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5,335
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MUSEUM DISNEIANUM,
HEING
A DES C RIPTION OF A COLLECTION OF
ANCIENT MARBLES,
SPECIMENS OF ANCIENT BRONZE,
AND WARIOUS ANCIENT FICTILE WASES,
IN THE POSSESSION OF
JOHN DISNEY, ESQ., F.R.S., F.S.A.,
AT THE HYDE, NEAR INGATESTONE.
L O N ID O N :
LO N G M A N, B. R O W N, G R E EN, AND LONG MAN S,
RNOSTER ROW.
MDCCCXLIX.
IN T R O DU C T I () N.
IN offering to the public an account of so small a collection as
the present, the best apology I can make is; that the contents
have been so favourably appreciated by some of the best judges
of the present and recently past times, as to induce them earnestly
to request me to do so.
The far greater part of it was formed jointly by Mr. Thomas
Hollis and his friend, Mr. Thomas Brand, (who eventually took
the name of Hollis in addition to his own,) principally, indeed,
by the former, during their several visits to Italy, from the year
1748 to 1753. *
All the specimens were sent to the Hyde by them, as they ac-
quired them ; and in the year 1761, the Hall there, as it now is,
was built from designs of Mr. (afterwards Sir William) Chambers,
for their reception and arrangement.
To those which these gentlemen collected, the following have
been added by myself, viz:—
The head of Hermarchus. .
The head called Lucius Corbulo.
The Laughing Faun.
38.32631
iv INTRODUCTION.
The Young Mercury.
The (so called) portrait of a Roman.
Julia Sabina.
Apollo of Miletus.
Cumaean Term.
Juno Sedens.
The bas-relief—Agamemnon and Chrysaeis.
With regard to the character of these marbles, as to excellence
or genuineness, every one will judge for himself. I do not pre-
tend to direct the taste of other people; but having seen many
and very numerous collections of various degrees of importance,
from those of the Vatican, Florence, and the Louvre, down to my
own, I have formed opinions which I am not disposed to ob-
trude upon the public; being unwilling to expose myself to the
imputation of partiality or prejudice.
I may, however, be allowed to feel some little pride and satis-
faction, when that opinion has been strengthened on the judgment
of such men as John Flaxman, James Christie, and Taylor Combe,
all of whom I have seen at the Hyde, and have given me their
sentiments without reserve, which I have respectively noticed in
each case, either by stating their names at length or by initials, as
J. F., J. C., T. C.
Besides these worthy and celebrated men, I have been favoured
with the suggestions and opinions of my learned and excellent
friends, Sir Richard Westmacott, Sir Henry Ellis, and Mr. Haw-
kins, who succeeded Mr. Combe as curator of the antiquities in
the British Museum.
INTRODUCTION. V
To these gentlemen I must acknowledge the great obligations
I am under for their assistance in compiling this work, and also
to Mr. Charles Newton.
With regard to the cinerary urns; and tablets bearing inscrip-
tions, it is proper to state that an account of them was written by
the late Rev. James Tate, Canon of St. Paul’s, when at the Hyde,
in August, 1809, and printed as a preface then, to a general ca-
talogue, now rendered (by time and other circumstances) of little
U1S62. -
In this preface Mr. Tate has given his readings of the Latin
inscriptions, and his translation of each ; with a short introduction
to the whole.
I have reprinted this preface and the readings and translations
verbatim, and affixed his initials, J. T., to each.
Mr. Tate's reputation as a scholar entitles any production from
his pen to all possible respect: and it is right that the public
should have the benefit of his labours in juxtaposition with the
fac—similes of the marbles themselves.
After having given thus unreservedly all that he did, and in
his own language, I have added the history of each, and such ob-
servations as have occurred to myself, or my friends; and though
it will appear that, in some instances, the learned Canon's expo-
sitions are not implicitly adopted, it is hoped that the alleged
reasons for differing from him are stated candidly, and not on
slight grounds.
It is observable that Mr. Tate has interpreted the contractions
ANN. MEN. D. in the ablative case, Annis Mensibus, &c.,
vi INTRODUCTION.
when, in the originals, they seem to have more frequently used
the accusative, Annos Menses, &c., as appears everywhere in
the books of Gruter, Gudius, and Gori, though the ablative is
very common.
I have, however, met with one instance in which both are used
in the same inscription :-
D. M. S.
C. AE L I U. S. C. L.
C O S M I O.
V I X I T A N N I S.
LXX. VII. M. VII.
D I F. S. XXVI.
GoRI, Vol. I., p. 285.
I am unwilling to quit this introductory essay, without saying—
that in determining the size and manner and style of getting up
and printing the book, I have professedly imitated the British
Museum ; so that those who possess both, may make this work
a continuation or sequence, in uniformity with that valuable and
beautiful book. Nor is this done with a view to assume any im-
portance to which my collection is not entitled, but in hopes that
so doing may operate as an inducement to others, possessed of
larger and more distinguished collections, to put forth their trea-
sures to the world in a similar manner.
What a valuable set of books would be formed if the collections
at Wooburn, Wilton, and Petworth were printed, so as to form a
continued series with the National Cabinet in Russell Street.
So far back as the year 1818 I began a catalogue raisonné of
INTRODUCTION. vii
all such objects of antiquarian interest as had been collected, and
were then at the Hyde; which was not completed till the year
after my return from Rome, in 1827, where I acquired some few
additional pieces. That catalogue forms the basis of the present
work, but much has been omitted, as adapted only to private use
and of mere personal interest. The whole MS. occupies several
volumes, as it includes many Greek terracottas, vases, bronzes,
and pictures.
A wish has been expressed by my friends that some of these
objects also should have been added to the marbles here published;
but I am more disposed to wait till I have ascertained what
reception this book may meet with, before I venture further.
I may, nevertheless, at a not very distant period, put forth some
specimens by way of appendix or addendum.
I am indebted to the skill and very kind assiduity of Mr.
L. A. Hamersley, Principal of the Government School of Design
at Nottingham, for the very accurate and beautiful Plates in
Lithograph.
JOHN DISNEY.
THE HYDE, January, 1846.
MR. TATE’S PREFACE.
THE order of succession in which the following inscriptions are
placed is copied from the arrangement observed in the valuable
collection of Gudius", as digested by Kool and edited by Hessel.
No. I. belongs to the first class, Diis Dedicatorum, in Gudius.
The dedications to Hercules are found from xxxi. 10 to xxxiv. 8.
No. II. belongs to the eighth class, Militum, in Gudius.
Similar inscriptions are found cliii. 5, cliv. 8, clxiv. 1, 2, clxvii. 4.
For the authority on which ÆLIA GALLA is taken as the
name of the tribe, see Gudius Indices, Tribus Romanaº, xxxiv.,
Praenominum, &c., lxxiv., lxxxxiii., lxxxxiv., and lxxxxv. In the
last page quoted two copies are given of the inscription; and it
appears that in the time of Gudius this marble was the property
of LEONARDUs AUGUSTINUs, a Roman Antiquary.
Nos. III., IV. and V. belong to the ninth class, Libertorum et
Officiorum Domus Augusta, in Gudius. Similar inscriptions are
found, clxxxix. 2, 9, 13, &c. &c.
Of Agathe, in No. III., it may be remarked, that many epithets
of similar meaning occur as appellations given to female slaves,
Chresime, Chreste, Onesime, Piste, Phronima, and the like.
* Note.—I have not given the inscriptions in the same order of succession, but have
placed Mr. Tate's numbers by the side of each, in the inner margin of the plates.—
J. D.
b
X PREFACE.
Nos. VI., VII., VIII., IX., X., XI., and XII. belong to the
fourteenth class, ADFECTUS conjugu M, in Gudius. Of the above,
No. X., printed in Gudius, cclxxx. 1, from his MSS. When he
saw and copied it, this marble also was the property of LEONARDUs
AUGUSTINUs, already mentioned. Other instances of the foramen,
made to hold a vial of tears, occur colxv. 9, cclxvi. 11, cclxxxv. 6,
cccxxx. 18. &
“I remember when I was in Italy,” says Mr. Melmoth,
“to have seen several conjugal inscriptions upon the sepulchral
monuments of ancient Rome; which, instead of running out into
a pompous panegyric upon the virtues of the deceased, mention
singly, as the most significant of encomiums, how many years the
parties had lived together in full and uninterrupted harmony.”
-—Fitzosborne's Letters, Letter 35.
Instances of the kind alluded to by Mr. Melmoth occur in
Gudius, cclxii. 10, cclxxviii. 3.
Inscriptions wanting the clause sine querelá, but containing it by
implication, and stating very exactly the duration of conjugal life,
are of perpetual occurrence.
Nos. XIII., XIV., XV., and XVI. belong to the sixteenth class
in Gudius, Heredum, Gentilium, &c., of complex and promiscuous
relations.
Of Claudia SPEs, in No. XIV., it may be remarked, that
the same appellation Spes occurs repeatedly, czciii. 5, ccxxxiv. 3,
cclxxix. 6, &c., and that names of the like favourable import were
frequently given, chiefly, perhaps, to children of the libertine rank,
as Felicitas, Profutura, Sperata, &c., or from the Greek, as Nice, in
PREFACE. - xi
No. II., Charis, Euphrosyne, Elpis, Procope, Tyche, Agathetyche,
Callityche, &c.
For the condition of Servus Publicus, see p. 39, of Roman
Antiquities, a book of the very highest excellence in its kind, by
my learned friend, Dr. Adam, of Edinburgh.
The riddle contained in No. XVI. is left for any (Edipus by
profession who likes such amusement. For a similar enigma,
with its solution, see coxci., which, however, may be inter-
preted innocently enough by the help of two classical sortes,
“Vir gregis ipse Caper,” and “Olentis uxores mariti.”
Nos. XVII. and XVIII. belong to the nineteenth class in Gudius.
ADFECT Us LIBERTORUM Ac SERVORUM INTER SE ET SUos.
Parallel to the form in No. XVII. is HAve JULIAE MARPEss42,
for which see celvi. 8.
To the name Eapectans, in No. XVIII., others of similar import
occur, given, apparently, like those mentioned under No. XIV.,
for their kind and auspicious signification.
Fortunatus, as in No. V., Euelpistus, Profuturus, Speratus, &c.
Of the freedman it may be remarked, that he was more particu-
larly known by taking the praenomen of his master, “gaudent prae-
nomine molles Auriculae;” and so the formula runs, Titi Libertus.
—See Adam, Rom. Antiq., pp. 33, 42.
Dicarchis is an appellation which seems very rarely to occur.
The cognate terms, Dicaearchus and Dicaeosyne are found cxciii. 6.
and colxix. 9.
JAMES TATE, M.A.
THE HYDE, 7th August, 1809.
II.
III.
IV.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
XVII.
XVIII.
XIX.
XX.
XXI.
XXII.
XXIII.
LIST OF PLATES.
MINERVA.
ANTONINUS PIUs.
MARCUS AURELIUS ANTONINUS.
TITUS FLAVIUS DOMITIANUS.
A SCYTHIAN WARRIOR.
ATYS.
OTHO.
JUPITE R SERAPIS.
TERMINAL BEARDED BACCHUS.
HEAD OF A MUSE.
SAPPHO.
BACCHUS AND CERES.
BACCHUS AND LIBERA.
THALIA.
SILENUS.
AEGINETAN BACCHUS.
HERMARCHUS.
LUCIUS CORBULO.
LAUGHING FAUN.
MERCURY (YOUNG).
PORTRAIT OF A ROMAN.
JULIA SABINA.
BACCHUS AND LIBERA (YOUNG).
LIST OF PLATES.
XXIV.
XXV.
XXVI.
XXVII.
XXVIII.
XXIX.
XXX.
XXXI.
XXXII.
XXXII A.
XXXIII.
XXXIV.
XXXV.
XXXVI.
XXXVII.
XXXVIII.
XXXIX.
XL.
XLI.
XLII.
XLIIA.
APOLLO.
A MAN (TOGATUS).
A PIPING FAUN.
LEUCOTHOE.
SILENUS (AND DOG).
CUMAEAN TERM.
JUNO SEDENS.
MEDUSA.
JULIUS CAESAR.
ARABESC REVERSE.-J. CAESAR.
TWO BACCHANTES.
CLAUDIUS DOMITIANUS NERO.
PAN.
A NYMPH DANCING.
TWO PATERAE.
M. AGRIPPA VIPSANIUS.
AGAMEMNON AND CHRYSES.
UNKNOWN HEAD (IN RELIEF).
SARCOPHAGUS (ROMAN).
SARCOPHAGUS (GREEK).
ENDS OF GREEK SARCOPHAGUS.
URNS AND TABLETS BEARING INSCRIPTIONS.
XLIII.
XLIV.
XLV.
XLVI.
XLVII.
XLVIII.
HERCULI INVICTO.
D. M. S. PATER CUM FILIA.—D. M. A.LIA AGATHE.
CONSIDIA WENERIA.—TITUS POMPONIUS.–M. FURIUS
EUTYCHUS.
C. MENANIO.— . . . . MULO. TEC.
TI. CLAUDIO.
T. F.I. VERO.
LIST OF PIATES. XV
XLIX.
LI.
LII.
LIII.
LIV.
LIV A.
LV.
LVI.
LVII.
LVIII.
VIVINACIO.
POMPEIAE MARGARIDI.
HAVAE ACCIAE.
L. SENTI COCCETI.
MARCO ULPIO.
AEL.—J. POSTUMIA.
THE THIRD SIDE OF PLATE LIV.
TI. CLAUDIUS HERMIAS.
CN. CAESIO.-Q. CALIDI POTHI.
T. STATILIO HERMETI.
ONE END OF PLATE LVII.
N.B. The small figures, 1, 2, 3, &c., in each Plate, correspond with the Roman
numbers, I., II., III., &c., in Mr. Tate's Preface.
ERRATA.
- Page 24, sixth line from the bottom, for 1797, read 1817.
Page 41, last line, for L'Oltimo Stylo, read L'Ottimo Stylo.
Page 56, third line from the bottom, for Ululantibus, read Ululatibus.
Pl. I.
J.A.Bammersley delet lith. Hullmandel & Walton Lithographers
& J N = R v A.

