YALf UNIVERSITY LIBRARY
3 9002 05366 4778
ia^^CAtALOGUE OF THE

SLATER MEMORIAL
MUSEUM

Jf^

NORWICH, CONNECTICUT
JUNE, 1905

YALE UNIVERSITY
LIBRARY

Gift of
'4. t. ^. Office

CATALOGUE

OF THE

SLATER MEMORIAL
MUSEUM

PLASTER REPRODUCTIONS
OF CLASSIC & RENAISSANCE
SCULPTURE, GREEK COINS,
RENAISSANCE MEDALS isf
METAL WORK
WITH BRIEF DESCRIPTIONS OF
THE PHOTOGRAPHS, INDIAN
COLLECTION, PECK LIBRARY &
THE NORWICH ART SCHOOL

NORWICH, CONN., MCMV
PUBLISHED BY THE ACADEMY PRESS
AT THE NORWICH FREE ACADEMY

INTRODUCTORY NOTE
THE Slater Museum occupies a large part of two floors
of the Slater Memorial BuUding. The donor, Mr.
William A. Slater, secured the aid of Mr. Edward
Robinson of the Boston Museum of Fine Arts in the selection
and arrangement of the casts of Greek and Italian sculpture.
In order to show the development of Greek Art the classic
sculptures have been arranged, for the most part, in chronologi
cal sequence, and have been divided into groups in separate
compartments in such a way as to emphasize the characteristics
of each school of sculpture. Certain famous masterpieces, how
ever, have been so placed as to reveal their intrinsic beauty
rather than their place in the history of art.
In 1889 a brief catalogue of the Museum was compiled by
Mr. H. W. Kent, then Curator. This catalogue is now re
issued after revision and enlargement by Miss Nancy M. Pond,
the present Curator. In the preparation of the material on
Greek Art, Dr. Frank S. Bunnell of the Academy has rendered
valuable assistance. The printing of the catalogue has been
done by Academy pupils under the direction of Mr. Frederic
H. Cranston and Mr. Alfred H. Beebe of the Manual Training
Department. Mr. Ozias Dodge of the Norwich Art School
has prepared the drawing of the Parthenon, page 4 1 . The
plan of the first floor of the Museum, p. 1 4, was made by Mr.
Cranston, and the plan of the second floor, p. 54, was made by
Harry James Baker of the class of 1906.

6 Introductory Note
It has been the aim of Miss Pond to prepare a serviceable
handbook for visitors rather than a reference book for specialists.
With this purpose in view it has seemed wise to use the Latin
spelling for all well known names of Classic Art. Since no
attempt has been made to indicate elsewhere the pronunciation
of these names a few general rules have been prefixed to the
Index, page 98.
The Museum is open to the public on Saturdays and holidays
from 9 A. M. to I z M. and from 2 p. m. to 5 p. m. and on
other week days from 8.30 a. m. to 5 p. m. Henry A. Tirrell
The Norwich Free Academy
June, 1905

TABLE OF CONTENTS PAGE
Introductory Note 5
The Entrance Hall 1 1
Greek Sculpture 17
Reproductions of Greek Coins 49
Italian Sculpture 57
Details of French Architectural Ornament 7 1
Reproductions of Medals of the Renaissance 7 3
Reproductions of Metal Work of the Renaissance 8 3
Reproductions of Armor of the Renaissance 87
Photographs 89
The Edmond Indian Collection 93
The Norwich Art School 94
The Peck Library 95
Bibliography 97
General Rules for the Pronunciation of Classical Names 98
Index 99
ILLUSTRATIONS
First Floor Plan of Museum 14
Dravdng from Conjectural Restoration of the Parthenon 41
Second Floor Plan of Museum 54

THE ENTRANCE HALL

CATALOGUE
I. The Emperor Augustus. 63 b. c — 14 a. d.
Roman. Marble statue made about 20 b. c. In the Vatican,
Rome. This statue is a splendid example of the technical perfection
and the dignity and elegance of Roman sculpture of the age of
Augustus. It is also important as illustrating the coloring of the
ancient statues. Traces of crimson, purple, yellow, and blue
are still to be distinguished on the original.
2. Head of a Pharaoh. Egyptian. In the British
Museum, London.
3. The Rosetta Stone. Egyptian. 195 b. c. Of ba
salt. Found near Rosetta, Egypt, in 1799. In the British
Museum, London.
This fragment of a stele bears an inscription in Hieroglyphic,
the language of the monuments ; in Demotic, the signs used by
the people ; and in Greek. It is, therefore, of greatest import
ance, as it served as a key for the decipherment ot Egyptian
hieroglyphics.
4. Banofre, a Scribe. Egyptian. Dedicated to Osiris
at Thebes. i8th dynasty (about 1700- 1400 b. c. ) In the
British Museum, London.

12 Slater Memorial Museum
5. Wounded Lioness. Assyrian. Limestone relief found
in 1853-56 in the ruins of the palace of Assur-bani-pal
(reigned about 668-620 b. c.) at Nineveh. Inthe British
Museum, London.
This relief is called the masterpiece of Assyrian art, which
reached its highest development under Assur-bani-pal, better
known by the Greek form of his name, Sardanapalus. The
Assyrians excelled in their treatment of animals, and this relief
shows a wonderfiil realism and sympathy with nature, closely in
touch with modern art.
6. Amenophis III. Egyptian, i Sth dynasty, 1 500 b. c.
Black granite portrait statue. In the British Museum, London.
Amenophis III was king of Egypt in the second and most
brilliant period of its history when the capital of the country was
at Thebes. The union of upper and lower Egypt is symbolized
on the side of the throne. This king was also known as
Memnon, and the famous statue called " Vocal Memnon" is a
portrait of him.
7. Assur-nazir-pal beside the Sacred Tree. As
syrian. Alabaster relief found in the ruins of Nimroud. In the
British Museum, London.
Assur-nazir-pal was king of Assyria 884-860 b. c. The
cuneiform inscription upon the relief, called "Standard" because
often repeated upon monuments of the king, sets forth his
warlike nature and deeds of prowess. He built many palaces
adorned with sculptural reliefs portraying his deeds, and these,
since their discovery in 1 846, have been of the greatest value in
studying the life of the ancient Assyrians.

THE MUSEUM

KEY TO FIRST FLOOR PLAN OF MUSEUM

A — Peck Library
B — Design Class Room
C — Casts I to 9
Also original terra-cotta statuettes and Greek vases
D — Casts I o to 17
E — " 18 " 24
F — '• 25 " 32
G— " 33 " 43 and 67
Also electrotype reproductions of Greek coins
H — Casts 44 to 51, 62 to 66 and 68

I — "

52 " 61

J-K. K— 1

69 " 80

L— "

81 " 87

M— "

88 " 98

N— "

99" '32

GREEK SCULPTURE
I. Gravestone of Aristion. A relief, the work of
Aristocles, according to the inscription. A work of the 6th
century b. c.
Found on the coast of Attica in 1838. In the National
Museum, Athens.
One of the oldest Greek gravestones yet discovered. It is the
tombstone of a Greek warrior, and shows him in full armor,
pensively leaning on a spear. In the original, traces of different
colors were found on the beard and armor, showing that the
relief had been painted, a common practice in Greek work.
2. Perseus Killing Medusa. One of three metopes
from the oldest temple at Selinus, in Sicily. About 600 b. c.
Found in 1822-23. ^^ ^^ Museum at Palermo.
The relief represents Perseus, the hero, attended by Athena,
in the act of slaying the Gorgon Medusa. Pegasus, the winged
horse, springs from her blood as she dies. Traces of color
were also found on this relief.
3. Archaic Head of a Man. 6th century b. c. In
the Berlin Museum.
4. Head of Athena. 6th century «. c. In the
Acropolis Museum, Athens.
5. Agamemnon, Talthybius, and Epeus. 6th cen
tury B. c. Archaic relief of marble.

1 8 Slater Memorial Museum
Found in the island of Samothrace m 1790. In the
Louvre, Paris.
6. Figure Mounting a Chariot. Relief of about 500 b. c.
Found on the Acropolis at Athens, and supposed by some
to be a metope from the earlier Parthenon, built before the
Persian wars. In the Acropolis Museum, Athens.
As this arrangement of the dress and hau- was common to both
men and women at this time, it is not known what the relief
really represents, but it is probably a youth stepping into his
chariot. The figure is gracefiil and spirited, and seems to show
the breaking away from the stiff archaic works, and the advance
toward the more perfect art which followed.
7. Votive Statue of a Male Figure Carrying a
Calf; the so-called "Hermes Moschophoros." 6th
century b. c.
Found on the Acropolis, Athens, in 1864— 1865. In the
Acropolis Museum.
This statue was probably dedicated to Athena and represented
the dedicator bringing a calf to sacrifice. The figure, crude as
it is, is of very delicate and careful workmanship. The holes
in the eyes, which are flat on the surface of the face, were for
merly filled with precious stones. This was a common practice,
which later developed into chryselephantine figures, or statues
made of various materials, — gold, ivory, and precious stones.
8. Statue of Apollo or of an Athlete. 6th century b.c.
Found at Tenea, in Greece in 1846. In the Glyptothek,
Munich. One of a number of similar early statues, which are particu
larly interesting because they show the advancement in skill and
knowledge of the artist. This is especially noticeable in the

Greek Sculpture 19
representation of the muscles, the freeing of the arms from the
body, and the separation of the legs.
9. Statue of Hera. 6th century b. c.
Found at Samos in 1875. In the Louvre, Paris.
10. The Doryphoros or Spear-bearer. A marble copy
of Polyclitus' bronze original of the 5th century b. c. Found at
Pompeii in 1797. In the Museum of Naples.
Contemporaneous with Phidias and, like him, a pupil of
Ageladas, was Polyclitus of Argos. He was much celebrated
among the ancients, especially for his figures of athletes.
Chief among these was the Doryphoros, a bronze statue of a
youth of splendid form and development, carrying a spear over his
shoulder. The figure was studied by younger artists as a perfect
example of manly beauty and strength, and was called by them
the ••Canon" or "Model." There are many copies of this
famous statue, though the original is lost. The one from which
the cast is taken is the best. None of the copies are of high
merit and they reproduce but feebly the original.
II. Head of the Doryphoros.
A bronze copy of Polyclitus' original. Found at Hercula-
neum in 1753. In the Museum of Naples.
12. The Discobolos or Disk-thrower. A marble
copy of Myron's original of the 5th century b. c.
Found in Hadrian's ViUa, Tivoli, in 179 1. In the Vatican,
Rome. Myron of Athens, like Phidias and Polychtus, was a pupil of
Ageladas. He was as celebrated among the ancients for his realism
as was Phidias for his ideality, and Polyclitus for his scholarliness.
A bronze cow which he made, became, because of its naturalness,
the subject of many witty sayings and epigrammatic remarks.

20 Slater Memorial Museum
Lucian, the satirist, describes very minutely his famous Disco
bolos, a youth in the act of throwing a heavy disk or quoit with
aU his strength. Among the Greeks this was a favorite game,
in which the competitors tried to out-throw one another with a
heavy weight of metal. An ancient discus or quoit, found in
Greece and now in ' the British Museum, is ten inches in
diameter and weighs about ten pounds.
13. a. Marsyas. Statuette, from Pergamum. In the
Berlin Museum.
b. Apollo. Archaic bronze statuette, 6th century
b. c, from Naxos. In the Berlin Museum.
14. Marsyas. A marble copy of Myron's statue of the
satyr Marsyas. Found in Rome in 1823.
In the Lateran Museum, Rome.
15. Group from a Temple of Athena in the
Island of .^gina. About 480 b. c.
Found at .zEgina by a company of German and English
scholars, in 1811. The figures were bought for ^30,000, by
Ludwig I., who had them restored by the great sculptor,
Thorwaldsen. They are now the greatest treasures of the
Glyptothek in Munich.
These figures form the centre of a group from the west
pediment or gable end of the temple, and are among the earUest
Ulustrations of this custom of the Greeks of fiUing the angle of the
roof with figures so arranged as to cover with nicety the aUotted
space. The group represents a battle of the Trojans and Greeks
over the faUen body of AchUles. Athena takes the hero under
her protection, and parts the combatants. In spite of their great
improvement over earlier works, these figures are stiU artificial
and archaic. The great exceUence of the work lies in the cor-

Greek Sculpture 21
rectness of the weU-developed muscles and the excited movement
of the bodies, rendered with understanding of the form. The
"jEginetan smUe" is stUl here, and age is only distinguished
from youth by a beard ; but as it has been said, " These men
appear not as experimenting each in vague and erratic individual
endeavor, but as developing sure artistic principles to become one
of the priceless heirlooms of Greek sculpture."
16. The- Mattel Amazon. In the Vatican, Rome.
Marble statue probably from a bronze original.
It is said that a contest was instituted among several Greek
sculptors to decide which should make the finest statue of an
Amazon. Among others, Polyclitus, the sculptor of the Dory
phoros, and Phidias entered the lists, and the award was given
to PolycUtus, though he was the less celebrated sculptor. The
Mattel Amazon, so-caUed from the name of a famUy who owned
it, is possibly a copy of the figure submitted by Phidias.
17. The Spinario, or Boy Draw^ing a Thorn
from His Foot. Bronze statue, style of the 5th century b. c.
In the Palace of the Conservatori, Rome.
18. A Youth Pouring Oil into His Hand. Style
of the 4th century b. c. Marble statue, school of Myron. In
the Glyptothek, Munich.
19. Sappho (?) A bronze head, found at Herculaneum
in 1758. In the Museum of Naples.
20. Sophocles. 4th century b. c.
Marble statue found about 1839 at Terracina, Italy. In the
Lateran Museum, Rome.
Between 350 and 330 b. c. there were erected in the theatre
of Dionysus at Athens, bronze statues of the three great tragic

22 Slater Memorial Museum
poets, ^Eschylus, Euripides, and Sophocles. This statue is
possibly a copy of that of Sophocles.
21. jEschines. Marble statue, a copy of an original found
at Herculaneum in 1753. Made in the time of Alexander or
his immediate successors. In the Museum of Naples.
22. Irene and Plutus. About 375 b. c. A copy of a
group by Cephisodotus (father of Praxiteles?), one of the earlier
sculptors of the 4th century. In the Glyptothek, Munich.
The stately figure, formerly known as Leucothea and some
times caUed " The Madonna of the Ancients, " represents
Irene, the Goddess of Peace, with Plutus, the God of Wealth
or Plenty, in her arms. The vase is a restoration. On coins
and other copies of this work the little god holds a horn of plenty.
The uplifted arm of the goddess held a staff on which she leaned.
This group is believed to have stood on the Acropolis and to
have commemorated a victory gained by the Athenians over the
Spartans in 375 B. c, by which their naval supremacy was for
a time restored.
23. The Eleusinian Relief. 5th century b. c. School
of Phidias.
Found near the temple of Demeter at Eleusis in 1859. In
the National Museum, Athens.
It probably represents the goddesses Demeter and Persephone
inducting the youth Triptolemus into some religious mystery.
24. Dionysus. Style of 4th century b.c. A marble copy
of a bronze statue by Euphranor. (?)
Found m 188 1 in Hadrian's VUla, TivoU. In the Museum
of the Baths of Diocletian, Rome.
25. Hermes. Style of the 4th century b. c. In the Bel
vedere GaUery of the Vatican, Rome.

