, p. in. n. 7. Wine-prefs, />/. xxxv. p. 146. «. 4, 5, 6, 7. p. 147. n. 8, 9, 10, 11. 148. ». 13, 14. Wines ; apples, fpices, tar, &c. mixed with them by the Romans, p. 149. n. 17. boiled by the Greeks, p. 14.8. n. 17. Wings, called pfila by the Dorians, p. 62. ». 17. Women, their habit, p. 15. ». 9. ERRATA Pi-ef. page xliv. line 28. for 1 read 4 Page 8, line 1, far Plate i. read Plate il. 20, line 13, for 29 read 18* 23, line 1 4, for obferve read obferves 27, line laft, /or 209 read 219 41, line 9, /ir 249 read 259 61, line 29, /2>r 145 rW 142 62, line 36, /or Caryatides read Caryatid 65, line 37, for anointed read anointing 81, line 30, for et read eft 8-4, line 12, /or condidum read candidum 106, line 43, for woOoo read •nro8o» 120, line 15, /or Mezzabarbino ra