PLATE I.
M I N E R V A.
This bust was brought from Rome by Mr. Lloyd, and bought of
him by Mr. Thomas Hollis, in 1761. The helmet has the owl's
beak upon it, and the breast-plate is surrounded by a snake; of
these, as emblems of vigilance and wisdom, see “The Ancient
Marbles in the British Museum,” Part I., Plate I., a head of Mi-
nerva very much resembling this.
The head is of Parian marble; the bust of Luna marble, antique
but later than the head; the nose is restored, by a piece of marble
evidently taken from the bunch of hair behind.
Mr. M'Culloch, in the Geological Transactions, says, “It is
certain, indeed, that the great sculptors abandoned the marbles of
Paros after the quarries of Luna and Carrara were discovered; the
superior fineness and whiteness of these marbles (which at pre-
sent cause them to excel any with the places of which we are ac-
quainted) rendering them also at least equal to the best of those
ancient ones of which the native places are now unknown.”—Geol.
Trans. vol. iii. p. 103.
Characterizing the style of hair in Grecian deities, Dallaway
says, “ Minerva has thick curls which flow beneath the casque.”—
Statuary and Sculpture, p. 49.
See also Fulgentius, Mythologicon, lib. ii. 2.
PLII,
J. A. Hammersley delet lith. Hullmandel & Walton Lithographers
A Njºſ (O)N J N US PJVS,