Greek Sculpture 23
26. Hypnos, or the God of Sleep. 4th century b. c.
A bronze head found near Perugia, in 1855. In the British
Museum, London.
27. Part of the Frieze from the Temple of Phiga-
lia. 430-420 B. c.
Foimd at jEgina in 1 8 1 1 and removed to England with great
difficulty and danger. In the British Museum, London.
The frieze represents two different scenes, a batde of Greeks
and Amazons, and the battle of the Lapiths and Centaurs
at the wedding of Peirithous. From the latter these slabs are
taken. Although this temple was buUt by Ictinus, the architect
of the Parthenon, the sculptures are far inferior to those of the
Parthenon.
28. Demeter. 4th century b. c.
Found at Cnidus, in Asia Minor, in 1858, on the site of a
smaU temple erected to Demeter. In the British Museum, London.
This queenly figure is of the school of Praxiteles, if not by
that master himself. The sorrowing mother is seated upon a
throne with a matron's veU covering her head, the type of dig
nified and tender sorrow.
29. Venus Genetrix. ist century b. c. In the Louvre,
Paris. Said to have been made by ArcesUaus for a temple buUt by
JuUus Casar, but more probably a copy of a statue of the 4th
century b. c.
30. Apollo Slaying a Lizard (Sauroktonos). 4th
century b. c.
Found on the Palatine HiU in 1777. In the Vatican, Rome.
A marble copy of a bronze statue by Praxiteles, in which the
young god ApoUo is shown in an attitude for which Praxiteles was

24 Slater Memorial Museum
famed. Lightly leaning against a tree trunk in a position that
gives great grace to the figure, ApoUo is striving to kiU a Uzard with
a spear which he holds in the hand. This may have represented
a rite in the worship of the god, or may have been sunply a
device of the sculptor for the sake of the attitude.
31. Hermes of Andros. Marble statue of the style of the
4th century b. c.
Found in the Island of Andros. In the National Museum,
Athens.32. Marble Faun. 4th century b. c. In the Capitoline
Museum, Rome.
Over thirty copies of this charming statue by Praxiteles are in
existence. It was caUed "famous" by the Greeks, and is made
famUiar by Hawthorne in the "Marble Faun".
33. Demosthenes. After 280 b.c. In the Vatican, Rome.
A marble copy of a bronze statue, probably by Polyeuctus.
The head shows, in the massive brow, the deep thought, and, in
the lines about the firmly closed mouth, the energetic wiU and
invincible perseverance of the great orator and patriot, whUe the
fraU body seems to warrant the inscription by Polyeuctus, —
"Had, O Demosthenes, thy piercing and strenuous wUl been
supported by proportionate strength, they might have rescued
thy Fatherland from PhUip ! ' '
34. Head of a Goddess. 5th century b. c. One of
the best sculptures of that period.
Bought in Rome in 1873. In the Berlin Museum.
35. Monument of Dexileus. In the cemetery outside
the Dipylon Gate, Athens.
The inscription states that the age of DexUeus was twenty,

Greek Sculpture 25
and that he was kUled in the Corinthian War, b. c. 394. He is
represented in the moment of triumph over his foe, who is
trying to ward off with his sword the thrust of DexUeus' lance.
Greek Gravestones.
The elaborate rite of burial among the Greeks, ended with the
erection of a stone over the grave, which, besides commemorating
some virtue or trait of the deceased, was also a site for reUgious
ceremonies. Here were brought gifts and offerings to the gods,
and sacrifices were made here. The religious character of the
grave is fiirther suggested by the structure of the gravestone,
which represents the front of a temple, or a pediment supported
by two columns, a form used exclusively in reUgious architecture.
The size of the stones was at one time regulated by law. The
graveyards in and about Athens contain many stones to unknown
people, vsdthout mention of the sculptor's name. This indicates
that they were probably the work of mere artisans, and it is this
which gives them their great interest. They show the standard
of taste and refinement of the lower classes of the people at that
time. The reUef represents, usuaUy in a quiet and dignified way,
some scene in the Ufe of the deceased, whose name is usuaUy
given in the inscription.
36. A Wife Bidding Farev^^ell to Her Husband.
Greek gravestone. 4th century b. c. In the National Mu
seum, Athens.
37 - 38. Dancing Girls.
Part of the balustrade separating the orchestra from the seats
in the Dionysiac Theatre, Athens. Found in the theater. In
the National Museum, Athens.
These representatives of Neo-Attic sculpture recaU the style
of the 4th century b. c.

26 Slater Memorial Museum
39. Epicrates, of Athens. Greek gravestone. In the
National Museum, Athens.
40. W^arrior Alighting from His Chariot. In the
Acropolis Museum, Athens.
41. Mother Parting from Her Child. Greek grave
stone. 4th century b. c. In the National Museum, Athens.
42. Hegeso, a Lady of Athens. Greek gravestone.
About 400 B. c. In the cemetery outside the Dipylon Gate,
Athens. Hegeso, daughter of Proxenus, is represented seated upon a
gracefiil chair, with her feet resting on a footstool, an indication
of her rank. Before her, dressed in a simple sleeved chiton
with her hair in a cap, is a slave- woman holding a casket, from
which Hegeso has taken some object which she holds in her
hand. This object was represented by color, as were the detaUs
of the relief; but these detaUs were unfortunately washed off
when the stone was found. The figure of Hegeso is richly
dressed, with her hair arranged in a net, and a diadem on her
forehead. The reUef, which ranks among the most beautifiil
gravestones yet foimd, is thought, from its simple dignity and
grace, to be by a master hand.
43. Psyche. (?) Style of the 4th century b. c.
Found in the amphitheatre, Capua. In the Museum of Naples.
This beautifiil torso, by some caUed Aphrodite, is thought to
be a copy of an earlier work. The smooth surfaces on the head
and arms show a not unusual practice of the ancients of combin
ing different marbles in one statue, this figure being composed of
several pieces now lost. From the square smooth surfaces on
the side of the trunk, it is held by some that this figure was
joined with Eros, as they are sometimes represented on gems.

Greek Sculpture 27
44. Orpheus, Eurydice, and Hermes. Rehef, the
best of three copies of an original dating from the latter half of
the 5th century b. c. In the Museum of Naples.
Orpheus was the son of CalUope, the Muse of Epic poetry ;
and such was his skiU upon the lyre that he charmed the beasts
of the forest, and even the trees bent to hear him. He wedded
Eurydice, a beautiftJ maiden, who, whUe walking through the
fields, was bitten by a snake and died. The sorrowing husband
determined to seek his wife in the land of the departed spirits,
and beg her back from the god Hades. He was promised his
bride upon condition of not looking upon her tUl they reached
the upper world. Orpheus, fearfiil that Eurydice was not
foUowing him, looked back. In the relief, Hermes, the messen
ger, is behind Eurydice, holding her hand, ready to lead her
back again. The figures are a fine example of quietness in
expressing mute anguish at the inevitable parting.
45. Medea and the Daughters of Pelias. Copy of an
original reUef of about 400 b. c. In the Lateran Museum, Rome.
Jason, the hero of the Argonauts, desiring to avenge himself
on his uncle Pelias, who had usurped his kingdom, entreated
Medea, a sorceress, who had also helped him in obtaining
the Golden Fleece, to exercise her art in his behalf She
ingratiated herself into the favor of the daughters of Pelias
and showed them her power to restore youth to the aged by
cutting the body in pieces and boiling the parts, at the same time
pronouncing magical incantations. She persuaded the daughters
to do so with their father who was weU advanced in years ; but
when they had done so, she refvised to speak the life-giving word.
Having accompUshed the revenge, she fled withjason to another
country. The relief represents the tragic moment in the story.

28 Slater Memorial Museum
46-49. Fragments from the Balustrade of the
Temple of the Nike Apteros (Wingless Victory)
at Athens.
These figures were found in 1835-1838 by Ross during ex
cavations on the Acropolis. In the AcropoUs Museum, Athens.
This litde temple, only twenty-eight feet long by nineteen
feet wide, sacred to Athena in her quality of the Goddess of
Victory, was situated on the extreme western bluff of the Acro
polis. To insure safety to the worshipers, it was surrounded on
three sides by a bastion waU or balustrade. On the outside of
this waU were sculptured in high relief, figures of Victories in
groups and in various occupations. Figure 46 is a Victory
sacrificing, or erecting a trophy. Figure 47 is one of the most
charming and beautiftU figures of Greek art. In an attitude of
grace, the Victory is bending over and untying her sandal, perhaps
before entering the sacred place. Figure 49 shows two Victories
leading a buU to the sacrifice. A portion of the frieze of this
temple is described under No. 69.
50. The Apotheosis of Homer, ist century b. c.
Found at BoviUae, Italy, in the 17th century. In the British
Museum, London.
The relief, according to the inscription, was made by Arche
laus, son of ApoUonius, of Priene. It is an aUegory represent
ing Homer crowned on Mount Parnassus by the World, while
Time stands beside her. At his feet are figures representing the
lUad and Odyssey. In front of the bard is the stiU young chUd
Fable. Casting incense on the altar is History, and behind her
come Epic Poetry, Comedy and Tragedy, Manliness, Memory,
Faith and Wisdom. In the two rows above the poet are the
Muses and ApoUo. The figure on the pedestal in front of the

Greek Sculpture 29
tripod is thought to be the artist. High above aU is Zeus, the
giver of genius, with the eagle.
51. Eros, or Cupid. 4th century b. c. In the Vatican,
Rome. This torso was long thought to be a copy of a famous statue
of the Love God, by Praxiteles, but, though the influence of this
master is discernible, this work is no longer considered a direct
copy of the original.
52. The Rondanini Medusa. Marble relief A Roman
copy of a work probably of the 4th century b. c. In the
Glyptothek, Munich.
This head, compared with the early representations of Medu
sa, which, in the endeavor to inspire terror, were exaggerated
to an extent amounting to caricature, shows the great advance
in the art of the sculptor. Here is represented the tragic and
ideal conception of the Gorgon. It is the face of a woman,
yearning for human love and sympathy, and destined, by the
curse of Athena, to be an outcast, and to turn to stone aU who
might look upon her face. She is beautiftU, but, Uke her sisters,
foul and venomous.
53. Aphrodite Persuading Helen to Follow Paris.
Marble reUef, copy of an original of the latter half of the 4th
century. In the Museum of Naples.
54. Seat of the Priest of Dionysus in the Dionysi
ac Theatre, Athens, ist century a. d.
Fovmd in 1862 in the excavations of the Dionysiac Theatre,
where it now is.
The inscriptions and the sculptures, emblematic of the
worship of Dionysus, show that it belonged to a priest in the
service of the God of Wine.

30 Slater Memorial Museum
55. a. Capital of Ionic Pilaster. From the Erectheum,
Athens. 5th century b. c.
b. Part of Jamb of Door. From the Erectheum,
Athens. 5th century b. c.
c. Moulding. From Athens.
In the British Museum, London.
56. The Ludovisi Hera. Colossal marble head, date and
place of discovery unknown. In the Boncompagni-Ludovisi
CoUection, Rome.
Probably a Roman work after the style of Praxiteles. It has
been placed as early as the 4th century b. c, but there are many
reasons for beUeving it to date from the beginning of our era. The
head was long considered one of the most perfect types of beauty .
57. Mourning Athena. SmaU marble relief probably of
the 5th century b. c. In the Acropolis Museum, Athens.
Found in 1888 on the Acropolis, Athens. Traces of color
noted at the time of discovery indicate that the relief was painted.
The relief represents Athena standing in an attitude of mourn
ing, leaning upon her inverted spear and gazing upon a
sepvUchral slab. The smaU size of the relief leads one to suppose
that it may have headed an inscription containing the names of
those who had fallen in battle, as the erecting of such records in
some public place was customary in Athens.
58. Ionic Capital. From the Erectheum, Athens. 5th
century b. c.
59. One of the Daughters of Niobe. Style of the
4th century b. c.
Found Ul Hadrian's VUla, TivoU, in the i6th century. In
the Vatican, Rome.
One of the best copies of the great original. It is the figure

Greek Sculpture 31
of the eldest daughter of the Ul-fated famUy of Niobe, rushing
away from the avenging arrows of ApoUo and Artemis. See
No. 99.
60. The so-called Ilioneus. 4th century b. c.
Found in Rome about 1556. After passing through many
hands it finaUy came into the possession of the Glyptothek,
Munich, where it remains.
This most exquisite torso of a kneeling youth with arms and
head uplifted, as if to ward off some danger, has been thought
by some to belong to the Niobe group, and to have been the
youngest son, the last to be slain.
61. The Apoxyomenos. A marble copy of a bronze
original of the 4th century b. c. Found by Canina in 1849 in
Trastevere, Rome. In the Vatican, Rome.
Lysippus of Sicyon was a fnend and contemporary of Alexan
der the Great. He is said to have produced a prodigious num
ber of statues in bronze, a metal in which he worked exclusively.
One of his statues, the Apoxyomenos, was extravagantly ad
mired in Rome and in the copies which have been found, we
see the pecuUarities of his style in the lengthened, shapely limbs
and in the smaU head. The statue is the figure of a man scraping
from his body with a strigU the sand of the arena and the oU
with which athletes anointed themselves for wrestling.
The Apoxyomenos is commonly thought to have been inten
ded by Lysippus to supersede Polyclitus' Doryphoros as the
"Canon."
62. Head of the Farnese Hercules. 2nd century
b. c. (?) In the Museum of Naples.
63. The Otricoli Zeus. In the Vatican, Rome.
This bust, so caUed from the place where it was foimd, was

32 Slater Memorial Museum
for a long tune thought to be a copy of the Zeus of Phidias.
From coins this has been proved not to be the fact, though the
OtricoU Zeus is stiU considered one of the best types of the god.
64. The Giustiniani Minerva. In the Vatican, Rome.
A marble statue of the Goddess of Wisdom, which was
for a time thought to be a copy of the great chryselephantine
Athena Parthenos, of Phidias, made by him for the Parthenon,
and considered by the ancients his greatest work. It is proved,
however, to be of a much later school, and of a different con
ception from that of the statue by Phidias.
65. The Farnese Hera. In the Museum of Naples.
This bust is probably a copy of Polyclitus' great statue of Hera.
66. Head of iEsculapius (?), the God of Healing.
4th century b. c. In the British Museum, London.
This head shows a strong resemblance to the head of Zeus.
67. Silenus and the Infant Dionysus. Style of the
4th century b. c. One of many copies of a bronize statue of
the HeUenistic age. /'
Found in Rome in the i6th century. In the Louvre, Paris.
This beautifiil statue shows the rough old satyr, SUenus, with
pointed ears and taU, tenderly caring for his oharge, the infant
Dionysus. The figure, from its style, and especiaUy from its
gracefiil leaning attitude, shows the influence onPraxiteles on the
sculptors of the HeUenistic age. V
68. Dying Gaul. Marble copy of a bronze original of the
3d century b. c.
Found in Rome in the i6th century. In the Capitoline
Museum, Rome.
The figure, pathetic in its mute anguish and suffering, is a
striking example of the dignity and quietness of Greek art. The

Greek Sculpture ^3
name, "Dying Gladiator," employed by Byron, by which the
statue was for a long time known, has been proved to be errone
ous, from the fact that gladiators were unknown among the
Greeks, whUe the type of the fiice and the torque or ring around
the neck were peculiar to the Gauls who invaded Greece and
Asia Minor in the 3d century b. c, and were defeated by King
Attalus of Pergamum.
69. Portion of the Frieze of the Temple of Nike
Apteros (W^ingless Victory) at Athens. 430-420
B. c. (?) Of marble. In the British Museum, London.
From the balustrade of this temple the reUefs, Nos. 46-49,
were taken. The temple derives its name from the fact that
the image of the goddess which it contained was without
wings. The date of the temple is uncertain. It remained
standing untU 1687, when, in the war between the Turks
and the Venetians, the Turks tore it down in order to use the
materials for the construction of a battery. In 1835 — 38, the
archaeologist, Ludwig Ross, and others, during excavations on the
Acropolis, took the battery apart and reconstructed the temple.
One portion of the frieze was found at that time, and is now in
its original position on the eastern front of the temple ; the other
parts had been carried to England by Lord Elgin in 1801—3.
This portion of the frieze represents batde scenes between Greeks
and Persians, in which the figures are depicted in intense action, and
it shows many of the quaUties of the highest period of Greek art.
The location of the temple is shown in the model of the
Acropolis, No. 132.
70. The Ludovisi Ares. Marble statue, copy of an
original of the 4th century b. c. In the Boncompagni-Ludovisi
CoUection, Rome.