PLATE II.
ANTONIN US PI US.
He succeeded Hadrian, and died A.D. 161, and was father of Marcus
Aurelius Antoninus. Mr. Taylor Combe saw this bust in 1818,
and though satisfied of its genuineness and merit, thought it might
be Antoninus Pius; but would rather say unknown. It has been
somewhat injured by time, but the countenance is very expressive.
The chest and breast are good.
Compare this head with his coin in middle brass—the head lau-
reate ; and on the obverse ANTONINvs Avg. Prvs, PP. T.R. P. COS. III.
There is a coin with the same obverse in the Museum Meadianum,
125.
The pillar called Antonine's Column, at Rome, has nothing to
do with him : the inscription it bears is incorrect, placed there by
Pope Sixtus V. “It is now universally agreed that the pillar was
erected to Marcus Aurelius by the Senate; and the bas-reliefs are
entirely devoted to that Emperor.”—Burton's Antiquities of Rome,
p. 176.
III 1.1
ºſiſ Iſ NOINV. STITE ºnw ºſloº WWI
slaudetšount Tmolteº, y apuerunni
untina tºp ºsteºneu y

PLATE III.
MARCUS AURELIUS ANTONIN US,
Succeeded his father Antoninus Pius, A.D. 161, and died 180; the
9
bust is clothed in the “tunica laticlavia.” The workmanship good.
It was once in the Barberini Palace in Rome; and was purchased
in 1766.-See Hollis, Mem. p. 835.
Of this bust I found the following memorandum : “Un busto di
Marco Aurelio il quale era portato d’Alessandria undici anni fa.”
—Dated Venice, 26th Feb. 1753.
The unrestored bust is antique, but not of his time, as the lati-
clave was not then worn.—T. C.
See his coins in large brass, and Mus. Mead., p. 128.
In the Gallery at Florence is a bust of Severus with exactly the
same broad band across the breast; described in the Catalogue,
(p. 40, edit. 1825,) “avec le laticlavium.”
See the notice as to Antoninus's Column, ante, Pl. II.
Mr. Hawkins, of the British Museum, has taken great pains to
investigate the history of the peculiar dress which is exhibited on
this bust, and come to the conclusion that it is not the laticlave,
but that it is the laena; therefore the whole may be of the Empe-
ror's own time.
See Mr. Hawkins's very full and learned disquisition, Brit. Mus.
Mar. Part X. Pl. XII.
Pl. IV.
Hullmandel & Walton Lithographers
AN! U.S.
JA Hammersley delet lith.
|D)(0)||M||||ſ||
|FLAVI (US$
if |f|US

PLATE IV.
TITUS FLAVIUS DOMITIANUS,
Son of Vespasian, and brother of Titus; died A.D. 96, aged 45.
This is a head only; as a bacchanal crowned with vine leaves;
broken off at the neck, and has no bust; has been probably part of
a statue, from its leaning position; there is no part restored.
T. C. pronounced it to be a fine genuine portrait.
“The portraits of Domitian are scarce, as, according to Dallaway,
they were destroyed by order of the Senate.”—Sculp. and Statuary,
p. 171, note (m.)
See his coin, large brass, Mus. Mead. p. 118.
JA Haminersley delet lith.
A SC, YTH] ] AN WARRI (C) R.
P1 W.
Hullmande & Walton Lithographers

PLATE W.
A SCYTHIAN WARRIOR.
A bust in alabaster, discoloured by time, in the Phrygian mitra;
of good genuine Greek work; very perfect.—T. C. 1818.
Very large and handsome lachrymatories, or bottles, of the
same sort of alabaster, are found in Attica, and have been brought
from time to time into this country.
The substance in which this bust is cut is the same as that
sepulchral vase figured Mus. Mar. Part V. Pl. X. fig. 4., which
in the letter press, page 37, is said to be “formed of the alabaster
of the ancients, (stalagmitical fibrous carbonate of lime,) of a
yellowish colour, with white onychine stripes.”
Pl VI.
J. A. Hammersley we et lit. Hullmanºr & Walton Lithographer


11
PLATE WI.
ATYS.
This head has on the Phrygian mitra; was bought at the Duke
of Argyle's sale, 1771.
Antique and very good.--T. C. 1818.
It was called Paris for some time, till my very excellent friend,
Sir Richard Westmacott, gave it as his opinion that it is Atys.
There are several heads of Paris very like this; on a Greek
vase, engraved by Millingen, [Peinture des Vases Grecs, Pl. xlii.
p. 63, the dress and features of a head called Paris resemble it
much. I have a Greek vase in my possession very similar.
“Et nunc ille Paris cum semiviro comitatu,
Moeonia mentum Mitra.”
AENEID, iv. 215.
See Ovid. Met. x. Fab. 2. and Ibis 455, Noel Dic. de la Fab.,
“Atys.” -
Dr. Darwin, in his disquisition on the Portland Vase, calls the
head on the bottom “Atys.”—See Bot. Gard. Canto ii. 1.319, and
(n.) xxii. -
The resemblance between this marble, and the head on the vase
is very striking, especially in the androgynous character of both.
P1 WIL.
| A Hammersley delet hth Ilullmandel & Walton Lithographers.
(O) iſ H10).

13
PLATE VII.
OTHO.
I have called this Otho, though with some hesitation; the bust
has a robe on ;-the angusticlave.
The hair, if it does really belong to the head, is combed up.
Mr. Taylor Combe, when he saw the bust, doubted whether it
were Otho, or not; as he was known to wear a wig; and this
hair does not appear quite sufficiently separated from the head:
he pronounced it antique and good. -
The angusticlavus was the mark of senatorial rank.-Adams,
Roman Antiq. p. 417.
Pl. VIII.
Hammersley del et lub Hullmandel M. Waltºn Luluºrºphers.
JUP) iſ 5 ºf $15 (RAPT. S.

| 5
PLATE VIII.
J U P IT E R S E R A P I S.
A beautiful little bust, genuine, antique, and very fine.—T. C.
1818.
A modius is on his head, adorned with leaves and berries;
the hair and beard are very fine and bold; the bust is draped.
It was bought of the Abbate Clementi, at Rome, 1752.
Pluto is also represented with the modius or IIoxog on his head,
as well as Jupiter; and Mr. Payne Knight describes him with
that attribute: the general character of the head and hair (having
three curls hanging down upon the forehead) in this bust, very
much resemble what he calls “Pluto.”—See Knight's Inquiry,
art. 145. I have a bronze figure, whose bust and head are very
like this marble.
The modius or IIoxo; was the seed vessel of the Egyptian Lotus,
now Nymphaea Nelumbo of Linneus.-Knight's Inquiry, 146.
For a figure of this plant, see Encyclopaedia Londinensis, article
“Nymphaea;” but there is a better representation in Curtis's
Flora Londinensis, plate 983. B.
“The deities (i. e. Grecian) were distinguished by a peculiar
form and manner in which the hair was disposed, particularly
that of Jupiter, which was never varied as having no distant
resemblance to the mane of a lion seen in front.”—Dallaway,
Statuary, &c., p. 47.
The vessel on the head, hitherto called a modius, is now under-
stood to be a calathus ; referring to a passage in Macrobius,
where, speaking of Jupiter Serapis, he says, “ Calathum capiti
ejus infigunt.”—Macrob. Saturnal. Lib. i. cap. 20.
Pl IX.
Hullmandel & Walton Lithographers -
ºf ERM INAL BE ARD&D EACCHU3.
th
| A Mºnumersley delet

| 7
PLATE IX.
TERMINAL BEARDED BACCHUS.
Antique and good Greek workmanship.–T. C. 1818.
For an account of the Indian or bearded Bacchus, see Brit. Mus.
Marbles, Part. II., Pl. XIX.,-the plate No. XXX., however, in
the same part resembles this head very greatly.
In an old catalogue of these marbles, this bust is called Plato
by Mr. Thomas Hollis, a mistake very often made ; as appears
from an observation of Mr. Payne Knight's, in these words.
“The practice of early artists in copying individual nature in
ideal personages, has caused the heads of Bacchus to be fre-
quently mistaken for the portraits of the philosopher Plato; whose
features appear to have had the same resemblance to him as those
of Socrates had to Silenus.”—Dilettanti Soc. Spec. Sel. Vol. I.,
PI. VIII. -
Mr. T. Hollis bought this bust in 1761.
P| X.
Hullmande & Walton Lathographers
J. A. Hammersley tº et liſh
§ E.
A NY. Uſ
EAID) (Q)|F
H]

19
PLATE X.
HEAD OF A MUSE.
Colossal, antique, and good.—T. C., 1818.
The band on the head, is said in an old catalogue to be “a
fillet”—with this reference: “Of the fillet see Dallaway's anec-
dotes of the Arts, p. 179:”—but further; see VITTA., a full
account in Smith's Dict. of Gr. and Rom. Antiquities, 1842.
The same sort of band, is called a broad diadem. Brit. Mus.
Mar., Part II., Pl. XXX.
And there is a narrow diadem on a head supposed to be
Homer, noticed in the same book. Pl. XLIV.
I have every reason to believe it was found in, or near to,
the Acropolis at Athens.
Sir W. Richard Westmacott admired this bust greatly, when he
saw it in 1827.
PI XI
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SAPPH10).

PLATE XI.
SAPPHO.
This is a small bust—antique and genuine.—T. C., 1818.
The hair is in a corymbus behind, and is thus referred to in a
MS. note or memorandum, dated February, 1753, which I have
copied; the original is now lost :-viz.
“La testa di Sappho con belli capelli.”
In her letter to Phaon, Ovid describes her, or rather makes
her describe herself.
“Si mihi difficilis formam natura negavit;
Ingénio formae damna rependo mea’.
Sum brevis, at nomen, quod terras impleat omnes,
Est mihi: mensuram nominis ipsa fero.”
Heroides xv. 30—34.
Compare this head with a gem of Sappho in Tassie's collection,
No. 10,188, and engraved in Mr. Croley's Gems by that name;
the resemblance is sufficiently strong. Sir R. Westmacott con-
sidered this marble to be a head of Sappho ; and it has always been
so called.
P. XII.
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23
PLATE XII.
BACCHUS AND CERES.
This is a bifrontal term, and, for the reason why the two heads are
thus joined, see Brit. Mus. Mar., Part II., Pl. XVII.
“The two-faced JANUs seems to have been a composite symbol
of the same kind (i. e. the destroying and producing power); and
to have derived the name from Iao, or Iowy an ancient mystic title
of Bacchus.”—Knight's Enquiry, Art. 134.
In a MS. letter to me from the late Mr. James Christie, he sends
me the following account.
“Mr. Böttiger derives the word Janus from Dianus, as the
masculine of Diana, the one the Sun-God; the other the Moon-
Goddess. And thus, the Deus Lunus and Dea Luna, equally
occur in Roman mythology: these double terminal antique busts,
still record the primitive Phoenician worship of the Sun and
Moon, as Moloch and Astarte.”
In the west of England the initial D, is very often pronounced
to this day as a J. I, myself, know some gentlemen of Somerset-
shire, who always called Dugal Stewart—Jugal Stewart.
See also, Bryant's account of Janus, Vol. II., p. 251.
“In many instances the two personifications are united in one;
and Bacchus, who on other occasions is represented as a bearded
24,
venerable figure; appears with the limbs, features, and characters
of a beautiful young woman; sometimes distinguished by the
sprouting horns of the bull, and sometimes without any other
distinction, than the crown or garland of vine or ivy.”—Knight's
Enquiry, Art. 100.
Here we have Bacchus, crowned with ivy: the other head has
wheat or corn-flowers; and apparently, a poppy bud over the left
ear, which belong to Ceres.
The tip of the nose in the Bacchus is restored, and so it is in
the female face: there is no other restoration : the bust half
way up the neck is modern.
Mr. James Christie furnished me with a note on this bust, includ-
ing also the next Plate (XIII.), in a letter dated Dec. 22, 1797,
after he had seen them and greatly admired them.
“Offerings of animals, and wine, and corn, were then substi-
tuted for human victims; and LIBER ET ALMA CEREs, were in-
voked instead of Moloch and Astarte.” -
This he, therefore, called Liber et Alma Ceres.
Pl XIII.
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BAGQ, Hillſ 3 & 1, 1835, RA.

PLATE XIII.
BACCHUS AND LIBERA.
A terminal Bifrons, similar to the last : see also Brit. Mus. Mar.,
Part. II. Pl. XVII.
The hair of Libera descends down to the shoulders; or rather
the bands of the hair are arranged in the Egyptian style; a ribbon
passes over her forehead, above which are two bunches of ivy.
The male face very much resembles the features of Socrates, the
beard falls in eight thick locks so as to hide the throat; the ears
are pointed. This is very fine and genuine.—T. C.—J. C.—
R. W.
“The union of youth and age,_the young and aged Bacchus,
as in the Disney bust; denote the alternation of day and night;
of life and death; and mark the faint hope entertained by the
ancients of the existence of a future state.”—James Christie's
M.S. letter.
The features of the old man much resemble those of Socrates;
so much so, in other cases as well as this, that Mr. Knight ob-
serves upon it, in the quotation from him, ante, Plate IX., as to the
face of Silenus.
ATX II
sºldeº out troutem, ºlapuemmH
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utila Tap RalstrourueHºw."