34 Slater Memorial Museum
Ares, or Mars, was God of War, but in the statue he has suc
cumbed to other wounds than those received in battle. He is
seated in an attitude of thought, whUe Eros, or Love, plays at
his feet.
71. Female Head from Pergamum. Fragment of a
marble statue. In the Berlin Museum.
CaUed Aphrodite, and by some thought to be the head of the
original from which the Venus of Melos was copied.
72. Base of a Column from the Temple of Diana
at Ephesus. Of marble. 4th century b. c.
Discovered in 1871 by Wood. In the British Museum,
London. The temple of Artemis, or Diana, of Ephesus was caUed by
the ancients one of the Seven Wonders of the World, because of
its abundance of riches and adornment. The figures are three
of eight which were sculptured around the base of the column.
It probably represents Alcestis, who sacrificed herself for her
husband, being led away to Hades by Hermes and Death.
73. Head of an Olympic Victor. 3d century b. c. In
the National Museum, Athens.
An original bronze much corroded by time.
74. The Torso of the Belvedere. Marble fragment of
the 1st century b. c.
In the Belvedere Gallery of the Vatican, from which it takes
its name.
This superb torso — known to be from a figure of Hercules from
the lion' s skin on which he is seated — according to the inscription
was made by ApoUonius, son of Nestor, of Athens ; but because
of its great exceUence it is thought to be a copy of some statue

Greek Sculpture 35
of the earUer schools. It was one of the few ancient statues
known during the Renaissance, and Michelangelo is said to have
caUed it his "teacher."
75. Boxer Resting, zd centvu-y b. c.
A bronze statue discovered in Rome in 1 885. In the Museum
of the Baths of Diocletian, Rome.
This embodiment of brutal strength is a boxer, resting after
a bout, StiU panting and quivering. He has upon each arm the
cestus or boxing gaundet. These were at first made of thongs
of leather bound about the wrists, but developed later into the
formidable weapon of lead or iron, bound upon the palm of the
hand with leather, and lined with fiir, shown in the statue.
The statue when found was packed in fine sand and in a state of
perfect preservation.
76. Eros Bending a Bow. Marble statue of the 4th
century b. c. In the Capitoline Museum, Rome.
Possibly a copy of a statue by Lysippus, the sculptor of the
Apoxyomenos.
77. The Borghese Warrior. Marble statue of the 2d
century b. c. In the Louvre, Paris.
Found in Antium in the 1 7th century.
A copy of a work by Agasias of Ephesus. This superb statue
may represent a warrior who, with shield on arm and sword
in hand, is protecting himself from an attack from above.
78. The so-called Praying Boy. 4th century b. c. In
the Berlin Museum.
This beautifiil figure, so long known as the Praying Boy, is
of the thinnest bronze. Lysippus and his school were noted for

36 Slater Memorial Museum
the hghtness of thefr statues, and from this fact and from the ex
quisite grace and poise of the figure, it is supposed to belong to
the time of Lysippus. The arms are a clever restoration and,
though the figure may not have been praying, it is probable that
the arms were originaUy in much the same position as now, per
haps holding some object above the head.
79. Menander. Seated statue of marble of the 3d century
B. c. In the Vatican, Rome.
A portrait statue of the great Greek comedian, one
of the finest specimens of ancient portraiture that have come
down to us.
80. The Wrestlers. Marble group of the 3d century
b. c.
Found in Rome in i 5 8 3 . In the Uffizi Gallery, Florence.
81. Dancing Bacchante. Marble statue of the 4th
century b. c. In the Berlin Museum.
A Bacchante was a woman who celebrated the wUd, madden
ing orgies of Bacchus. Bacchantes are represented in aU degrees
of excitement, from this graceful dancing figure to figures in the
wUdest frenzy. This statue is said to have been a great favorite
of the poet Goethe.
82. Portrait Bust. Erroneously caUed Seneca. A bronze
found at Herculaneum in 1754. In the Museum of Naples.
83. Diana of Gabii. 4th century b. c. In the Louvre,
Paris. One of several copies of a lost original in the style of Praxite
les, if not by that master himself. Some think the original was
Praxiteles' famous statue of the Brauronian Artemis in Athens.

Greek Sculpture 37
The Diana of GabU, like the Diana of VersaUles, shows
the huntress in a short chiton and elaborate sandals, clasping her
chlamys or cloak over her shoulder.
84. ApoUo Belvedere. Marble copy of an original bronze
statue of the HeUenistic age. In the Belvedere GaUery of the
Vatican, Rome.
Found at the end of the 1 5 th century.
Volumes have been written in discussion of this weU-known
figure of the Sun God. The left hand was restored with a bow
as though an arrow had just been shot.
85. Mother and Son. The so-called Orestes and
Electra. ist century a.d. In the Boncompagni-Ludovisi
CoUection, Rome.
This group, according to an inscription, is by Menelaus of
Rome, who was a pupU of Stephanus.
86. Satyr Playing the Scabellum. Marble statue of
the HeUenistic age. In the Uffizi GaUery, Florence.
87. Eros (Cupid) and Dolphin. Marble group de
signed to decorate a fountain. Of the HeUenistic age. In the
Museum of Naples.
88. Clio, the Muse of History. Marble statue. A
Roman copy of a Greek original. In the Vatican, Rome.
89. Herodotus and Thucydides. Marble portrait
hermes. In the Museum of Naples.
Busts set on pUlars of the height of this pedestal were caUed
hermae, and a double one like this is called a double hermes.
90. Euripides. Portrait bust. In the Vatican, Rome.

38 Slater Memorial Museum
91. Homer. Ideal portrait bust of marble of the HeUenistic
age. In the Museum of Naples.
This bust of Homer wUl reward careflil study. It was the
work of no mean artist. The great singer is weU advanced in
years. His blindness is shown by the upward poise of the head,
the high lifted brows and the smaU sunken eyes. Inspfration
and deep thought with great knowledge are shown in the features.
A twisted fiUet such as only priests and kings might wear is about
the head.
92. Statue of a Youth, ist century b. c. In the ViUa
Albani, Rome.
Found in Rome in 1769. A marble portrait statue by
Stephanus of Rome, a pupil of Pasiteles.
This statue shows the extent to which Pasiteles and his school
carried thefr imitation of Archaic sculpture.
93. Euterpe. The Muse of Lyric Poetry. In the
Vatican, Rome.
94. Julius Caesar. (?) Marble head. In the CapitoUne
Museum, Rome.
95. The Emperor Hadrian. Bust. In the CapitoUne
Museum, Rome.
96. Cicero (?). Head. In the Capitoline Museum, Rome.
97. Pericles. Marble portrait bust, probably after CresUas'
original of 440-430 b. c. In the British Museum, London.
98. Socrates. Bust. In the Vatican, Rome.
99. Niobe and Her Youngest Daughter. Marble

Greek Sculpture 39
group, copy of a work, perhaps by Scopas, of the 4th century
b. c. In the Uffizi GaUery, Florence.
Niobe, grown proud by reason of her six sons and six
daughters, boasted that she was as worthy of worship as the
goddess, Leto, mother of ApoUo and Artemis (Diana). Leto,
angered at her presumption, urged ApoUo and Artemis to punish
her. They, with thefr never-faUing arrows, slew aU the chUdren,
and Niobe in her grief wept herself into stone. The statue is
probably a Roman copy of a part of the celebrated group of anti
quity, showing the distracted mother and her chUdren fleeing
before the deadly arrows. Niobe, in despair, tries with her
mantie to protect her yovmgest chUd, who clings to her in fright.
Ibo. The Hermes of Praxiteles. Marble statue of the
4th century b. c. In the Museum at Olympia.
Found in 1877 by the German excavators near its original
position in the Heraeum, or Temple of Hera, at Olympia,
Pausanias, in his description ofhis visit to Olympia, describes
"a Hermes of marble ; he carries the babe Dionysus and is the
work of Praxiteles. ' ' This, the most beautifiJ statue of antiquity,
is without doubt a statue made by the great master himself.
Hermes, the Messenger of the Gods, is holding in his arms the
Uttie Wine God Dionysus, his brother. He is Ughdy leaning
against a tree-trunk, over which his mantle is thrown, in a
position simUar to that of the Faun and the SUenus of Praxiteles.
In his right hand he probably held some object with which he
amused the chUd.
101-108. Sculptures from the Parthenon. 438 b. c.
In the British Museum, London.
The Parthenon, or Temple of Athena, the vfrgin goddess

40 Slater Memorial Museum
and protectress of the city of Athens, marks the culmination of
Greek skUl in sculpture and architecture. It is of the Doric
style of architectiu-e and was finished about 438 b. c. The
architects were Ictinus and CaUicrates. Phidias, the great
sculptor, made the statues and reliefs which adorned the
structure. Within the waUs stood his colossal statue of the
goddess, of gold and ivory, which excited the wonder and ad
mfration of the ancient worid. In either pediment, or gable end,
of the Parthenon were sculptures representing scenes in the life of
Athena. In the western end was represented the trial between
Athena and Poseidon, which was to setde the sovereignty of
Attica ; in the eastern end, the bfrth of Athena as she sprang
fiiU-armed from the head of Zeus. These figures were in a
state of almost complete preservation up to the year 1687, when,
in the war between the Turks and the Venetians, the buUding was
aU but destroyed by an explosion of gunpowder which had been
stored in the temple. What remained of the sculptures were
sent to England by Lord Elgin, from whom they are caUed the
Elgin Marbles. The casts are from the figures of the eastern
pediment representing the bfrth of Athena. The central group
is gone, and the names of the remaining statues are not certainly
known. There are many ingenious theories about them.
The figures. No. loi, are probably the heads of the horses of
Helios, the Sun, as he arose out of the sea. The splendid head
of a horse on the opposite end of the pediment is probably the
head of the horse of Selene, the Moon, sinking into the sea.
The male figure is variously caUed Theseus and Hercules, the
next two seated figures are commonly known as Demeter and
Persephone, whUe the unexceUed draped figures have been
caUed the Three Fates and the Three Sisters. They are the
grandest specimens of Greek art that remain to us.

a

Drawing from a Conjectural Res
toration of the Parthenon.
This drawing of a portion of the eastern
end of the Parthenon shows the position of the
pedimental sculptures, Nos. 101-108, fiUing
in the gable, and of the metopes, the sculp
tured blocks of marble placed dfrecdy under
the cornice, which formed a frieze around the
entfre exterior of the temple. Photographs of
the metopes which represented the contest
between the Centaurs and Lapiths (See Nos.
112-116) wUl be found in theMuseum. The
inner frieze, Nos. 126-131, which was
placed so that it was visible only to one stand
ing within the colonnade, can not be shown
in the drawing.

42 Slater Memorial Museum
109. Venus of Capua. Marble statue, copy of an
original of the 4th century b.c. In the Museum of
Naples.IIG. Zeus and Athena in Combat with the Giants.
Marble rehef from the altar at Pergamum. zd century b. c. In
the Berlin Museum.
Found by Humann in 187 9- 1880 in excavations undertaken
by the German Government.
This unique altar was erected by Eumenes II, King of Perg
amum, upon a terrace near the top of the citadel, 700 feet above
the surrounding plain. It was buUt upon a platform about 16
feet high and 1 20 feet square, the waUs of which were encfr
cled with a band of sculpture about 7 J^ feet wide. Frag
ments of 350 feet of this relief have been found. The frieze
represents the battle of the Gods and Giants. Gea, Earth,
the mother of the giants, sent her sons, a dread-inspfring, mon
strous brood, to scale Heaven itself. The gods met them, each
with his peculiar weapon, and utterly routed them. In the
Zeus group, the powerfid and majestic Father of the Gods, does
battle with three giants. One, struck through the leg with a
thunder-bolt, which stiU quivers and flames, makes futile efforts
to protect himself, whUe on the other side two mighty figures re
sist in vain the aegis held on high. In the Athena group, the
goddess, in terrible vengeance, rushes along, dragging by his
matted locks a struggling giant, who vainly braces himself to re
sist his fate. MeanwhUe the agonized mother, known by her
position half out of the earth and by the fruits at her side, beseeches
mercy from the pitUess goddess who is being crowned by winged
Nike in token of her victory. These reliefs were made by dif
ferent sculptors as the much-effaced inscriptions show. They

Greek Sculpture 43
have not the dignity and religious character of the sculptures of
Phidias and his school.
III. The Laocoon. Marble group, probably of the 2d
century a. c. In the Vatican, Rome.
Found in 1 506 on the EsquUine, Rome.
This group is probably a work by Agesander, Polydorus, and
Athenodorus, three sculptors of Rhodes. PUny, in his descrip
tion of it, caUs it "preferable to aU other works in pictorial or
plastic art." Laocoon, a priest of Troy, urged his feUow citi
zens not to aUow the fatal wooden horse within thefr walls, and
in his zeal even hurled his spear against its side. As a punish
ment for resisting the decree of the gods, PaUas Athena sent two
serpents to destroy the offending man. The serpents enveloped
the priest and his two sons in thefr folds, and crushed them to a
miserable death.
112- 116. Figures from the \A^estern Pediment
of the Temple of Zeus at Olympia. 5th century b. c.
In the Museum at Olympia.
Discovered during excavations made at an immense ouday by
the German Govemment in the years 1875—1881.
Olympia was a coUection of temples and houses used as a
great common ground by aU the Greek states for reUgious pur
poses, and here were held every four years the great Olympic
games, to conquer in which was to gain the highest earthly re
nown. Chief among the many temples, was the one sacred
to Zeus, the great Father of Gods and Men. It was in the Doric
style of architecttu-e and was the work of the architect Libon.
In the pediments, or gable ends, were competitive designs made
by two sculptors, Paeonius and Alcamenes. The eastern ped
iment, by Paeonius, represented the race between Pelops and

44 Slater Memorial Museum
CEnomaus. The western front was by Alcamenes and repre
sented the battie of the Centaurs and the Lapiths. The group
of Paeonius, we learn, received the prize as superior to that of
Alcamenes. The five figures in the Museum are from the center
of the group of Alcamenes. At the wedding of the Lapith
maiden Deidamia with Pfrithous, the centaur Eurytion rushed
in with his feUows and tried to carry off the bride A fearfiil fight
ensued, when Apollo by his presence restored peace and order.
117. Model, showing the probable arrangement of the figures
in the pediment mentioned above.
118. Venus of Melos. Marble statue. Style of the 4th
century b. c. In the Louvre, Paris.
Found in a cave in the Island of Melos in 1820.
Probably, with the ApoUo Belvedere and the Laocoon, the
best known and most admfredof aU ancient scvilptures.
119. Gaul Slaying Himself after the Death of
His Wife. Marble copy of a bronze original of the 3d cen
tury B. c. In the Boncompagni-Ludovisi CoUection, Rome.
Like the Dying Gaul these figures were probably made
in the reign of King Attalus of Pergamum, and may have
ornamented the altar or temples which he buUt to commemorate
his victories over the barbarians. The powerfid warrior, in order
to save himself and his wife from captivity, has slain the woman
and, as he rushes along stUl supporting her lifeless body, looking
back in defiance at his pursuers, he plimges the knife into his
own bosom.
120, 121. Harmodius and Aristogiton, the Tyran
nicides of Athens. Marble group copied from an original of the
5 th century b.c. In the Museum of Naples.

Greek Sculpture 45
The two conspfrators, burning with a sense of wrong, rush on
to slay the tyrant Hipparchus. The head of Aristogiton, with
other parts of the figure, is a restoration, and is of a much later
date than the distincdy archaic head of Harmodius. Other
copies of the group have been found on coins and on a marble
chafr. 122. Nike (Victory) of Paeonius. 5th century b. c.
Discovered near its original site at Olympia in 1875. In
the Museum at Olympia.
This marble figure of Victory, flying through the afr with flow
ing garment, is from a statue made by Paeonius of Mende, as is
recorded in the inscription, and dedicated to Zeus with a tithe of
the spoils taken from the enemy. The inscription also records
that Paeonius gained the victory (over Alcamenes) by his sculpt
ured group for the eastern gable of the temple of Zeus. The
triangular pUlar on which the Nike is alighting was made of ten
blocks of stone, and was discovered on its original site. The
cast is the only exact copy of this pUlar existing.
123. Restoration of the Nike. Conjectvu-al. By R.
Griittner, a sciUptor of Berlin. In the Berlin Museum.
124. Nike (Victory) of Samothrace. Marble statue
of the 3d centiuy b. c. In the Louvre, Paris.
Found on its original site in the Island of Samothrace in 1863.
The statue stood on a pedestal of marble in the form of a ship's
prow, the two together commemorating a naval victory. The
Nike has been reproduced upon a series of coins, thus enabling
the batde to be identified, and the missing parts of the figure to be
restored. One of these coins wiU be found in the coUection of
Greek coins. Period IV, B. No. 17.

46 Slater Memorial Museum
This imposing figure of Victory with outstretched wings,
rushing with lightning speed through the afr, her transparent
garments fluttering in the sea-breeze, is one of the grandest con
ceptions in Greek art.
125. Nike (Victory). Statuette found at Pompeu. In
the Museum of Naples.
126 -131. Reliefs from the Frieze of the Parthe
non. The fiieze, at a height of about 39 feet above the floor,
surrounded the ceUa and its vestibides, which were at a distance
of about nine feet from the outer row of columns. This position
may be clearly seen in the photographs near the pediment
sculptures. Its original length was about 522 feet, 400 feet of
which are in the British Museum.
Once a year in Athens at the great feast of Athena, a
procession was formed to carry with much pomp and ceremony
the peplos, or garment woven by the maidens of Attica,
to the shrine of Athena. The garment was woven with
designs iUustrating the batde of the Gods and Giants. The
procession started at daybreak and wound up the hiU to
the Acropolis, where the peplos was dedicated to the
goddess. In the procession marched the beauty and dignity of
Athens. It is this procession that the frieze iUustrates. Young
men, some on metdesome steeds, some in chariots ; old men
bearing olive branches ; seers, marshals, and young maidens form
the dignified procession. Heifers are seen led for the sacrifice.
On the eastern end of the Parthenon, over the entrance (at the
western end of this museum), are the gods themselves, seated.
Between thefr two groups, is a priest of Athena who receives
from a youth the sacred peplos. This frieze, which in dignity

Greek Sculpture 47
and beauty has never been exceUed, was probably the work of
different artists, but executed under the eye of the master, Phidias.
It is an interesting fact that aU the heads, of men on foot,
women, riders in chariots, riders on horseback, are on the
same level, yet such is the beauty of execution and skiU of
arrangement, that this peculiarity hardly attracts notice.
132. Model of the Acropolis. A model showing the
position of the Parthenon and other buUdings on the Citadel.

REPRODUCTIONS OF GREEK COINS
THE cases on the floor of the Museum under the rear
gaUery contain facsimUes of Greek coins. This coUec
tion is a dupUcate, both as to material and arrangement,
of that in the British Museum, London, which is composed of
electrotype reproductions of the finest Greek coins in the
National CoUection of Great Britain. The history of coinage,
from the invention of the art about 700 b. c. to the beginning
of the Christian era, is iUustrated by the chronological arrange
ment of the coins. The cases are divided into compartments
numbered from I to VII, each representing a historical period,
whUe each compartment is again divided into three sections
lettered A, B, and C, each section representing a geographical
subdivision. This arrangement thus presents at a glance the
principal gold and sUver coins of the ancient civilized world
which were current during a particular period. The period
divisions correspond more exactiy to those of the political history
of the times than to those of the history of art.
To the student of Greek art, a knowledge of the coins
of the Greeks is of the greatest value, for, unUke most of the
ancient sculpture which we possess, the coins are original works
of art, not copies, and have been handed down to us in a state
of exceUent preservation. The period which they cover ex
tended from the beginning of Greek art, and the area which
they represent reached to the limits of the ancient world. In
thefr artistic decoration they represent faithfiiUy the varying styles

50 Slater Memorial Museum
of Greek art. In many cases the devices upon the coins are
copies of famous works of sculpture, some of which are known
to us only through these representations, and they thus form one
of the most valuable sources for identifying the ancient statues.
This coUection wUl be found particularly interesting if studied
in connection with Greek sciUpture, and the foUowing brief
characterizations of the periods, with mention of the examples
of contemporary sculpture which are in the Museum may be
usefiil in comparing the two forms of art. The statements are
taken from the "Official Catalogue of the Coins in the British
Museum," compUed by Mr. B. V. Head. This catalogue,
which is to be found in the Peck Library, forms a detaUed guide
to the coUection.
I. 700-480 B. c. Period of Archaic Art.
The device consists usuaUy of the figure of an animal, figures
of gods or men being rare. Forms are stiff and angular, the
human eye is always drawn as if seen from the front, hafr is
represented by lines of dots and there is the fixed and formal
smUe, but there is a deUcacy of touch often wanting in the
later art.
Principal works. Metope from Selinus. ApoUo of Tenea.
Stele of Aristion. Harmodius and Aristogiton.
Note. A. I. is the earUest known coin.
II. 480 - 400 B. C. Period of Transitional and
Early Fine Art.
There is great advance in the technical skiU with which the
dies of the coins are prepared, greater deUcacy in the rendering
of detaUs, true understanding of the structure of the body, greater
freedom of movement, effort to realize ideal conceptions.
Principal works. .£ginetan sculptures. Discobolos. Sculp-

Greek Coins

SI

tures of the Parthenon, of the Temple of Nike Apteros, and of
the Temple of Zeus at Olympia. Frieze of the Temple of
ApoUo at PhigaUa.
Note. B. 26 - 34. One of the most beautifiil series of
Greek coins. C. 13. Exquisite example of die engraving.
III. 400-336 B. c. Period of Finest Art.
Numismatic art here reaches the highest point of exceUence
it has ever attained. Devices are characterized by intensity
of action, charm of bearing, finish of execution, and rich
ornamentation. Principal tvorks. Hermes of Praxiteles. Head of .^Esculapius,
or Zeus, from Melos. Niobe and Her Daughter.
Note. Remarkable heads. A. 24-26. ApoUo. B. 18.
Zeus, very fine, probably a copy of the famous Olympian Zeus
by Phidias. B. 19. Nymph Larissa. C. 30. Arethusa.
C. 31. PaUas.
IV. 336 - 280 B. c. Period of Later Fine Art.
Age of Alexander.
Heads are remarkable for expression of feeling, the eye is
generaUy deep set and the brows strongly marked. True
portraits make thefr ffrst appearance on money.
Principal works. The Apoxyomenos.
Note. A. 33. HeUos (the Sun God). This may be a
copy of the head of the famous Colossus of Rhodes. B. 17.
Copy of the Nike of Samothrace. C. II. Alexander of Epfrus.
V. 280 - 190 B. C. Period of the Decline of Art.
VI. 190- 100 B.C. Period of Continued Decline
of Art.
VII. 100 - 1 B. C. Period of Late Decline of Art.
The coins of the fifth period are of the greatest historical value

52 Slater Memorial Museum
on account of the series of regal portraits which they present.
The art of these periods is characterized —
1 . By reaUsm, striking effects, dramatic compositions.
Principal -works. The Pergamum Frieze. The Dying Gaul.
The Laocoon.
2. By ideal mythological conceptions, personifications of
abstract ideas, reproductions of older works.
Principal works. Venus of Melos. The Farnese Hercules.
Orestes and Electra. The Torso of the Belvedere. The
Borghese Warrior.

KEY TO SECOND FLOOR PLAN OF
MUSEUM

A — Peck Library GaUery
B — Art School Class Room
C — Casts 134 to 136, 235 to 237

D —

" 137 to 142

E —
" 143 to 165
F —
" 166 to 203
G —
<« 203 to 229
H —
" 230 to 232,
238 to
251
Reproductions of Medals,
Metal
Work,
and
Armor of
the Renaissance
I —
Casts 233, 234
J -
Photographs
K —
cc
L —
Ci
M —
tt
N —
" and cast
133
ITALIAN SCULPTURE
133. Pulpit; in the Church of Santa Croce, Florence. By
Benedetto da Majano (1442-1497), Florentine sculptor and
architect. Of marble of a warm, pinkish coloring. The reliefs, carved
in perspective, represent scenes from the life of St. Francis ; the
figures below represent the Vfrtues. The pulpit is considered
one of the most beautiful in Italy.
134. St. George ; marble statue in the Museo Nazionale,
Florence. By Donatello (1386—1466), Florentine sculptor.
Donato di Niccolo di Betto Bardi, called DonateUo, was one
of the greatest sculptors of the Renaissance. He is intensely,
often painfiiUy, reaUstic, but he fiUs his figures with life, and
expresses character in a wonderful way. This statue was made
for the GuUd of Armorers, for a niche on the north facade of
the Church of Or San Michele, Florence. A bronze copy now
fiUs this niche. The figure of the youthfvd "soldier-saint,"
strong and simple, fiiU of life, is one of DonateUo' s best works,
and one for which he is justiy famed.
135. Baptismal Font ; in the Baptistery of St. John,
Siena. By Jacopo della Quercia (about 1374-1438), one
of the great masters in the history of sculpture.
The font is of marble with bronze decorations. It was
designed by Quercia, who made one of the large reliefs,
"Zacharias in the Temple," four reUefs of prophets upon the

58 Slater Memorial Museum
tabernacle, and the figure of St. John which surmounts it.
Ghiberti, DonateUo and other sculptors worked upon the decora
tions of the font. Of the six large reUefs, "The Banquet of
Herod" is by DonateUo, and "St. John before Herod" and "The
Baptism of Christ", by Ghiberti. Turino di Sano and his sons
were the other sculptors.
136. King Arthur ; colossal bronze figure on the tomb of
the Emperor MaximiUan, in the Foundation Church at Innsbruck,
Austria. By Peter Vischer (1460- 1529), of Nuremberg,
the foremost of the German bronze-casters and one of the greatest
masters in German art.
The figure is famous for its noble bearing, dehcate proportions,
and perfect execution.
137. Singing and Playing Children ; ten marble reliefs
from a frieze which originaUy decorated the front of one of the
organ lofts of the Cathedral of Florence, now in the Cathedral
Museum. By Luca della Robbia (1400— 1482), Florentine
sculptor, contemporaneous with Ghiberti and DonateUo.
The reUefs represent, with charming simpUcity and naturalness,
chUdren playing on various musical instruments, singing, and
dancing. The frieze of the second organ loft was sculptured by
Donatello, and these form two of the most important and
beautifiU works of the Renaissance.
138. Madonna and Child ; cfrcular reUef in the fa9ade of
the Cathedral, Siena. By Michelozzi Michelozzo (1396-
1472), Florentine architect and sculptor, coUaborator with
DonateUo and Ghiberti.
139. The Adoration of the Magi ; one of the six marble
reUefs from the pulpit in the Baptistery at Pisa. By Niccola

Italian Sculpture 59
PisANO (1206 [?]-i284 [.'']), ItaUan sculptor and architect.
Niccola di Pietro Pisano, by his study of nature and the antique
statues, brought new life into sculpture and laid the foundation
for the work of the Renaissance. The reliefs on this famous pulpit
exhibit a reaUsm and freedom of treatment which were entfrely
new in ItaUan sculpture.
140. The Nativity ; cfrcular marble relief in the Museo
Nazionale, Florence. By Antonio Rossellino (1427-1478),
Florentine sculptor.
Rossellino' s work is characterized by delicacy and charm,
which are weU iUustrated in the lovely Madonna figure of this
reUef FoUowing Ghiberti in the employment of methods of
perspective in sculpture, he appUed them to marble for the first
time in this reUef.
141. Saint Cecilia ; bust in flattened reUef, of stone, in the
coUection of Lord Wemyss, England. Attributed to Donatello
(1386—1466), Florentine sculptor.
142. Base of a Bronze Flagstaff; in the Place of St.
Mark, Venice. By Alessandro Leopardi (d. 1522), Vene
tian sculptor and architect.
There are three of these flagstaffs before thc Church of St.
Mark. 143. Portrait of Himself. By Peter Vischer (1 460-
1529), of Nuremberg.
This figure, together with those of the twelve aposties, is
from die Shrine of St. Sebald, in die Church of St. Sebald, Nu
remberg. The shrine, Vischer' s most famous masterpiece, was
made by himself and his five sons.

6o Slater Memorial Museum
144-155. The Twelve Apostles; from the Shrine of St.
Sebald, in die Church of St. Sebald, Nuremberg. By Peter
Vischer (1460-1529), of Nuremberg.
156, 157. Infants ; two of the ten circular reliefs in enameUed
terra-cotta, upon the facade of the Hospital of the Innocents,
Florence. By Andrea della Robbia (1435 [7?]-l525 [8.?]),
Florentine sculptor.
Andrea, nephew of Luca deUa Robbia, belonged to the fami
ly so famous for thefr work in terra-cotta. These simple and
charming reliefs of infants, swathed like the Florentine babies,
are among his most celebrated works.
158. The Sacrifice of Isaac; bronze relief, competitive
design for the northern bronze doors of the Baptistery at Flor
ence, in the Museo Nazionale, Florence. By Filippo Bru-
NELLESCHi (1377— 1446), Florentine architect and sculptor.
Seven sculptors submitted designs for a relief, the subject be
ing "The Sacrifice of Isaac." BruneUeschi's reUef rivaUed
that of Ghiberti, who received the award and executed the
doors. BruneUeschi's most famous work is the dome of the
Cathedral of Florence.
159. The Sacrifice of Isaac; bronze relief, competitive
design for the northern bronze doors of the Baptistery at Flor
ence, in the Museo Nazionale, Florence. By Lorenzo Ghiberti
(1378—1455), Florentine sculptor.
Ghiberti was the first to introduce methods of perspective into
sculpture, and he has remained supreme in the art of making
pictures in bronze. He executed a second pafr of bronze doors
for the Baptistery, and these foiu- doors, upon which he and his
assistants were engaged during forty-four years of his Ufe, remain
a lasting monument to his genius.

Italian Sculpture 6i
i6o. Madonna and Child ; circular relief, with bracket,
in the Museo Nazionale, Florence. By Mino da Fiesole
(1431— 1484), ItaUan sculptor.
The works of Mino have the charm of sweetness and sim
pUcity and are among the most beautiful of the Renaissance.
161. Sarcophagus of Cardinal Cristoforo della
Rovere, Florentine (d. 1477); from the tomb in the Church
of Santa Maria del Popolo, Rome. By Andrea Bregno
(1421-1506), Roman sculptor and goldsmith.
The Madonna reUef in the lunette of the tomb is by Mino da
Fiesole. 162. John the Baptist ; marble statue in the Museo
Nazionale, Florence. By Donatello (1386— 1466), Floren
tine sculptor.
163. David ; bronze statue in the Museo Nazionale, Florence.
By Donatello (1386—1466), Florentine sculptor.
164, 165. Cherubs ; from the marble tomb of Carlo
Marsuppini, in the Church of Santa Croce, Florence. By
Desiderio da Settignano (1428-1464), Italian sciUptor.
Desiderio, who is reported to have been the pupU of DonateUo,
is famous for the refinement, grace, and sweetness of his work.
The beautifid tomb from which these two wonderfuUy UfeUkc
chUdish figures are taken is his masterpiece.
166. Henry IV, King of France, 1580 - 1610 ;
portrait statue in the Louvre, Paris. By FRAN901S Joseph Bosio
(1769-1845), French sculptor.
The statue represents Henry IV as a chUd.
167. Matteo Palmieri (1405-1475), Florentine his
torian ; marble bust in the Museo Nazionale, Florence. By

62 Slater Memorial Museum
Antonio Rossellino (1427-1478), Florentine sculptor.
168. Bust of a Young Woman ; in die Museo Nazio
nale, Florence. By Antonio Rossellino (1427-1478),
Florentine sculptor.
169. Francesco Sassetti, of Florence, 1 5th century ;
portrait bust in the Museo Nazionale, Florence. Artist unknown.
170. Head of Dante (1265-1321), Florentine poet ; m
the Uffizi GaUery, Florence. Artist unknown.
171. St. John the Baptist as a Boy ; profile bust, re
lief with circular top, of gray sandstone, in the Museo Nazionale,
Florence. By Donatello (1386-1466), Florentine sculptor.
172 - 195. Twenty-four Heads ; from the northern
bronze— door of the Sacristy, in the Cathedral of Florence. By
Luca della Robbia (1400—1482), Florentine sculptor.
In the arch above this door is the relief of the Resurrection,
No. 196.
196. The Resurrection ; reUef in glazed terra-cotta, in
the lunette over the northern door of the Sacristy, in the
Cathedral of Florence. By Luca della Robbia (1400—1482),
Florentine sculptor.
Luca deUa Robbia was the founder of the school of glazed
terra-cotta sculpture. His work, which is so delicate and fiiU of
sentiment, has been caUed one of the loveUest inheritances
bequeathed to us by the Renaissance. This relief is his earUest
complete work in terra-cotta.
197. Portrait of an Unknown Man ; profile bust, relief
with cfrcular top, in the Museo Nazionale, Florence. By
Donatello (i 386-1466), Florentine sculptor.