27
PLATE XIV.
THALIA.
A very fine and spirited antique bust of this comic muse; and so
esteemed by Mr. Taylor Combe and James Christie.
The head is crowned with ivy, and the bust draped. There is
a fine head of Thalia, Mus. Marb. Part. III., Pl. V.
Nostra nec erubuit sylvas habitare, Thalia.-Virgil Ecl. VI.
l. 2.
Pl XV
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PLATE XV.
SILENUS.
A terminal bust, marked by Mr. Thomas Hollis, as “very
curious and rare.” It was bought by him of Mr. Lloyd, 1761.
The head has a wreath of ivy with berries; at the base of the
horns are two curls erect, somewhat in the manner of horns; and
a third rising between them. There is hair on the upper part of
the nose: the beard is divided into five locks, each ending in a curl.
It is entire excepting the tip of the right horn, which has been
restored : of the best and boldest Greek workmanship.–T. C.
That the personifications called satyrs, could never have had any
real existence, is shown, Laurence's Nat. Hist. of Man, p. 293, and
D'Ancarville's Recherches sur les Arts de la Grèce, Vol. I. p. 320.
The custom of placing a wreath of ivy, and indeed sometimes
poppy, on the heads of Bacchanals, is very rationally accounted
for by Dr. Henderson.
“It is said to have originated in the belief that the leaves of
certain plants as the ivy, myrtle, and laurel,-or certain flowers as
the violet and rose, possessed the power of dispersing the fumes
and counteracting the noxious effects of wine. On this account
the ivy has always been sacred to Bacchus, and formed the basis of
the wreaths with which his images, and the heads of his worship-
pers were encircled.”—Hist. of Ancient and Modern Vines, p. 119.
I’I, XVI
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PLATE XVI.
AEGINETAN BACCHUS.
Of this there is only the head—without the bust: of very ancient
and good workmanship; the eyes are filled in with some sort of
composition; the original were probably of some coloured marble
to imitate nature. The nose is very well restored.
The head has the narrow fillet; and the hair is dressed in front
in narrow parallel curls, similar to those of the bifrontal head of
Bacchus, Mus. Mar. Part II., Pl. XVII.
The beard is massy, stiff, and projecting in the same style as
Mus. Mar. Part. II., Pl. XXVII. The side locks do not hang down
in front of the shoulders as in many other heads of Bacchus, see
ante, Plate IX., which was frequently but not always the case; they
are not so in Mus. Mar. Part II., Pl. XXIX.
In Millingen’s “Ancient unedited Monuments,” Series II. Part
XI., p. 18., is a head very much resembling this, which he con-
siders as “undoubtedly representing Hermes or Mercury,” and
controverts the prevailing notion that these heads are meant for
Bacchus. And he further says, that “the fillet was not a distinc-
tive emblem, but attributed generally to all divinities and heroes.”
Ibid. p. 18.
Mr. James Christie and others called this head AEginetan.
Montfaucon, Antiquities, (Tom. III., Lib. II. Cap. XIV. Pl.
XLIII., p. 72,) has a head very like this, which he without hesita-
tion calls a Parthian king.
PI XVII.
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3
PLATE XVII.
HERMARCHUS.
In Visconti's Iconographie Grecque (Pl. XXVI.), is a head of Her-
marchus; of which I have been induced to adopt the name for
this marble from the resemblance of two monuments; the prin-
cipal difference being, that the beard in the print is not so pointed,
but the cast of countenance is very like. &
The letters EPMAPXOC are cut on the bust, engraved by
Visconti, which was found in the garden of Cassius's house at
Tivoli, 1780. (Tom. I. cap. iv. S. 19.)
Hermarchus it seems was a disciple of Epicurus, (who lived 250
years B. c.,) and on his dying bed addressed a letter to him,
preserved by Cicero, (de finibus, lib. ii., sec. 30,) recommend-
ing him to take care of the children of his friend Metrodorus.
Hermarchus was the son of Agemarcus, a very poor man, but by
the study of philosophy raised himself to great consequence not-
withstanding his father's poverty.
The marble of which this bust is made, is very like that de-
scribed by Dallaway as a “greyish marble such as the Athenians
procured from Mount Hymettus.” (Stat. and Sculp., p. 231.)
The work of the head is in good Greek style; and there is no
restoration of the features. I obtained it in London—and Col.
W. M. Leake when he saw it pronounced it genuine.
34.
Of Hermarchus, friend of Epicurus, a metal bust was found at
Herculaneum with the name upon it; see Martyn and Lettice's
Herculaneum, p. lxx., No. 200, of the Translator's Preface.
Some persons have called this a bust of Chrysippus, from its
resemblance to one by that name in Visconti's Philosophes
Stoiciens, pl. 24; and which plate I procured on that account,
in 1825.
PI. XVIII.
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PLATE XVIII.
LUCIUS CORBULO.
Evidently a portrait.—This bust I bought at Rome in January,
1827, where it was called Brutus; but it seems to be much more
like those called Corbulo, whose busts, as Mr. Payne Knight says,
were often miscalled Brutus. g
It was found at a farm called Torre Sapienza, about three miles
from the Porta Maggiore, in May, 1824.
It is, I suspect, the work of a Roman artist; expressive of strong
mental powers, with great calmness and decision; the nose and
part of the chin have been very well restored.
There is a head of Brutus in the Capitol at Rome, but no way
resembling this.
Pl. XIX
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PLATE XIX.
LAUGHING FAUN.
A terminal head, of excellent Greek work, and very spirited.
It was found in a vineyard near Rome, about two miles out of
the Porta Pia, near the church of St. Agnes, in 1826, by a peasant,
and brought immediately to Signor Ramondo Trentanove, who
bought it, and gave it to me, in February, 1827.
The tip of the nose was restored by him in March in that
year.
The expression is very marked, and the artists then at Rome
admired it greatly; the marble has been stained, probably by the
moisture of the ground where it was found.
It has all the character of a good work of art about it.
Pi XX
lºw tº ºr nº
ºnlinº ºwn ºn
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Tyl EPACURY You Ng.)