Italian Sculpture 6^
198. Pietro Mellini, Florentine merchant, 15th century;
marble bust in the Museo Nazionale, Florence. By Benedetto
da Majano (1442-1497), Florentine sculptor and architect.
199. Portrait of a Young Lady ; bust in the
Louvre, Paris. Name and artist unknown. Florentine, 1 5 th
century.
200. The Younger Gattamelata, son of a famous
Italian general of the 1 5 th century ; bronze bust in the Museo
Nazionale, Florence. By Donatello (1386—1466), Floren
tine sculptor.
201. David ; bronze statue in the Museo Nazionale, Florence.
By Andrea del Verrocchio (1436—1488), Florentine sculptor.
Andrea di Michele di Francesco de' Clone, known by the
surname of the goldsmith, GiuUano de' Verrocchio, in whose
workshop he was a pupU, was painter as weU as goldsmith and
sculptor, and part of his fame is due to his having been the
teacher of the great artists, Leonardo da Vinci and Perugino.
He commenced the statue of Bartolommeo CoUeoni, in Venice,
the greatest equestrian statue in the world, but on account of his
death it was finished by Alessandro Leopardi, with whom the
credit for this great achievement must be shared.
202. The Pieta ; marble group in St. Peter's, Rome. By
' Michelangelo (1475-1564), Florentine sculptor.
Michelangelo di Lodovico Buonarroti Simoni, one of the
supreme geniuses of the world, has left a legacy of achievements
which seem almost beyond the power of one man to accomphsh.
As poet he has left his sonnets ; as painter, the Sistine Chapel
ceiling ; as architect, the great dome of St. Peter's ; and as
sculptor, the monumental tomb of Pope JuUus II with its world

64 Slater Memorial Museum
famed Moses, the tombs of the Medici princes, and many indi
vidual works, any one of which is great enough to have brought
fame to its maker. He conceived projects stUl grander than
those which he carried out, but he was destined to leave the
greater part of his work unfinished. Passing his Ufe in the
service of the Popes, and subject to thefr commands, Michelan
gelo was never free to accomplish the great ideals which he
conceived. His work is impressed with his own powerful
individuality, containing always the element of subUmity and the
deepest spfritual significance.
The Pieta, wonderful in execution and imbued with reUgious
feeling, is one of Jiis noblest creations.
203. Mercury ; bronze statue in the Museo Nazionale,
Florence. By Giovanni da Bologna (1529—1608).
Giovanni da Bologna was born at Douai, France, but spent
aU of his life in Italy and died in Florence. The statue of
Mercury is his masterpiece. The Messenger of the Gods is
represented as running, and the delicate poise of the figure exhibits
the sculptor's remarkable skill.
204. Marietta Strozzi, a young Florentine lady ; marble
bust in the Berlin Museum. By Desiderio da Settignano
(1428-1464), Italian sculptor.
205. Filippo Strozzi ( 1426-149 1), Florentine mer
chant; marble bust in the Louvre, Paris. By Benedetto da
Majano ( 1 442— 1497), Florentine sculptor and architect.
The rich merchants, FUippo Strozzi and Pietro MeUini,
whose busts are fine examples of the sculptor's work, were the
generous patrons of Benedetto da Majano and to them he owed
the commissions for two ofhis most celebrated achievements.

Italian Sculpture 6^
the famous Strozzi palace, and the pulpit in the Church of San
ta Croce, Florence. See No. 133.
206. Head of the Statue of David, caUed the "Zuc-
cone" (the Bald Head); on the thfrd story of the CampanUe of
the Cathedral, Florence. By Donatello (i 386-1466), Flo
rentine sculptor. See No. 224.
207. Perseus Liberating Andromeda; bronze reUef
on the pedestal of the statue of Perseus with the Head of Medu
sa, in the Loggia dei Lanzi, Florence. By Benvenuto Cellini
(1500— 1572), Florentine sculptor.
Cellini, sculptor and author, as weU as the 'most noted gold
smith of the Renaissance is almost as famous for his "Autobio
graphy" as for his beautifiil metal- work. He executed many
jeweUed cups, salt-ceUars, and other small pieces, but his most
famous work is the statue of Perseus with the Head of Medusa.
See No. 223.
Examples of Cellini's work as goldsmith are to be found
among the the Reproductions of Metal Work of the Renaissance,
Nos. 332, 350, 354.
208-219. Singing and Playing Cherubs; twelve
bronze reUefs, decorations for the high altar in the Church of
San Antonio, Padua. By Donatello (1386-1466), Floren
tine sculptor.
These reUefs are executed with such different degrees of skiU
as to make it seem possible that DonateUo did aothing fiirther
than to furnish the designs for them.
220. Madonna and Child; reUefwith cfrcular top, angels'
heads in the background. By Donatello (1386—1466),
Florentine sculptor.

66 Slater Memorial Museum
221. Tabernacle for the Eucharist; of marble, from
the altar of the Medici Chapel, in the Church of Santa Croce,
Florence. By Mino da Fiesole (1431-1484), Italian sculp
tor. 222. Madonna and Child; reUef with circular top, of
enameUed terra-cotta, under the portico of the Accademia deUe
BeUe Arti, Florence. Attributed to Andrea della Robbia
(1435 [7?] -1525 [8?]), Florentine scvdptor.
223. Perseus with the Head of Medusa; wax model
for the bronze statue in the Loggia dei Lanzi, Florence. In
the Museo Nazionale, Florence, By Benvenuto Cellini
(1500-15 7 2), Florentine sculptor.
The relief of Perseus Liberating Andromeda, No. 207, is
upon the pedestal of the bronze statue in the Loggia dei Lanzi.
224. Head of the Statue of Jeremiah; on the thfrd
story of the CampanUe of the Cathedral, Florence. By Dona
tello (1386—1466), Florentine sculptor.
Much of DonateUo' s work which is apparentiy rough and
unfinished was left so by design in order to produce the desfred
effect when seen at a distance. This is true of the figures upon
the CampanUe, which were to be viewed from a distance below,
and accounts for the exaggerated execution of the heads of the
"Zuccone," No. 206, and Jeremiah which are here illustrated.
225. Piero de' Medici (14 14- 1469), father of Lorenzo
the Magnificent ; marble bust in the Museo Nazionale, Florence.
By Mino da Fiesole(i43 1—1484), ItaUan sculptor.
226. Young Lady with a Rose ; marble bust m the
Museo Nazionale, Florence. By Andrea del Verrocchio
(1436-1488), Florentine sculptor.

Italian Sculpture 67
227. Bacchus ; marble statue in the Museo Nazionale,
Florence. By Jacopo Sansovino(i486-i 570), Florentine
sculptor and architect.
Jacopo d' Antonio di Jocopo Tatti, or del Tatta, Uke many
other artists of the period, was known by the name ofhis mas
ter, who was Andrea Sansovino. The statue of Bacchus is
Jacopo' s most ftmous work as sculptor, and as architect he is
distinguished for having buUt the Library in Venice and the
Loggia of the CampanUe.
228. The Virgin Visiting Saint Elizabeth ; white
enameUed terra-cotta group with detaUs in color, in the Church
of San Giovanni fiior Civitas, Pistoja, Italy. Attributed to
LucA DELLA RoBBiA (1400— 1482), Florentine sculptor.
The dignity and simpUcity of this group, the truthfU execu
tion, and the tender feeUng portrayed have given it rank among
the masterpieces of the Renaissance.
229. Madonna and Child with St. Jacob and St.
Dominic ; lunette, in glazed terra-cotta, over the door of the
church of San Jacopo di Ripoli, Florence. By Giovanni della
RoBBiA (1469—1529 ?), son of Andrea deUa Robbia.
230. Philip II of Spain ( 1527-1598 ) ; alabaster bust in
the Museo del Prado, Madrid. Artist unknown. 16th cen
tury.
231. Charles V (1500-1558), Emperor of the
Holy Roman Empire ; bronze bust in the Museo del
Prado, Madrid. By Leone Leoni (i 509-1 592). Italian
sculptor and bronze-caster.
232. Pope Alexander VI, Rodrigo Borgia ( 143 1-
1503 ) ; colossal marble bust in the Berlin Museum. Roman
school, artist unknown.

68 Slater Memorial Museum
233. Judith with the Head of Holofernes ; bronze
group in the Loggia dei Lanzi, Florence. By Donatello
(1386-1466 ), Florentine sculptor.
This group exhibits DonateUo' s realism to a pamfiil degree
and is one of the least satisfactory of his works. Holofernes,
a general of Nebuchadnezzar, king of Assyria, is about to invade
Judea, when Judith, a Jewish woman, having obtained admit
tance into the enemies' camp, slays him and so saves her
country from bondage.
234. Moses ; colossal marble statue from the tomb of Pope
Julius II in the Church of San Pietro in VincoU, Rome. By
Michelangelo (1475-1564), Florentine sculptor.
The history of this tomb is caUed the "tragedy of the sepul
chre." The commission for it was given to Michelangelo in
1505 by Pope Julius II, who desfred to erect one of the greatest
monuments of art of his time. It was therefore designed to stand,
unsurrounded, in the old church of St. Peter's, Rome, and to be
lavishly decorated with reliefs and with forty colossal statues.
The design assumed such proportions that the Pope decided to
rebuUd the church on a scale proportionate to that of the tomb,
and the new church was begun in 1 506. But owing to the
subsequent indifference of the Pope, his death, and the dissatis
faction ofhis successors, this grand conception of Michangelo's
was destined never to be carried out. The tomb was not com
pleted untU after i 542, when, greatly reduced in size, it was
erected in the humbler Church of San Pietro in VincoU, and
given the ordinary position of a mural tomb. The number of
statues was reduced to six, only three of which were finaUy by
the hand of Michelangelo. And yet the statue of Moses
alone "does honor enough to Pope Julius's tomb," as was said

Italian Sculpture 69
by a contemporary of Michelangelo, and remains one of the
grandest works in sculpture.
235-237. Figures from the Tomb of Lorenzo de'
Medici ; in the new Sacristy of the Chm-ch of San Lorenzo,
Florence. By Michelangelo (1475-1564) Florentine sculp
tor. The new Sacristy was buUt by Michelangelo under the com
mission of Pope Leo X, Giovanni de' Medici, which was given
in 1 5 1 9. As originaUy designed it was to have been another
magnificent monument of art, enriched with elaborate sculptural
decoration of which four tombs of the Medici were to have
formed the principal part. As in the case of the tomb of Pope
JuUus II, Michelangelo's ideals were never reaUzed. The politi
cal upheavals in Florence necessitated the abandonment of the
plan, and the decoration of the chapel remained unfinished.
Michelangelo completed the tombs of GiuUano and Lorenzo de'
Medici, from the latter of which are taken the figures here rep
resented. The central figure is that of Lorenzo de' Medici( 1492—1 519),
son of Lorenzo the Magnificent, and Duke of Urbino. The
figure is caUed "II pensoso", "the thoughtflil," and is an ideal
portrait of Lorenzo, who sits with head bowed upon his hand,
buried in deep thought. The two reclining figures are aUegori
cal, the one on the right representing Dawn, that on the left.
Evening. Dawn is the figure of a woman awaking from sleep,
her position indicating the resdessness of waking, whUe Evening,
the powerfid figure of a man, is slowly sinking into slumber.

DETAILS OF FRENCH ARCHITECTURAL
ORNAMENT
238. Plinth of a Capital, foUage and birds. 1 2th century.
From the Church of St. Peter, Moissac.
239. Pilaster. 16th century. From the gallery of the
Cathedral, Limoges.
240. Rosette. 12th century. From the tympanum of the
west portal of the Church of St. Peter, Moissac.
241. Part of a Frieze. 16th century. From the
Chateau, Poigny-sur-Saone.
242. Madonna and Child, statue. From the door of the
north transept of the Cathedral of Notre Dame, Paris.
243. Portion of a Capital. 13th century. From the
triforium of the Cathedral, Laon.
244. Man Sharpening a Scythe, bas-reUef 12th
century. From a pier of the Cathedral of Notre Dame, Paris.
245. Capital of a Pilaster. 16th century. From the
Cathedral, Limoges.
246. Frieze of Leaves. 1 5th century. From the chofr
staUs of the Cathedral, Amiens.
247. Part of an Archivolt, foUage and animals. 1 2th
century. From the west fajade of the Cathedral of Notre
Dame, Paris.

72 Slater Memorial Museum
248. Panel from a Fireplace. From the Chateau,
Salon d'Hercule, VersaiUes.
249. Bas-relief under the feet of the figure of Christ.
From the central door of the west front of the Cathedral, Amiens.
250. Panel of Foliage. 1 3th century. From the cen
tral door of the west front of the Cathedral, Amiens.
251. Panel. i6th century. From the cloister of the Ca
thedral, Laon.

REPRODUCTIONS OF MEDALS OF THE
RENAISSANCE
THIS coUection, which is placed in the rear of the Muse
um gaUery with the Reproductions of Metal Work and
Armor of the Renaissance, comprises plaster reproductions
of eighty medals, principaUy ItaUan, made during the 1 5 th and
1 6th centuries. The art of the medaUst, which was an impor
tant development in the art of the Renaissance, arose in Italy in
the 15th century, and the Italian medals rank next to the
Greek coins in artistic merit. The early medals were modeUed
in wax and cast in moulds made from the models. They bear
upon the obverse, or face of the medal, a portrait of some im
portant personage and upon the reverse, a design, often of great
artistic merit. The work of the early medalists is characterized
by originality, vigor, and truthfulness. Vittore Pisano, who is
represented in the coUection by five of his best medals, Nos.
252-256, was the first and greatest of the ItaUan medalists.
He exceUed in composition and design, and in portraiture, rep
resenting the character of his subject with remarkable skiU.
Pasti, Nos. 258-260, Enzola, No. 262, and Sperandio, Nos.
265-273, whose work is here iUustrated, were among the other
great artists of the early period.
In the 1 6th century the medals were struck from engraved
dies. As a result the art became very popular and much work
was done by inferior artists. The medaUsts of this later period
showed less originaUty, as they imitated the classical style, yet

74 Slater Memorial Museum
they had great deUcacy of design and technical skUl. Among
those represented in this collection CelUni, Nos. 287-288,
Leoni, No. 291, andTrezzo, No. 292, are especiaUy important.
The art spread rapidly to other countries and in France some
very fine work was produced ; Dupre, Nos. 326-327, and
Perreal, Nos. 321-325, were among the leading French medalists.
The catalogue, which aims to be a simple guide to the med
als in this coUection, omitting detaUed descriptions, has been
prepared by the use of the foUowing books. Alfred Armand' s
"Les MedaUleurs ItaUens des Quinzieme et Seizieme Siecles".
1883. C. Von Fabriczy's" MedaiUen der italienischen Renais
sance". 1903. Fr. Lenormant's "Monnaies et MedaiUes."
I. B. Supino's "II Medagliere Mediceo nel R. Museo Nazionale
di Ffrenze". 1899. "Catalogue of Bronze Reproductions
of ItaUan and French Medals of the Renaissance Given to the
Fogg Art Museum of Harvard University' ' . The last three are
to be found in the Peck Library, and detaUed information with
regard to many of the medals is given in Supino, as a large pro
portion of the originals are in the National Museum of Florence.
The medals are arranged in chronological order ; ifrst, those
by known Italian medalists ; second, those by unknown ItaUan
medaUsts ; thfrd, those of other countries than Italy. The
medals, Nos. 252-292, are arranged by medalists according to
the period during which they worked.
252. Alfonso V of Aragon, I of Naples (1385-
1458). By Vittore Pisano ( i 3 8 o ?- i 4 5 6 ? ) , caUed PisaneUo,
painter and medaUst of Verona.
253. Avalos, Inigo d', marquis of Pescara. By Pisano.
254. Malatesta, Domenico (1418-1465), caUed No-
veUo, lord of Cesena. By Pisano.

Medals of the Renaissance 75
255. Paleologos, Giovanni VII (1390-1448), By
zantine emperor. By Pisano.
256. Piccinino, Niccolo (i 380-1444), condottiere of
Perugia. By Pisano.
257. Medici, Cosimo de' (1389-1464), "The Elder."
By Michelozzi Michelozzo (1396-1472), Florentine archi
tect and sculptor.
For an example of Michelozzo' s work as sculptor, see his re
Uef of the Madonna and ChUd, Italian Sculpture, No. 138.
258. MafFei, Timoteo (d. 1470), celebrated preacher of
Verona. By Matteo de' Pasti (142 .''-1490 ?), painter,
sculptor, architect and medalist of Verona.
259. Malatesta, Isotta Atti (d. 1470), thfrd wife of
Sigismondo Pandolfo Malatesta. By Pasti.
260. Malatesta, Sigismondo Pandolfo (1417-1468),
lord of Rimini. By Pasti.
261. Pavoni, Vittorio (1413-1471), ducal chanceUor at
Ferrara in 1463. Attributed to Antonio Marescotti (worked
from 1446-1462), scvJptor and medaUst of Ferrara.
262. Sforza, Costanzo (1448-1483), lord of Pesaro.
By GiAN Francesco Enzola (worked from 1456—1475), caUed
Gian Francesco Parmense, medaUst and engraver of Coni.
263. Angio, Renato d' (1409-1480), king of Naples.
By Pietro da Milano (worked from 1461-1485), goldsmith
and medalist of MUan.
264. Santucci, Girolamo (d. 1494), of Urbino, bishop
of Fossombrone. Attributed to Andrea di Filippo Guazzalotti
(1435—1495), caUed Andrea G. Pratense, sculptor and medalist.

76 Slater Memorial Museum
265. Albani, Pietro, Venetian. By Sperandio di Bar-
TOLOMEO de' Savelli ( 1425 .f-149?) , painter, sculptor and
medaUst of Mantua.
266. Bentivoglio, Giovanni II (1443-1509) of Bo
logna. By Sperandio.
267. Caraccioli, Marino (d. 1467), count of St. An-
gelo. By Sperandio.
268. Este, Ercole I d' (1431-1505), second duke of
Ferrara. By Sperandio.
269. Grati, Carlo, nobleman of Bologna. By Sperandio.
270. Marescotti, Galeazzo (1407-1503), senator, his
torian, and poet of Bologna. By Sperandio.
271. Montefeltro, Federigo da (1422-1482), first
duke of Urbino. By Sperandio.
272. Pendaglia, Bartolomeo, merchant of Ferrara. By
Sperandio. 273. Quirini, Carlo. Venetian. By Sperandio.
274. Este, Alfonso I d' (1476-1534), thfrd duke of
Ferrara. By Niccolo di Forzore Spinelli (1430-1499),
called Niccolo Fiorentino, Florentine medalist.
275. Medici, Lorenzo de' (1448-1492), caUed "The
Magnificent." By Spinelli, caUed Niccolo Fiorentino.
276. Mirandola, Giovanni Pico della (1463-1494),
philosopher and poet. Attributed to Spinelli, caUed Niccolo
Fiorentino. 277. Salviati, Bernardo, supreme magistrate of Florence
in 1469. Attributed to Spinelli, called Niccolo Fiorentino.

Medals of the Renaissance 77
278. Tornabuoni, Giovanna Albizzi, wife of Lorenzo
Tornabuoni. Married in i486. Attributed to Spinelli,
caUed Niccolo Fiorentino.
The foUowing seven medals, Nos. 279-285, are from a
series of great merit, the artists of which are unknown, but which
bear upon the reverse either the figure of an eagle or of a woman
personifying Hope, or of one personifying Fortune. The medals
have been grouped according to these devices and are designated
by Speranza, Hope ; DeU' AquUa, The Eagle ; and Fortuna,
Fortune. 279. Barbigia, Bernardo del (1453-1526), Florentine.
By "Speranza."
280. Pagagnotti, Alessandro di Pietro (b. 1422),
Florentine. By "Speranza."
281. Stia, Giovanni da. By "Speranza."
282. Tornabuoni, Giovanni, Florentine. By "Speran
za." 283. Gaddi, Giovanni (d. 1485), one of the priors of
Florence in 1477. By "Dell' Aquila."
284. Strozzi, Filippo (1426-1491), Florentine mer
chant. By "Dell' Aquila."
It is possible that this medal was the work of Benedetto da
Majano, sculptor of the famous bust of FUippo Strozzi. See
ItaUan Sculpture, No. 205.
285. Vecchietti, Alessandro. By "Fortuna."
286. Savonarola, Girolamo (1452-1498), Italian
preacher. By Giovanni di Lorenzo di Pietro delle Opere
(1470 .f-1516 ?) caUed Giovanni deUe Corniole, Florentine en
graver of stones.

78 Slater Memorial Museum
This medal is also attributed to Fra Luca or Fra Ambrogio
deUa Robbia, monks in the convent of San Marco, Florence.
287. Angel Blowing Trumpet. By Benvenuto Cel
lini (1500-1571), Florentine sculptor and goldsmith.
For examples of Cellini's work as sculptor and goldsmith, see
Italian Sculpture, Nos. 207 and 223, and Reproductions of
Metal Work of the Renaissance, Nos. 332, 350, 354.
288. Justice. By Cellini.
289. Martelli, Nicolo, Florentine poet. By Francesco
DA Sangallo (1494-1576), Florentine sculptor and architect.
290. Medici, Alessandro de' (15 10-1537), first duke
of Florence. By Sangallo.
291. Michelangelo (1475-1564), Florentine sculptor.
By Leone Leoni (1509-1592), Italian sculptor and bronze-
caster. Another portrait of Michelangelo is shown in the medal. No.
310, by an unknown medalist. For examples of Michelangelo's
sculpture, see ItaUan Sculpture, Nos. 202 and 234-237.
Leoni' s work as sculptor is illustrated in the Bust of Charles V,
Italian Sculpture, No. 231.
292. Torre, Gianello della (d. 1583), by Jacopo Niz-
zoLA DA Trezzo (1515, [zo?]-i6oi ?), sculptor, engraver,
goldsmith, and medalist of MUan.
The medals Nos. 293-315 are by unknown Italian medalists
and are arranged in chronological order according to the dates of
the personages represented. To Nos. 316-322 no dates could
be assigned as the medals could not be identified.
293- Jesus Christ the Redeemer.

Medals of the Renaissance 79
294. Dante Alighiere (1265-1321), Florentine poet.
A head of Dante by an unknown sculptor wUl be found m
ItaUan Sculpture, No. 170.
295. Gonzaga, Aloisio (d. 1360), duke of Mantua.
296. Petrarch, Francesco (1304-1374), Italian poet.
297. Salutati, Coluccio (d. 1406), secretary of the
Florentine repubUc, 1375.
298. Marsuppini, Carlo (1399-1453), poet and sec
retary of the Florentine repubUc.
299. Mocenigo, Giovanni (1408-1485), doge ofVenice.
300. Rinuccini, Alamanno (1419-1499), Florentine.
301. Ficino, Marsilio (1433-1499), Florentine philoso
pher and scholar.
302. Medici, Clarissa Orsini de', wife of Lorenzo de'
Medici (1459-1492), caUed "The Magnificent."
303. Thetius, Benedictus (last part of the 1 5th century),
monk, place of origin unknown.
304. Rovere, Giuliano-della (1441 -15 13), afterwards
Pope JuUus II.
305. Banducci, Bernardo di Pietro (b. 1452),
Florentine physician.
306. Sforza, Giovanni (1466-1510), lord of Pesaro.
307. Montefeltro, Elisabetta Gonzaga da (d. 1528?)
wife of Guidobaldo da Montefeltro.
308. Pope Leo X, Giovanni de' Medici (1475-1521),
son of Lorenzo de' Medici, caUed "The Magnificent."

8o Slater Memorial Museum
309. Pope Clement VII, GiuUo de' Medici (1475?-
1543)-
310. Michelangelo (1475-1564), Florentme sculptor.
See also the medal by Leone Leoni, No. 291.
311. Medici, Eleonora di Toledo de' (d. 1562), first
wife of Cosimo I de' Medici, first grand duke of Tuscany.
312. Medici, Catharine de' (1519-1589), wife of
Henry II, king of France.
313. Orsini, Isabella de' Medici (i 541-1576), wife
of Paolo Giordano Orsini.
314. Medici, Giovanna d' Austria de' (i 547-1 578),
first wife of Francesco de' Medici, second grand duke of
Tuscany.315. Medici, Bianca Cappello de' (1548-1587),
second wife of Francesco de' Medici.
316. Elenora, daughter of Ferdinand I, grand duke of
Etruria.
317. Francis I, second grand duke of Etruria.
318. Garsias, prince of Etruria.
319. Toletana, Eleonora, duchess of Florence.
320. Ferdinand and Philip, kings of CastUe and Granada.
321. Cupid Flying with Goose.
322. Cupid Flying with Goose.
Nos. 323-331 are medals of other countries than Italy and
are arranged chronologicaUy by personages.
323. Greudner, Giovanni (1460-1512), provost of
Brixen. German. By unknown medalist.

Medals of the Renaissance 8 1
324. Louis XII (1462-1515), king of France. By Jean
Perreal (i46o?-1528?), French artist, architect, and medalist.
325. Anne de Bretagne (1476-1514), second wife of
Louis XII, king of France. By Perreal.
This is the reverse of No. 324.
326. Medici, Cosimo II de' (1590-1621), fourth grand
duke of Tuscany. By Guillaume Dupre (1574.^-1642),
French sculptor and medaUst.
327. Medici, Maria Maddalena d' Austria de'
(d. 1636), wife of Cosimo II de' Medici, fourth grand duke
of Tuscany. By Dupre.
328. Erasmus, Desiderius (1465 ?-i536), famous
Dutch scholar. By Quentin Massys (1466 .'-1530), Flemish
painter.329. Man with a Low Cap. By an unknown Flemish
medaUst.330. Luther, Martin (1483-1546), German reformer
and translator of the Bible. By an unknown medalist.
331. Calvin, John (1509-1564), celebrated Swiss Pro
testant reformer. By an unknown medalist.

REPRODUCTIONS OF METAL WORK OF
THE RENAISSANCE
332. Hammer of Pope Julius III (1550-1555).
SUver. 1 6th century. In the National Museum, Munich.
Ascribed to Benvenuto Cellini (1500-1572), Florentine
sculptor. For examples of Cellini's work as sculptor see ItaUan Sculp
ture, Nos. 207 and 223. See also Nos. 350 and 354 below.
333. Bishop's Crosier. Ivory, richly ornamented.
18th century. In the National Museum, Munich.
334. Crown of Louis IX of France (1215-1270).
GUded sUver ; between the eight angels bearing scroUs are eight
reUquaries ornamented with jewels. 13th century. In the Col
lection of Prince George of Saxony.
335. Pax with the Letter C. GUded sUver. 16th
century. In Sigmaringen, Prussia.
A pax is a smaU tablet omamented with some Christian scene
or symbol, which in former times was kissed by the priest and
the congregation in the celebration of the mass. Its use was in
troduced into church worship during the 1 3 th century, taking
the place of the customary kiss of peace. It is now only occa
sionaUy used.
336. Drinking-cup. GUded copper, richly ornamented
with heads in relief and a figure of a knight on the cover. 16th
century. In the National Museum, Munich.

84 Slater Memorial Museum
337. Hunting-horn. Ivory, with gUded sUver ornaments.
In the CoUection of the Duke of Gotha.
338. Panel with Goldsmith's Models. Pewter.
16th century. In the National Museum, Munich.
339. Salt and Pepper Dish. SUver. 17th century.
In the Royal Treasury, Munich.
340. Comb. Ivory, ornamented with two reliefs, three
maidens bathing, and Neptune and Venus on a dolphin. 17th
century. In the National Museum, Munich.
341. Mirror- frame on a Triangular Base. Ivory,
ornamented with reliefs and figures as well as the portraits of
Malatesta da Rimini and his wife, Isotta. 1 5 th century. In
MUan, Italy.
342. Spoon with figures forming the handle.
343 a, b. Sword-hilt and Scabbard-tip. GUded sil
ver richly enameUed. 1 6th century. In the Royal Museum,
Cassel. By Hans Mulich.
344. Panel with Goldsmith's Models. Pewter.
16th century. In the National Museum, Munich.
345. Sword-hilt. Iron. 16th century. In the CoUec
tion of the Count of Erbach, Erbach.
346. Vase with Handle. GUded sUver. i6th century.
347. Salt-cellar. GUded sUver, very beautifidly ornamen
ted with filigree work. 16th century. In the CoUection of
Prince Karl of Prussia.
348, 349. Baptismal Basin and Ewer. GUded sUver,
Ornamented with Tritons. 16th century. In the CoUection of
the Duke of Gotha.

Metal Work of the Renaissance 85
350, Powder-flask. GUded sUver. 16th century. By
Benvenuto Cellini (1500-1572), Florentine sculptor.
351. Jewel-casket. Lead. 14th century. In Sigma
ringen, Prussia.
352. Turkish Sword-hilt. SUver set witii jewels.
17th century. In MUan, Italy.
353. Knife, Fork, and Three Spoons.
354. Top of a Sword-hilt. Steel, richly ornamented
with twenty-four figures in high reUef. i6th century. By
Benvenuto Cellini (1500—1572), Florentine sculptor.
355' Drinking-cup. Ivory, ornamented with figures in
reUef. l6th century. In the National Museum, Munich.
356. Tongs. Iron.
357 a, b, c. Sword-hilt and Scabbard-tip. Steel.
1 6th century. In the National Museum, Munich.
358. Six Keys.
359. Door-knocker. Bronze, ornamented with Hon's
head and Cupid. 16th century. In the Fugger CoUection,
Angsburg.360. Twelve Apostle Spoons.
361 a-e. Five Ornaments from a Clock. SUver.
17th century. In the National Museum, Munich.
362. Mug with Lid Bearing the Imhoff Coat-of-
arms. SUver. 16th century. In Nuremberg.
363. Ceremonial Sword of Count Christopher of
Bavaria. SUver. 15th century. In the Royal Palace,
Munich.

86 Slater Memorial Museum
364. Jewel-casket of Queen Kunigunde. Ivory and
gold. IOth century. In the National Museum, Munich.
365. Door-knocker. Iron. 15th century. In the
National Museum, Munich.
366. Door-lock. Steel. i6th century. In Nuremberg.
367 a, b. Two Small Door-knockers. Iron. 15th
century. In Nuremberg.
368. Goblet. 1 6th century. In Nuremberg.
369. Reliquary. Steel, groundwork gUded, richly orna
mented in reUef. 16th century. In the National Museum,
Munich.

REPRODUCTIONS OF ARMOR
370. Parts of a Suit of Armor Probably Belonging
to Emperor Charles V (1500-1558). Iron, richly
omamented in reUef with batde scenes. i6th century. In
the possession of Prince Karl of Prussia.
a. Helmet.
b. Backpiece.
c. Breastplate.
d, e. Gavmtlets.
A portrait-bust of Charles V, Italian Sculpture, No. 231,
wiU be found in the alcove near the Armor.
371. Parts of a Suit of Armor Belonging to Em
peror Charles V (1500—1558). Iron. 16th century.
In the Armeria Real, Madrid.
a. Helmet.
b. Pauldron, shoulder piece.
c. Jamb, leg armor.
d. GenouUlere, knee piece.
372. Suit of Boy's Armor Belonging to Prince
Philip III of Spain (1578-1621). Iron. l6th century.
In the Armeria Real, Madrid.
a. Helmet.
b. Gorget, neck piece.
c. Breastplate.
d. Backpiece.

88 Slater Memorial Museum
e, f. Pauldrons, shoidder pieces, right and left.
g, h. Brassarts, armpieces, right and left.
373. Shield. Iron, ornamented with reUef of vine branch
es. 16th century. In the Armeria Real, Madrid.
374. Piece of Horse-armor Belonging to Don
John of Austria (1547-1578), celebrated Spanish general.
Iron. 16th century. In the Armeria Real, Madrid.
375. Shield. Iron, ornamented with a reUef of the Battle
of Carthage. 1 6th century. In the Armeria Real, Madrid.