39
PLATE XX.
M E R C U R Y_Y O U N G.
A head in Parian marble and Greek style: the hair is short and
curled, and well executed—no beard.
The straightness of the occiput, and thickness of back of the
neck, might suggest the names of Hercules or Antinous; but the
beauty of the features is greater than would be expressed in a
representation of mere muscular strength.
The pupils of the eyes have been hollowed out to receive
coloured stones, which no doubt have, some time or other, been
actually there.
This was"done by Phidias in his celebrated statue of Minerva
in the Parthenon. (Leake's Topography of Athens, p. 36, n. 2.)
“The pupil is rarely marked in genuine antiques; though many
Greek as well as Roman heads, in imitation of the Egyptian, have
eyes made of jewels, or glass, to resemble the natural iris. (Dalla-
way’s Stat. and Sculp., p. 42.)
From the form of the forehead, the lines of which are very
pleasing and intelligent, and a certain “manner” about the
mouth, I think that the artist has taken them from some living
person, for I have seldom seen such in mere imaginary faces.
It was found at Populonium, near Piombino in Tuscany, in
1828.
40
“Populonium was once a most flourishing town, and the naval
arsenal of the Etruscans. In proof of the antiquity of this place,
it may be observed, that it is mentioned, by Virgil, as one of the
Etruscan cities which sent forces to the assistance of Æneas.”
- “Sexcentos illi dederat Populonia mater
Expertos belli juvenes.”
AENEID, x. l. 174.
“The vestiges of this ancient city are to be seen about three
miles north of Piombino.” (Cramer's Ant. Italy, I. p. 189.)
The harbour of Populonium is Porto Barratto.
I bought it, together with another head, at Leghorn, in February,
1830, of one Micheli Galli, who gave me the following account:—
“Sono sortite dagli scavi di Populonia in Maremma, tantO
certifico per la pura verita ‘ed in fidi.’
(Signed) “MichELI GALLI.”
I have adopted the name Mercury from the general resem-
blance which this head bears in all its parts to a bust in the
British Museum, and so called by Mr. Taylor Combe, and en-
graved in Mus. Mar. Part II., Pl. 21.
In the summer of 1834 Sir R. Westmacott was so good as
to restore the tip of the nose to this bust, which he has with great
success, giving a perfect finish to the character of the face, and
preserving all its original simplicity.
I'l XXI
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4 l
PLATE XXI.
PORTRAIT OF A ROM AN.
Of Luna marble; the hair straight and easy; the ears large;
forehead elevated, and the brow very much contracted; the upper
lip prominent, and the chin pointed and projecting; the whisker
scanty, and on the angle of the jaw-bone only : no beard.
The eyes large, deep-set, and expressive.
The whole countenance is characterized, in a masterly manner,
by intelligence, acuteness, and decision, and he seems to be one of
those just suited to command a “ forlorn hope.” There is no re-
storation whatever; I take this to be a portrait, and the production
of a very skilful artist, when the artists of Greece flourished at
Rome. g
It was found in the neighbourhood of Florence, where I bought
it, in November 1829, of Sig. Trugoni.
Pozzi, a sculptor of great celebrity, then practising at Florence,
was much struck with it, and pronounced it to be a genuine and
powerful piece of art, and in “L'oltimo Stylo.”
Pl XXII.
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PLATE XXII.
JULIA SABIN A.
She was the niece of Trajan, and wife of Hadrian, and died
A.D. 138.
The bust is of Parian marble, and seems to have been painted,
having suffered much by scraping the colour off again; the oil
having stained the marble, and given it a dirty yellow tinge. The
work is Roman, and not of the highest finish ; the countenance has
a placid character which, it seems, did not belong to this empress.
I bought it in London, 1823; and the person of whom I had it
told me that the gentleman who sold it to him offered him £25
to have it back again.
I have no doubt of its genuineness; see a gem of Sabina.--
Raspe by Tassie, No. 11656. Also a bust of Sabina like this,
though the diadem is more ornamented, in the Raccolto di Statue
Antiche e Moderne.—Rossi, Rome, 1704, plate cvii.
There is a coin of this Empress in my possession which goes far
to identify the bust; small brass; the head with the diadem; on
the obverse,
w SABINA AVGVSTA HADRIANI AVG. PP.
A sitting figure of Vesta on the reverse, with a palladium in her
hand.
This is described in Mus. Mead. p. 152.
44.
In the same book, p. 226, is the following account of a bust of
Sabina:—
“Sabinae caput, ad dimidium extans, atque alto diademate cinc-
tum. Haec Hadriani Imperatoris conjux; tum ob ingenii asperi-
tatem tum ob morum licentiam, apud historicos pessime audit. Ex
marmore albo alt: pedem cum sextante.”
This bust stands exactly a foot high, including the diadem. In
the Louvre at Paris; there is a statue of Sabina exceedingly like
this in features and head-dress, in the room with the bronze
doors—No. 593, which I saw in May, 1827.
There is another head of Sabina, similar in features, but differ-
ing in the head-dress, in the Stanza degl’Imperatore, in the Capitol
at Rome.
Pl XXIII
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PLATE XXIII.
BACCHUS AND LIBERA (YouNG).
Bifrontal;-here the male head is represented young, and the hair
of both, as to curls, and the descending locks, is very much like
the heads of Bacchus and Libera in the Brit. Mus. Mar., Part II.,
Pl. XVII.
I have no particular account of this bust; it is terminal, and one
head has been at least three parts restored, and very cleverly. The
heads represent a young man and young woman ; and likely enough
was intended to represent the juvenile Bacchus and Libera, as de-
scribed by Ovid, a character referred to in the Museum Marbles,
above quoted, where the following lines are given : —
“Tibi, enim inconsumpta juventas.
Tu puer eternus
Tibi, cum sine cornibus adstas,
Virgineum caput est.”
OvID. MET. iv. l. 17–19.
Having seen and admired this bust, my friend, Mr. Christie,
writes me as follows:—
46
“Liber et Alma Ceres were invoked instead of Moloch and As-
tarte; these were still the representatives of the sun and moon, of
day and night. The union of the two deities was preserved in
the double terminal head accordingly. The occipital or bifrontal
bust generally represents a male and female countenance, as in the
Disney AFginetan bust.”—No. 73.
P]. XXIV
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PLATE XXIV.
APOLLO.
An antique copy of the “Delian Apollo.”—The right arm, left
hand, legs below the knees, and the head, were restored by
Mr. Flaxman, at Rome, in 1793, and Antonio D’Este (then cu-
rator of the Pope's Museum): the height of the figure is exactly
19 inches.
The torso or trunk was wrought before the Christian AEra,
and Mr. Flaxman has a cast of it. The original was before the
time of Phidias, who died B. c. 432.
Such is the account given to me by Mr. Flaxman himself, in
September, 1818. .
The hair falls down in front of each shoulder, after the Egyptian
fashion : it was bought at Rome, of Flaxman, 1796.
In 1818, when Mr. Taylor Combe saw this statue, he thought it
was more like the Apollo of Miletus, of which they have a medal
in the British Museum, than the Apollo of Delos: he agreed with
Flaxman, in his opinion as to its high antiquity and the beauty of
the torso, and greatly admired the restored parts.
The Apollo Didymaeus was worshipped at Miletus, “but always
in an androgynous form, with the limbs, tresses, and features of
a woman, holding a bow or arrow, or both, in his hands.”—
Knight's Inquiry, art. 133. See also Select Specimens, Dilet.
Society, Vol. I. Pl. xii. xliii. and xliv.
48
The very spot on which this Temple of Apollo stood, near
Miletus, is laid down in Cellarius's Maps, and marked by the
word Didymaei (subaud: Templum).-See his Map of Asia Minor,
Tab. xxii., Edit. 1821.
In support of Mr. Combe's conjecture, I have found the fol-
lowing testimonies.
Mr. Payne Knight had a small bronze statue of Apollo
Didymaeus, which he was so obliging as to show me, in 1822.
It is engraved in the Dilettanti Society's Specimens, Pl. xii., above
referred to. The attitude and character of that bronze, particularly
the broad shoulders and tapering waist, and the general mixture of
female formation, so completely correspond with this marble, that
I have extracted the following important observations.
Mr. Knight's figure is seven inches high.
In his account of it, he says, “We, therefore, presume it to be
a copy of the very ancient statue of that god in his androgynous
character, which once adorned the celebrated Oracular Temple of
the Branchydae, near that city,” i. e. Miletus.
The left hand of the bronze is hollow, i. e. empty; and probably,
as he says, held the bow.
The print of the bronze shows the front of the figure, which
has three long curling ringlets hanging down in front of each
shoulder.
Mr. Knight goes on to say, “The remainder of the long hair,
which does not appear in this view of it, is tied in a club behind,
and hangs down between the shoulders.” *
In this marble, the remains of the hair on the torso is in a club
49
between the shoulders; and Mr. Flaxman has continued it into one
at the back of the head.
The medal of this Apollo in the British Museum is of brass;
described by Mr. Combe, “Apollo nudus, stans, cerviculum,
s. arcum;” who refers to a print of it in Pellerin, Pl. XXVII., No. 39.
—See Combe's Nummi Veterum, p. 172.
H
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PLATE XXV.
A MAN (TOGA TUS).
On a circular base, a fragment, and mutilated—having lost the
head and right arm; his left hand is folded in the drapery which
hangs from the left shoulder, and is gathered across his waist
from the right hip : he rests upon his left leg and has a small
altar at his foot.
Antique, and good.—T. C. 1818.
The drapery on this figure is the Roman toga, described by
Adam in his book thus:—“The toga was a loose flowing woollen
robe which covered the whole body; round and close at the bot-
tom, but open at the top down to the girdle, without sleeves—so
that the right arm was at liberty; and the left supported part of
the toga, which was drawn up and thrown back over the left
shoulder.—See Rom. Antiq. p. 411, and Smith's Dic. Rom. and
Grec. Antiq.
PI XXVI.
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PLATE XXVI.
A PI PIN G F A U. N.
Sitting down in a very easy posture, with a wreath of wheat on
his head : for a similar one see the bust of Marcus Aurelius in the
Mus. Mar. Part III. pl. ix., where it is described as a “wreath of
corn.”
This is decidedly a very fine antique work, and has been much
admired by the first connoisseurs of our time, Mr. Flaxman
Combe, Sir R. Westmacott, and others.
Where the legs and horns of the goat are retained, these ima-
ginary figures are usually called “Satyrs;” where only the ears,
which are always pointed, and a short tail are kept on, they are
called Fauns.—Knight's Enq. art. 112.
Pl XXVII.
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PLATE XXVII.
LEU COT HO E.
This figure is without the head, and holds a child in her arms,
which is also much mutilated. Col. W. M. Leake, when he
saw it, said the style of drapery bespeaks good Greek work, and
of the best times.
The style of drapery of the Elgin marbles in the British
Museum is exactly similar to this. (See Mus. Mar., Part VI.,
particularly plate xv.)
Mr. J. Christie had no doubt of its being Phigalian, and Sir R.
Westmacott concurred in this opinion. -
Amongst the materials for sculpture enumerated by Dallaway,
he mentions that “at Phigalia, in Arcadia, there was grey marble
veined with light red.” (Stat. and Sculpt., p. 245.)
The red vein is very conspicuous in the grey marble of which
this fragment is composed.
Respecting the subject represented, I have made the following
observations:—
In the XV. Room in the British Museum, amongst the Elgin
marbles, is a stone vessel, No. 99, thus noticed in the Synopsis
of 1820:—
56
“The front is ornamented with a bas-relief representing five
figures, one of which, probably Juno, is seated on a throne; of the
remaining figures, three females are imploring the benediction of
the Goddess in behalf of their children, whom they are carrying in
their arms.”
The attitude here corresponds very much with this bas-relief;
and therefore it may represent a Greek woman performing the
same ceremony.
By some she has been called Latona.
In the British Museum is a series of slabs from a temple of
Apollo Epicurius, at Phigalia, built in the time of Pericles: the
story represents the battle between the Centaurs and the Lapithae.
In all the plates of these slabs, the dresses of the women are
like the dress of this statue ; and in two of them, pl. iii.
and pl. viii., a woman is carrying a child in her arms. (Mus.
Mar., Part IV.)
There is an engraving in Winckelmann's Monumenti Antichi.
Inediti, (Vol. I. pl. 54, and described Vol. II. pl. 67,) extremely
like this marble of Leucothoe, with a child in her arms; and from
seeing that plate, and on his authority, I am disposed to call it by
that name.
Ovid says that, taking her infant nephew in her arms, (for he
calls her “matertera Bacchi,” Fasti vi. 523,) she fled from the
Thyades, who pursued her to take away the child.
© tº e s e º e º e e º O ſº º “Complent ululantibus auras
Thyades effusis per sua colla comis.
Injiciuntoue manus puerumque revellere pugnant.”
- FASTI vi. 513-15.
57
After her escape he calls her Ino, and gives her name amongst
the Greeks as well as Latins.
“Laeta canam, gaude defuncta laboribus Ino Dixit :
Leucothoë Graiis, Matuta vocabere nostris.”
FASTI vi. 541 and 545.
See also Hoffman's Lexicon—Leucothea and Propertius, Lib. II.
Eleg. 38, v. 19, and Eleg. 26, v. 10.; Ovid Met., Lib. IV. v. 542.
Pl. XXVIII.
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59
PLATE XXVIII.
SILENUS (AND Dog).
With a wreath of ivy round his head, and a dog at his feet,
sitting on a rock piping.
Antique and very good.—T. Combe.
This figure is of excellent Greek workmanship, the anatomy
particularly fine, and in that “severe style” of which Mr. Knight
speaks in the quotation below. The hands are out of all propor-
tion to the other limbs, according to modern sculpture: but this
does not appear to be considered as a deformity but a beauty in
ancient works. There is a very striking instance of it in a frag-
ment of a very fine Hercules belonging to Col. W. M. Leake.
The same thing is observable in the Dil. Soc. Specimens, (Vol. I.
pl. xxxviii.,) where the hands are very large, particularly the left.
Mr. Knight takes no notice of these enlarged hands, but leaves it,
as it were, as a matter of course, and observes as to that engraving:—
“The sculpture is in the chaste and severe style of antiquity,
bordering upon hardness; but broad and good, designed with in-
telligence and finished for effect” ! How precisely applicable to
the marble before us !
And again, these large extremities are seen in the same vol. of the
specimens, pl. xliii. xliv. Of which last statue Mr. Knight says,
60
“For delicacy and skill of execution, it is, perhaps, the most perfect
work of human art now extant;” and further, of the same figure,
“It has every characteristic of the original work of a great artist;
and is, certainly, not unworthy of Praxiteles himself.
PI. XXIX.
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61
PLATE XXIX.
CUMAEAN TERM.
The height of this figure is 22% inches, the terminal base is 11},
surmounted by the body of a woman, from the hips upwards to
the shoulders and part of the neck: the head is lost.
The arms are close to the body, and the drapery hanging from
the shoulders fits the figure exactly. A sash passes from the
right shoulder, between the breasts, and terminates under the left
a TII).
This disposition of parts is repeated on the other side the figure,
giving a complete bifrontal form to the whole body, a character
seldom carried in “terms” below the shoulders.
On each shoulder is a sort of strap, evidently the continuation
of a bandeau falling from the hair.
The head was, there is no doubt, bifrontal, and in a style of
dress similar to the female heads—ante, Plates XIII. and XXIII.
There are four arms and hands, and between the hands, on
either side, are holes for the small rails (probably bronze) which
might pass from this to the next terminus, and so on ; for it is
likely this was one of a series of posts supporting rails round the
statue of some Deity in a temple.
Below the rail-holes, between the hands, is an ornamented
festoon.
62
It was found in a field at Cumae, in Campania, by Mr. Henry
Tufnell, in 1824, who gave it to me, January 1835.
It is of very early Greek workmanship.
The great antiquity of Cumae is indisputable. “It is agreed
upon by all ancient writers, (says Mr. Cramer,) who have adverted
to this city, that it was founded at a very early period (about 1050
before Christ) by some Greeks of Euboea, under the conduct of
Hippocles of Cumae, in Euboea, and Megasthenes of Colchis.”—
Ancient Italy, Vol. II. p. 148–9.
The material seems to be the marble of Luna.
PI. XXX.
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63
PLATE XXX.
JUNO (SEDENs).
This figure is two feet high, and sitting on a stool; the right hand
is held out empty; in the left is a staff, on which is a flower.
The attitude is easy, and the drapery is very fine; the head,
which is fixed on with cement, is said to be that which was origi-
nally part of the statue, but clumsily replaced; but I rather doubt
this. The right arm below the elbow, and the left hand and staff,
the back part of the head and the diadem, are modern.
I bought it at Rome, in 1826, on the judgment of Thorwalsden
and Trentanove, who admired the antique parts greatly, the purity
of style, and beauty of the workmanship: they were quite satisfied
of its genuineness.
The restorer (an artist named Pigiani, employed by Vescovalli,)
has given the whole the character of Juno by the diadem and staff.
I have seen many sitting statues of Vesta much like this, but I do
not remember any of Juno.
Dr. Mead, in his Museum Meadianum, refers to many of Vesta,
but none of Juno. Had it been restored at all, I should have
inclined more to Vesta than Juno.
There is the same looping up of the sleeve on the right arm of a
“Vesta Sedens’’ which I have in marble, though much mutilated,
as in this statue.
64.
It was found opposite the cascatelli, at Tivoli, 1825, in the villa
Quintius Varus, and is of Parian marble.
Sir R. Westmacott thinks it should be called Roma, and that
the head did not originally belong to it, but is antique; the work-
manship is very good; and of this opinion also was my late friend,
Mr. J. Christie.
P| XXXI.
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65
PLATE XXXI.
MEDUSA.
A front face on a circular stone : genuine Greek work, but coarse.
—T. C.
Medusa is here represented without wings, which was the case
in the earliest representations of this head. See the Museum
Terracottas, Pl. VII., Fig. 10, where she has wings, with the fol-
lowing observation, “The custom of adding wings to the head of
Medusa was not always followed by the ancient artists.”
As to the AEgis or breastplate of Minerva, “It is always sur-
rounded by serpents, and generally covered by plumage; and in
the centre is the Gorgo or Medusa, which appears to have been an
emblem of the Moon.”—Knight's Enquiry, Art. 179.
Pi XXXII a.
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JU l, JUS 34E S A [R.
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Pl. XXXII .
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67
PLATE XXXII.
JULIUS CAESAR.
In profile, and very perfect. Bought of a merchant at Naples,
by Mr. Hollis, about the year 1755. Antique and very fine.—
T. C.
On the back is an arabesque ornament of the vine.
There is a bust of Julius Caesar in the Capitol at Rome, which
quite resembles this in the severity and hardness of the features.
And this unpleasing character of countenance is noticed by
Mr. Mathews, thus—
“In Julius Caesar, instead of the open generous expression which
the magnanimity and clemency of his character would lead you to
expect, you find a narrow contraction of muscles that would suit
the features of a miser.”—Diary of an Invalid, Ed. II., page 118.
Pl. XXXIII.
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69
PLATE XXXIII.
TWO BACCHANTES.
In profile; one is crowned with ivy.
This is a fragment of great beauty, and genuine.
On the back is a faun dancing, with a thyrsus in his hand, and
a leopard standing before him.
The leopard or panther was often introduced, with fauns and
bacchantes.—See Brit. Museum, Terracottas, Pl. XXIV., Fig. 44.
A panther or leopard is playing with Ampelus and Bacchus;
in the Mus. Mar., Pt. II., pl. XII., and Pt. III., pl. XI.
See also Knight's Enquiry, Art. 126.
P| XXXIV.
| A Hannersley del et lith Ilullmandel º Walton lathog, aphers.
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PLATE XXXIV.
CLAUDIUS DOMITIANUS NERO.
A circular patera in very low relief, with the corona radialis.
It was fixed over a porch in Attica, and brought from Athens.
Purchased at Venice about 1752.
Had a figure of Roma triumphans on the back, but an English-
man separated them.
T. C. considered it as a votive patera, for which see the Mus.
Mar., Pt. II. pl. XXXVIII. and XL.
The radiating the head, or surrounding it with a diadem of
small obelisks, were emblems of Deity often bestowed on
Macedonian Kings and Roman Emperors.-Knight's Enquiry,
Art. 102.
“Few genuine statues or busts of this disgrace of human
nature remain to this day, the greater part having been, by
command of the Senate, destroyed with him.”—Dallaway, Sculp.
and Stat., p. 171.
See reference to his coins, Mus. Meadianum, p. 115.
Pl XX
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'73
PLATE XXXV.
P A N.
He is thus described by Mr. F. Noel:—
On le represente ordinairement fort laid les cheveux et la barbe
négligés, avec des cornes, et le corps de bouc depuis la ceinture
jusqu’en bas; enfin ne different point d'un Faune ou d'un Satyre.
Dic. de la Fable (in verbo).
He is here represented as in a cave, or bower; under his right
hand is a term of the God of Lampsacus; on his left arm is a
cloak, and in that hand he carries a pipe or tuba, not the Syrinx.
Mr. T. Combe considered this as genuine, and extremely curious.
There is a term somewhat similar to that here represented in
the Vignette in the title-page of Mus. Mar., Part I., in a bas-relief.
The city of Lampsacus, on the Hellespont, now Lamsaki,
was famous for its worship of the Priapus, hence called the
Hellespontian or Lampsican god.—Butler's Antiq. Geog., p. 194.
The object in the left hand may, perhaps, be called more
properly a Bucina or Buccina, which is rendered by Mr. Bailey
a trumpet or horn, and may therefore be bent more or less.-
See Facciolati, in voce, edit. 1828.
The tuba, according to Dr. W. Smith, was never bent.—
Dic. of Greek and Roman Antiq. “Tuba.”
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75
PLATE XXXVI.
A NYMPH DANCING.
This is a figure, in bas-relief, of great elegance and spirit. She
has the Zona round her waist, and is throwing a shawl over her
head.
Sir R. Westmacott, as well as Mr. Taylor Combe and Christie,
admired it greatly.
As to the particular dance which she may be supposed to be
performing, I am not prepared to determine.
In Smith's Dic. of Greek and Roman Antiquities, all sorts of
ancient dances are very fully described, under the words CHORUs,
SALTATIo, and PANTOMIMUs.
The particular movement seems to be a favourite part of some
dance, as I have a Greek vase with a male figure upon it, having a
veil behind him, passing over both his arms as if about to perform
the same manoeuvre: he has a thyrsus in his hand.
Pl. XXXVII.
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77
PLATE XXXVII.
TWO PATERAE.
1. Representing, in very low relief, a satyr going up to a rough
altar, or heap of stones; on his back is the panther's skin.—
See Mus. Mar., Pt. II., pl. XIII. XXXVIII. XL.
In his right hand is a torch, and in the other a thuribulum
OT 3.C62TI’a.
This was much admired as genuine and curious, by Mr. Taylor
Combe, and called by him a votive patera. -
2. This patera represents an old satyr, holding in both his hands
an acerra, and approaching an altar; he has a cloth round his
waist, and very humpbacked; has been called Silenus; and votive
and genuine.—T. C.
P| XXXVIII
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79
PLATE XXXVIII.
M. AGRIPPA VIPSANIUS.
He died at Rome, aged 55 years, B. c. 12, having married Julia,
daughter of Augustus.
The name can hardly be doubted, from the extraordinary form
of the forehead and brows, if this portrait be compared with a
coin of his ; Ob. M. AGRIPPA. L. F. Cos. III. The head has the
COrona rostrata.
Rev. N eptune, a dolphin in one hand, a trident in the other.—
Mus. Mead. 146.
It was this Agrippa who built the Pantheon at Rome, twenty-
six years before Christ, in memory of Augustus's victory over
Antony, and dedicated it to Jupiter Ultor, and all the gods.--
Burton's Antiq. of Rome.
This marble has the laurel wreath.
!