PHOTOGRAPHS
THE Museum has a coUection of over 2,000 photographs
of architecture, painting, sculpture, and ornament, which
have been bought from the best European photographers.
The majority have been selected in the largest sizes, and there
are over 300 Braun carbon prints which are very fine examples
of photographic reproductions. Several hundred oak frames
with adjustable backs, aUowing the pictures to be easUy
changed, have been provided for the photographs, a large number
of which are hung in the the Museum to supplement the casts
of Greek and Renaissance sciUpture. Special exhibitions are
arranged from time to time and the photographs are also
used in the class rooms of the Academy. The unframed
photographs are kept in the design room of the Art School in
cases especiaUy buUt for them. They are made avaUable for
use by a simple method of classification and a complete card
catalogue upon the dictionary plan.
There are about 900 photographs of architecture arranged
by country and city according to the foUowing table which will
indicate the scope of the coUection.
A. Egyptian A5. England
Al. Assyrian A6. France
A2. Greek A7. Germany
A3. Roman A8. Italy
A4. Byzantine A9. Spain
Ao. Other countries

90 Slater Memorial Museum
The photographs of sculpture, which number about 325,
are arranged according to the above classification, the Egyp
tian, Greek, and ItaUan being most fiiUy represented. Sixty
photographs of ornament Ulustrate architectural ornament,
woodcarving, metal work, and embroidery, and are of especial
use to the students in the classes in design. The photo
graphs of painting, about 850 in number, have been selected
to iUustrate the works of aU the great masters, although more
attention has been paid to the Italian artists, the Florentine
and Venetian schools being particularly weU represented.
In the gaUery of the Museum wUl be found the photographs of
the Sistine chapel ceUing by Michelangelo. They have been
framed in a table four by eight feet in size, which enables the
ceUing as a whole to be easUy studied. DetaUs, including aU
the prophets and sibyls, have been supplied in the largest prints.
The foUowing list comprises the artists whose works are rep
resented in the photograph coUection, individual pictures being
given in the card catalogue.

AlbertineUi

Brouwer

AUori

Buffahnacco

Angelico

Bugiardini

Anselmi

Carpaccio

Bartolommeo

Castagno

Basaiti

Catena

Beccafumi

Chardin

BeUini, GentUe

Chavannes, Pm

BeUini, Giovanni

Cima

Bonifazio

Cimabue

Bordone

Claude Lorrain

BotticeUi

Clouet

Bronzino

Corot

Photographs

91

Correggio Cosimo, Piero di
CotmanCranach Credi, L. di
CriveUi CromeCuyp
DickseeDomenichino DossiDouw Duccio Dughet
Diirer Eyck, Jan van
Fabriano, GentUe da
ForU, Melozzo da
Fragonard Francesca, Piero deUa
FranciaFranckenFuseU Garbo, Raffaellino del
GerardGhfrlandajoGiorgioneGiuUo Romano
GozzoU
GranacciGreuze

GuercinoHals HamUton
HarpigniesHeist, Bartolomaeus van der
HodgesHolbein (the elder)
Holbein (the younger)
Hooch, Pieter de
Ingres
Jordaens Lancret LargilUereLa Tour
Le Brun, Mme.
Lippi, FUippo
Lippi, FiUppino
LorenzettiLotto LuiniMantegna Martini MasaccioMasoUnoMemlingMessina, AntoneUa da
MichelangeloMoroni Murano, Antonio da
MuriUo
Neer, Aart van der

92

Slater Memorial Museum

OggioneOrcagnaPalma Vecchio
ParmigianoPerugino
PinturicchioPiombo, Sebastiano del
Pisano, Vittore
PoUajuoloPontormo, Jacopo da
Pordenone, Bernardino da
Pordenone, Giovanni da
Potter
PrevitaleRaphaelRembrandtReni
Reynolds Ribera, Josef de
RubensRuysdael, Jakob

Ruysdael, Salomon
Sarto, Andrea del
SignoreUi, Luca de'
Sodoma
SpineUi
Teniers TmtorettoTitian
Turner UcceUi
VandykeVelasquez
Velde, WiUem van der
VeroneseVerrocchio
Vinci, Leonardo da
Vivarini
Volterra, Daniele da
West
Weyden, Rogier van der
Wouverman
Zurbaran

THE EDMOND INDIAN COLLECTION
THIS valuable coUection of Indian reUcs wUl be found in the
basement of Slater HaU at the foot of the main stafrcase.
WhUe it is made up of reUcs that have been found in aU
parts of the country, the coUection is of special local interest be
cause of the number of specimens found in Norwich and the
neighboring towns. The coUection includes about 5400 arrow
heads coUected from twenty-three different states, 250 spear
heads, 500 stone implements including knives, scrapers, chisels,
adzes, axes, hammer-heads and the Uke, ceremonial and
decorative ornaments, beadwork, pottery, and a choice coUection
of pipes, including a rare carved soapstone pipe found at Trading
Cove, Conn. The work of the Mound BuUders is iUustrated
by arrowheads, jasper flakes, scrapers, copper pipes, an idol from
Tennessee and a remarkable cast of a face, as weU as by some
interesting pieces of pottery.
The coUection, which also includes some interesting Aztec pot
tery, and examples of chisels, hatchets, axes, and fish hooks from
Denmark and Labrador, has been increased by the addition of
a number of prehistoric reUcs collected in Europe by Dr. French,
some interesting remains of the Lake DweUers found in Lake
Geneva and presented by Rev. Dr. Leonard Bacon, a coUection
of bows and arrows which were presented to the late Hon.
Lafayette F. S. Foster whUe he was on a peace commission to
New Mexico, and two richly carved paddles from the South
Sea Islands, tiie gift of Miss Maria P. GUman.

THE NORWICH ART SCHOOL
THE aim of the Art School is to give to its students the
best possible technical training along the various lines of
art work here carried on. From its situation in the most
beautifiil of the smaUer cities of New England, with industrial
vUlages in the immediate vicinity, it has a unique field which the
large Art Schools of Boston and New York do not possess.
From its connection with The Norwich Free Academy it offers
remarkable advantages to younger pupUs who wish to carry on
other studies in connection with art work.
The studios of the school are in the Slater Memorial BuUding
and communicate dfrecdy with the Museum, the varied coUections
of which are easily accessible and are daUy studied and used by
the students.
The work of the school is carried on in three main divisions ;
day classes, meeting five days in the week ; evening classes,
receiving instruction two evenings in the week ; and the Saturday
morning class.
The day classes are for young men and young women who
are able to devote a large amount of time and energy to thefr
work. The evening classes are expressly designed for those
whose hours during the day are occupied.
The Saturday morning class for chUdren is a distinctive feature
of the School. The class meets for two hours each week to
study drawing and modeling.

THE PECK LIBRARY
THE Peck Library was founded in 1859 by Mrs. Harriet
Peck WUUams in honor of her father, Capt. Bela Peck,
a soldier of the American Revolution. Mrs. WiUiams
gave for the support of the library two gifts of ^5,000 each,
and the income-yielding endowment now amounts to about
gi 5,000.
During recent years, large additions have been made to a
coUection which afready contained many rare and valuable books,
and the entfre coUection forms an admirable working Ubrary of
more than 13,500 volumes. The Ubrary is classified according
to the decimal system and has a card catalogue of authors and
subjects. The departments of Art, Education, General Litera
ture, and History are especiaUy weU equipped. The current
magazines and papers number about sixty. Teachers and pupUs
of the Academy have daUy access to the shelves and are allowed
to take books to thefr homes. Teachers in the pubUc schools
also have the privUege of borrowing books for home use, and
the same privUege may be granted to others upon making special
appUcation to the Ubrarian. An opportunity is offered in the
Ubrary to study Ubrary management, students rendering an
equivalent in service in return for thefr tuition.
The Ubrary is open to the general pubUc on Saturday from 9
A. M. to 12 M. and from 2 p. m. to 5 p. m., and on every other
week-day, from 8.30 a. m. to 5 p. m.

BIBLIOGRAPHY
The following is a list of the more important general reference
books on Greek and Renaissance sculpture which are in the Peck
Library. The Boston Museum catalogues wiU be found very
valuable guide books. Greek Sculpture
Baumeister, A. Denkmaler des klassischen Altertums. 1885-88.
Boston, Museum of fine arts. Catalogue of casts ; Greek and
Roman sculpture. 1900.
CoUignon, M. Histofre de la sculpture grecque. 1892-97.
Friederichs, C. Baustein zur Geschichte der griechisch-rom-
ischen Plastik. 1885.
Furtwangler, A. Masterpieces of Greek sculpture. 1895.
Gardner, E. A. Handbook of Greek sculpture. 1896-97.
Jones, H. S. Select passages from Greek writers Ulustrative of
the history of Greek sculpture. 1895.
Mach, E. von. Greek sculpture. 1903.
MitcheU, L. M. History of ancient sculpture. 1888.
Murray, A, S, History of Greek sculpture. 1880-83.
Renaissance Sculpture
Bode, W. Die italienische Plastik. 1891.
Boston, Museum of fine arts. Manual of ItaUan Renaissance
sculpture. 1 904.
Freeman, L. J. Italian sculpture of the Renaissance. 1901.
Perkins, C. C. Historical handbook of Italian sculpture. 1892.
Perkins, C. C. Tuscan sculptors. 1 864.
Reymond, M. La sculpture Florentine. 1897-99.

GENERAL RULES FOR THE PRONUNCIA
TION OF CLASSICAL NAMES
IN THIS CATALOGUE
SyUables are the same as in EngUsh.
Exceptions :
I. Final e is pronounced in aU names, save in Samothrace.
//. Final aus and ous are pronounced in two syUables. So
oon in Laocoon.
///. Final eus is often pronounced in two syUables, but in
Orpheus, Perseus, and sometimes Peleus, in one syUable.
Accent is determined according to the ordinary rules of Latin
accent, viz:
/. Words of two syUables are accented on the first.
//. Words of more than two syUables are accented on the
penult if it is long, otherwise on the antepenult.
Consonant and vowel sounds foUow the regular rules of English
pronunciation.

INDEX

When not otherwise noted the references are to the number
of the object catalogued.

Acropolis, model of, 13a.
Adoration of the Magi, by Pisano,
139.
Aegina, sculptures firom, 15.
Aeschines, statue of, 21.
Aesculapius (or Zeus), head of, 66.
Agamemnon, Talthybius and Epeus,
p. 17, no. 5.
Albani, Pietro, medal by Sperandio,
265.
Alexander VI, Pope, bust of, 232.
Alfonso V, of Aragon, medal by
Pisano, 252.
Amazon, Mattel, 16.
Amenophis III, statue of, p. 12,
no. 6.
Andromeda, Perseus liberating, by
Cellini, 207.
Andros, Hermes of, 31.
Angel blowing trumpet, medal by
Cellini, 287.
Angio, Renato d' medal by Milano,
263.
Aphrodite, persuading Helen to follow
Paris, 53;head from Pergamum,
71. See also Venus.

Apollo, of Tenea, 8; statuette from
Naxos, 13 b; slaying a lizard,
30; Belvedere, 84.
Apostles, twelve, by Vischer, 144-
•55-
Apotheosis of Homer, 50.
Apoxyomenos, 61.
"Aquila, dell'," medals by, 283-284.
Archaic head of a man, p. 1 7, no. 3 .
Architectural ornament, French,
238-251; Greek, 55 a-c, 58.
Ares, Ludovisi, 70.
Aristion, gravestone of, p. 17, no. i.
Aristocles, gravestone by, p. 17,
no. 1.
Aristogiton, I2i.
Armor, reproductions of, 370-375.
Art School, Norwich, p. 94.
Artemis, see Diana.
Arthur, King, statue of, by Vischer,
136.
Assur-nazir-pal beside the sacred tree,
p. 12, no. 7.
Assyrian sculpture, p. 11-12.
Athena, head of, p. 17, no. 4;
sculptures from Aegina, 15;

lOO

Index

mourning, 57; Giustiniani, 64;
reliefs from the altar at Perga
mum, no.
Augustus, Emperor, statue of, p. Ii,
no. I.
Avalos, Inigo d', medal by Pisano,
253-
Bacchante, dancing, 81.
Bacchus, by Sansovino, 227. See
also Dionysus.
Banducci, Bernardo di Pietro, medal
of, 305.
Banofre, p. 1 1 , no. 4.
Baptismal font, Siena, by Quercia,
135-
Barbigia, Bernado del, medal by
"Speranza", 279.
Bavaria, Christopher of, sword of,
363-
Belvedere, Hermes of the, 25; torso
of the, 74; Apollo of the, 84.
Bentivoglio, Giovanni II, medal by
Sperandio, 266.
Bologna, Giovanni da, Mercury, 203.
Borghese warrior, 77.
Borgia, Rodrigo, see Alexander VI,
Pope.
Bosio, F. G. Henry IV, of France,
166.
Boxer resting, 75.
Boy, drawing a thorn from his foot,
17; praying, so-called, 78.
Bregno, Andrea, Rovere sarcophagus,
161.
Bretagne, Anne de, medal by Perreal,
3^5-

Brunelleschi, Filippo, sacrifice of
Isaac, X58.
Caesar, Augustus, statue of, p. Ii,
no. 1.
Caesar, Julius (?), head of, 94.
Calf-bearer, p. 18, no. 7.
Calvin, John, medal of, 331.
Capua, Venus of, 109.
Caraccioli, Marino, medal by Sper
andio, 267.
Cellini, Benvenuto, Perseus liberating
Andromeda, 207; with the head
of Medusa, 223; medals by,
287-288J metal work by, 332,
35o» 354-
Ceres, see Demeter.
Chariot, figure mounting a, p. 18,
no. 6.
Charles V, Emperor, bust of, by
Leoni, 23 1; armor belonging
to, 370-371-
Cherubs, from Marsuppini tomb, by
Setrignano, 1 64-1 65 ; singing
and playing, from altar in the
Church of San Antonio, Padua,
by Donatello, 208-219.
Christ, and the madonna (Pieta), by
Michelangelo, 202 j medal of,
^93-
Cicero (?), head of, 96.
Clement VII, Pope, medal of, 309.
Clio, 88.
Coins, Greek, reproductions of, p.
49-52.
Corniole, Giovanni delle, see Opere,
Giovanni di Lorenzo di Pietro

Index

IOI

delle.
Cupid, flying with goose, medal, 321-
322. See also Eros.
Dancing, girl, reliefs fi'om Dionysiac
theater, Athens, 37-385 bac
chante, 81.
Dante, head of, 1 70; medal of, 294.
David, by Donatello, 163J by Ver
rocchio, 201 ; head of the Zuc
cone, by DonateUo, 206.
Demeter, 28.
Demosthenes, statue of, 33.
Dexileus, monument of, 35.
Diana, temple of, at Ephesus, column
firom, 72; of Gabii, 83.
Dionysiac theater, reliefs of dancing
girls from, 37-38; seat of priest
from, 54.
Dionysus, statue after Euphranor, 24;
priest of, seat in Dionysiac thea
ter, 54j the infant, and Silenus,
67. See also Bacchus.
Discobolos, 12.
Dolphin and Eros, 87.
Donatello, St. George, 1 34; St.
Cecilia, 141 ; St. John the Bap
tist, 162; David, 163; St. John
the Baptist as a boy, 171; portrait
of unknown man, 197; bust of
Gattamelata, the younger, 200;
head of David, the Zuccone,
206; singing and playing cher
ubs, church of San Antonio,
Padua, 208-219; madonna and
child, 220; head of Jeremiah,
224; Judith with the head of

Holofernes, 233.
Doryphoros, 10; head of, 11.
Dupre, Guillaume, medals by, 326-
3*7-
Dying Gaul, or gladiator, 68.
Edmond Indian collection, p. 93.
Egyptian sculpture, p. 11-12.
Electra and Orestes, 85.
Eleonora, daughter of Ferdinand I,
grand duke of Etruria, medal
of, 316.
Eleusinian relief, 23.
Elgin marbles, ioi-lo8.
Enzola, Gian Francesco, medal by,
262.
Ephesus, temple of Diana at, column
from, 72.
Epicrates, gravestone of, 39.
Erasmus, Desiderius, medal by Mas
sys, 328.
Eros, torso of, 51; bending a bow,
76; and dolphin, 87. See also
Cupid.
Este (d'), Alfonso I, medal by Spin
elli, 274; Ercole I, medal by
Sperandio, 268.
Euridyce, Orpheus, and Hermes, 44.
Euripides, bust of, 90.
Euterpe, 93.
Farnese, Hercules, head of, 62;
Hera, 65.
Ferdinand and Philip, medal of, 320,
Ficino, Marsilio, medal of, 301,
Fiesole, Mino da, Madonna and child,
160; tabernacle for the Eucha-

I02

Index

rist, church of Sta. Croce,
Florence, 221; bust of Piero de'
Medici, 225.
Figure mounting a chariot, p. 18,
no. 6.
Fiorentino, Niccolo, see Spinelli, Nic
colo di Forzore.
Flagstaff, base of, by Leopardi, 142.
Florence cathedral, heads from the
door of Sacristy of, by Luca
della Robbia, 172-195.
"Fortuna," medal by, 285.
Francis I, 2d grand duke of Etruria,
medal of, 317.
Gabii, Diana of, 83.
Gaddi, Giovanni, medal by *'Deir
Aquilla," 283.
Garsias, prince of Etruria, medal of,
318.
Gattamelata, the younger, bust of,
by Donatello, 200.
Gaul, dying, 68; slaying himself and
his wife, 119.
Ghiberti, Lorenzo, sacrifice of Isaac,
159.
Giustiniani Minerva, 64.
Goddess, head of, 34.
Gonzaga, Aloisio, medal of, 295.
Grati, Carlo, medal by Sperandio,
269.
Gravestones, Greek, described, p. 25;
of Aristion, p. 17, no. 1; of
Dexileus, 35; wife bidding fere-
well to her husband, 36; of
Epicrates, 39; mother parting
from her child, 41; of Hegeso,

42,
Greek coins, reproductions of, p. 49-
Greek sculpture, p. 17-47, ^"S. I-
132.
Greudner, Giovanni, medal of, 323.
Guazzalotti, Andrea di Filippo, medal
by, 264,
Hadrian, Emperor, bust of, 95,
Harmodius, 120.
Heads from door of Sacristy, Florence
cathedral, by Lucca della Robbia,
172-195.
Hegeso, gravestone of, 42.
Henry IV, of France, statue of, by
Bosio, 166.
Hera, from Samos, 9; Ludovisi, 56;
Farnese, 65.
Hercules, head of Farnese statue, 62;
torso of the Belvedere, 74.
Hermes, of the Belvedere, 25; of
Andros, 31 j with Orpheus and
Euridice, 44. See also Mercury.
Herodotus and Thucydides, double
hermes, 89.
Holofernes, Judith with the head of,
by Donatello, 233,
Homer, apotheosis of, 50; bust of,
91.
Hypnos, head of, 26.
Ilioneus, so-called, 60.
Indian collection, p. 93.
Infents from the Hospital of the Inno
cents, Florence, by Andrea
della Robbia, 156-157.

Index

103

Ionic capital, 58.
Irene and Plutus, 22.
Isaac, sacrifice of, by Brunelleschi,
158J by Ghiberti, 159.
Italian sculpture, p. 57-69, nos.
133-237.
Jeremiah, head of, by Donatello, 224.
Jesus Christ, see Christ.
John, Don, of Austria, horse armor
belonging to, 374.
John the Baptist, see St. John the
Baptist.
Judith with the head of Holofernes,
by Donatello, 233.
Julius II, Pope, Moses, from tomb
of, by Michelangelo, 234.
Julius III, Pope, hammer of, by
Cellini, 332.
Juno, see Hera.
Jupiter, see Zeus.
Justice, medal by Cellini, 288.
Kunigunde, Queen, jewel-casket of,
364.
Laocoon, ill.
Leo X, Pope, medal of, 308.
Leoni, Leone, bust of Charles V,
23 1; medal by, 291.
Leopardi, Alessandro, base of flagstaff,
142.
Lioness, wounded, p. 12, no. 5.
Louis IX, of France, crown of, 334.
Louis XII, of France, medal by Per
real, 324.
Ludovisi, Heta, 56; Ares, 70.

Luther, Martin, medal of, 330.
Lysippus, Apoxyomenos, 61.
Madonna and child, by Michelozzo,
138; by Mino da Fiesole, 1605
by Donatello, 22OJ by Andrea
della Robbia, 222; with St. Jacob
and St. Dominic, by Giovanni
della Robbia, 229.
Madonna and Christ, (Pieta,) by
Michelangelo, 202.
Maffei, Timoteo, medal by Pasti, 258.
Magi, adoration of, by Pisano, 139.
Majano, Benedetto da, pulpit, 1335
bust of Pietro Mellini, 198;
bust of Filippo Strozzi, 205.
Malatesta, Domenico, medal by Pi
sano, 254; Isotta Atti, medal by
Pasti, 259; Sigismondo Pandol
fo, medal by Pasti, 260.
Man with a low cap, medal, 329.
Marble Faun, 32.
Marescotti, Antonio, medal by, 261 ;
Galeazzo, medal by Sperandio,
270.
Mars, see Ares.
Marsuppini, Carlo, cherubs from
tomb of, 164-165; medal of,
298.
Marsyas, statuette, 13 a; after Myron,
H-
Martelli, Nicolo, medal by Sangallo,
289.
Massys, QuenOn, medal by, 328.
Mattel Amazon, 16.
Medals, Renaissance, reproductions
of, p. 73-81, nos. 252-331.

I04

Index

Medea and the daughters of Pelias, 45 .
Medici (de'), Alessandro, medal by
Sangallo, 290; Bianca Cappello,
medal of, 325; Catharine, med
al of 312; Clarissa Orsini, med
al of, 320; Cosimo, medal by
Michelozzo, 257; Cosimo II,
medal by Dupre, 326; Eleonora
di Toledo, medal of, 311; Gio
vanna d' Austria, medal of, 314,
Giovanni, see Leo X, Pope;
Giulio, see Clement VII, Pope.
Lorenzo, figures from the tomb
of, by Michelangelo, 235-237;
Medal by Spinelli, 275; Maria
Maddalena d' Austria, medal by
Dupre, 327; Piero, bust of, by
Mino da Fiesole, 225.
Medusa, Perseus killing, firom Selinus,
p. 17, no. 2; Rondanini, 52;
Perseus with the head of, by
Cellini, 223.
Mellini, Pietro, bust of, by Majano,
198.
Melos, Venus of, 118.
Menander, statue of, 79.
Menelaus, mother and son, 85.
Mercury, by Bologna, 203. See also
Hermes.
Metal work. Renaissance, reproduc
tions of, p. 83-86, nos. 332-
369; baptismal basin and ewer,
348-349; bishop's crosier, 333;
clock ornaments, 361; comb,
340; crown, 334; door-knock
er, 359) 365, 367; door lock,
366; drinking-cup, 336, 355,

362, 368; goldsmith's models,
338, 344; hammer, 332; hunt
ing-horn, 337; jewel-casket,
35I) 364; Jceys, 358; knife
and fork, 353; mirror-frame,
341; pax, 335; powder-flask,
350; reliquary, 369; salt and
pepper dish, 339; salt-cellar,
347; spoons, 342, 353, 360;
sword, 363; sword-hilt, 343,
345» 352» 354, 357i tongs,
356; vase, 346.
Michelangelo, Pieta, 202; Moses,
234; figures from the tomb of
Lorenzo de' Medici, 235-237;
medal by Leoiji, 291 ; by un
known medalist, 310.
Michelozzo, Michelozzi, madonna
and child, 138; medal by, 257.
Mikno, Pietro da, medal by, 263.
Minerva, see Athena.
Mirandola, Giovanni Pico della, med
al by Spinelli, 276.
Mocenigo, Giovanni, medal of,
299.
Montefeltro (da), Elisabetta Gonza
ga, medal of, 307; Federigo,
medal by Sperandio, 271.
Moses, by Michelangelo, 234.
Mother, parting from her child, 41;
and son, 85,
Mourning Athena, 57.
Miilich, Hans, sword-hilt, 343.
Muses, Clio, 88; Euterpe, 93.
Museum, plan of first floor, p. 14;
of second floor, p. 54.
Myron, Discobolos, 12; Marsyas, 14.

Index

105

Nativity, by Rossellino, 140.
Naxos, Apollo from, 13 b.
Nike, of Paeonius, 122; restoration
of the same, 123; of Samo
thrace, 124; statuette from
Pompeii, 125.
Nike Apteros, temple of, described,
46-49; fragments from balus
trade of, 46-49; portion of
frieze of, 69.
Niobe, one of the daughters of, 59;
so-called Ilioneus, 60; and her
youngest daughter, 99.
Norwich Art School, p. 94.
Olympia, head of a victor from, 73;
figures fix)m the temple of Zeus
at, 112-I16; model of pediment
from the same, 117.
Olympic victor, head of, 73.
Opere, Giovanni di Lorenzo di Pietro
delle, medal by, 286.
Orestes and Electra, 85.
Orpheus, Eurydice and Hermes, 44.
Orsini, Isabella de' Medici, medal of,
3'3-
Otricoli Zeus, 63.
Paeonius, Nike of, 122; restoration
of the same, 123.
Pagagnotti, Alessandro di Pietro,
medal by "Speranza," 280.
Paleologos, Giovanni VII, medal by
Pisano, 255.
Palmieri, Matteo, bust of, by Rossel
lino, 167.

Parthenon, described, p. 39-40,
drawing from conjectural restor
ation of, p. 41; sculptures from,
101-108; relieft from thefrieze
of, 126-131.
Pasti, Matteo de', medals by, 258-
260.
Pavoni, Vittorio, medal by Mares
cotti, 261.
P«. 335-
Peck Library, p. 95.
Pendaglia, Bartolomeo, medal by
Sperandio, 272.
Pergamum, female head from, 71;
relief from altar at, no.
Pericles, bust of, 97.
Perreal, Jean, medals by, 324-325.
Perseus, killing Medusa, from Selinus,
p. 17, no. 2; liberating An
dromeda, by Cellini, 207; with
the head of Medusa, by Cel
lini, 223.
Petrarch, Francesco, medal of, 296.
Pharaoh, head of, p. 11, no. 2.
Phigalia, frieze from temple of, 27.
Philip II, of Spain, bust of, 230.
Philip III, of Spain, armor belonging
to, 372.
Philip and Ferdinand, medal of, 320.
Photographs, p. 89-92.
Piccinino, Niccolo, medal by Pisano,
256.
Pieta, by Michelangelo, 202.
Pisano, Niccola, adoration of the
Magi, 139. Pissano, Vittore,
medals by, 252-256.

io6

Index

Plutus and Irene, 22.
Polyclitus, Doryphorus, 10; head of
the same, 1 1 ; Farnese Hera, 65.
Pope, Alexander VI, bust of, 232;
Clement VII, medal of, 309;
Julius II, Moses, from the tomb
of, by Michelangelo, 234; Jul
ius III, hammer of, by Cellini,
332; Leo X, medal of, 308.
Praxiteles, Apollo slaying a lizard, 30;
Marble Faun, 32; Diana of Ga
bii, 83; Hermes, 100.
Praying boy, so-called, 78.
Psyche, torso of, 43.
Pulpit, Church of Sta. Croce, Flor
ence, 133.
Quercia, Jacopo della, baptismal font,
Siena, 135.
Quirini, Carlo, medal by Sperandio,
273.
Renaissance, armor, reproductions of,
p. 87-88, nos. 370-375; med
als, reproductions of, p. 73-81,
nos. 252-331; metal-work, re
productions of, p. 83-88, nos.
337-375; sculpture, p. 57-69,
nos. 133-237.
Resurrection, the, by Luca della
Robbia, 196.
Rinuccini, Alamanno, medal of, 300.
Robbia, Andrea della, infants from
the Hospital of the Innocents,
Florence, 156-157; madonna
and child, 222.

Robbia, Giovanni della, madonna and
child with St. Jacob and St.
Dominic, 229.
Robbia, Luca della, singing and play
ing children, 137; heads from
door of Sacristy, Florence ca
thedral, 172-195; resurrection,
196; virgin visiting St. Eliza
beth, 228.
Rondanini medusa, 52.
Rosetta stone, p. II , no. 3 .
Rossellino, Antonio, nativity, 140;
bust of Matteo Palmieri, 167;
bust of a young woman, 168.
Rovere, Cristoforo della, sarcopha
gus of, by Bregno, 161; Jiuliano
della, medal of, 304. See also
Julius II, Pope.
Sacrifice of Isaac, by Brunelleschi,
158; by Ghiberti, 159.
St. Cecilia, by Donatello, 141.
St. Dominic, with madonna and
child, by Giovanni della Robbia,
229.
St. Elizabeth, virgin visiting, by Luca
della Robbia, 228.
St. George, by Donatello, 134.
St. Jacob, with madonna and child,
by Giovanni della Robbia, 229.
St. John the Baptist, by Donatello,
162; asaboy,by Donatello, 171.
St. Sebald, shrine of, details from, by
Vischer, 143-155.
Salutati, Coluccio, medal of, 297.
Salviati, Bernardo, medal by Spinelli,

Index

107

277.
Samothrace, Nike of, 124.
Sangallo, Francesco da, medals by,
289-290.
Sansovino, Jacopo, Bacchus, 227.
Santa Croce, Church of, pulpit in,
133; tabernacle for the Eucha
rist, 221.
Santucci, Girolamo, medal by Guaz
zalotti, 264.
Sappho, head of, 19.
Sassetti, Francesco, bust of, 169.
Satyr playing the scabellum, 86.
Savelli, Sperandio di Bartolomeo de',
see Sperandio.
Savonarola, Girolamo, medal by Del
le Opere, 286.
Scabellum, satyr playing the, 86.
Scopas, see 99.
Selinus, metope from, p. 17, no. 2.
Seneca, so-called, bust of, 82.
Settignano, Desiderio da, cherubs from
Marsuppini tomb, 164-165; bust
of Marietta Strozzi, 204.
Sforza, Costanzo, medal by Enzola,
262. Giovanni, medal of, 306.
Siena, Baptistry of, baptismal font,
by Quercia, 135.
Silenus and the infant Dionysus, 67.
Singing and playing, cherubs from
Church of San Antonio, Padua,
by Donatello, 208-219; child
ren, by Luca della Robbia, 137.
Socrates, bust of, 98.
Sophocles, statue of, 20.
Sperandio, medals by, 265-273.

"Speranza," medals by, 279-282.
Spinario, 17.
Spinelli, Niccolo di Forzore, medals
by, 274-278.
Stephanus, youth, 92.
Stia, Giovanni da, medal by "Speran
za," 281.
Strozzi, Filippo, medal by "Dell' A-
quila," 284; bust by Majano,
205; Marietta, bust by Settig
nano, 204.
Tabernacle for the Eucharist, Church
of Sta. Croce, Florence, by
Mino da Fiesole, 221.
Tenea, Apollo of, 8.
Thetius, Benedictus, medal of, 303.
Thucydides and Herodotus, double
hermes, 89.
Toletana, Eleonora, medal of, 319.
Tornabuoni, Giovanna Albizzi, med
al by SpineUI, 278; Giovanni,
medal by *'Speranza,'^ 282.
Torre, Gianello della, medal by Trez
zo, 292.
Torso of the Belvedere, 74.
Trezzo, Jacopo Nizzola da, medal
by, 292.
Tyrannicides, 120-121.
Unknown man, portrait of, by Don
atello, 197.
Vecchietti, Alessandro, medal by
"Fortuna," 285.
Venus, Genetrix, 29; of Capua, 109;

io8

Index

of Melos, 1 1 8. See also Aph
rodite.
Verrocchio, Andrea del, David, 201 ;
bust of young lady with a rose,
226.
Victory, see Nike.
Virgin visiting St. Elizabeth, by Luca
della Robbia, 228.
Vischer, Peter, King Arthur, 136;
portrait of himself, 143; twelve
apostles, 144-155.
Votive statue of male figure carrying
a calf, p. 18, no. 7.
Warrior alighting from his chariot,
40.
Wife bidding farewell to her husband,
36.
Wingless victory, temple of, see Nike

Apteros, temple of.
Wounded lioness, p. 12, no. 5.
Wrestlers, 80.
Young lady, portrait of, 199; with a
rose, bust of, by Verrocchio,
226,
Young woman, bust of, by Rosselli
no, 168.
Youth, pouring oil into his hand, 1 8 ;
statue, by Stephanus, 92.
Zeus, head from Otricoli, 63; or
Aesculapius, 66; and Athena in
combat with giants, iio; figures
from the temple of, at Olympia,
112-116; model of pediment
from the same, 117. See also
Jupiter.