81
PLATE XXXIX.
AGAMEMNON AND CHRYSES.
On Parian marble, in low relief, and in the fine style of Greece.
Mr. Finch, a gentleman who had resided at Rome, and studied
antiquities there for many years, saw this when I bought it, and
thought it might be of the time of Pericles.
The two artists, Thorwaldsen and Trentanove, esteemed it as
exceedingly fine and genuine; on their united judgments I bought
it of Vescovalli. It was found at Perugia, 1826, and is in excel-
lent preservation. -
Perugia, anciently Perusia, is a place of very high antiquity:
for an account of it see “Cramer's Ancient Italy,” in which he says,
“From Justin we collect that Perusia was of Achaean, i. e. Pelasgic,
origin.”—Vol. I., p. 218.
The subject is taken from the very commencement of the
first book of the Iliad.
“In the war of Troy, the Greeks having sacked some of the
neighbouring towns, and taken from thence two beautiful captives,
Chryseis and Bryseis, allotted the first to Agamemnon, the latter
to Achilles. Chryses, the father of Chryseis and priest of Apollo,
comes to the Grecian camp to ransom her, with which action
the poem opens in the tenth year of the siege. The priest being
refused, and insolently dismissed by Agamemnon, entreats ven-
M
82
geance from his god, who inflicts a pestilence on the Greeks.”—
The Iliad, by Trollope, Oxford, 1827. Argument to the first
book.
The character and office of Chryses are distinctly marked by
the staff in his left hand, which has a lyre on the top, and
the fillets in his right hand, precisely as described by Homer:
“azºrrpov x2. grégao. 9aoto.”
He is going away, “the mournful dejected father,” as Pope
has described him.
The insolence of Agamemnon is exceedingly well expressed;
he seems in the act of uttering his stern determination in the very
words of Homer : “Tºy 3’ ty2 o' xúra.” (I will not release her.)—
Lin. 34, see Trollope's note.
Next to Agamemnon is Ajax, and then Ulysses, known by
his usual bonnet, the ºrixog. The other may be Patroclus.
They were thus designated by Mr. Christie.
The marble was so thin when I bought it, (having been sawed
away, I presume, from a square urn, or some heavy article,)
that I had it strengthened, before I left Rome, by an applique
of gray marble.
In Millingen's Unedited Monuments, Plates IV. and V., there
is a vase with an ornamented shield, just like the shield of the
last figure on this marble.
P| XI,
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UN] [N] (OW/N] [H] [5. A to in relief).


83
PLATE XL.
UNKNOWN HEAD IN RELIEF.
A male head in relief; laurelled, bearded.
The nose and general outline of the profile have been altered
by retouching; but the head bears some resemblance to that of
Hadrian, and may possibly have been intended to be a likeness
of him. The sculpture is of Roman times, and not very good.
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85
PLATE XLI.
SARCOPHAGUS (ROMAN).
This Sarcophagus is said to be of the time of Septimius Severus,
who died A.D. 211. Such was the opinion of Mr. Flaxman,
who saw it at the Hyde, September, 1808, and who left, in his
own handwriting, the following account of the subjects in front,
which I copy from his manuscript:-
“In the centre is Bacchus, supported on the right by a satyr,
on the left by a faun; on the ground is the sacred basket, con-
taining the serpent: the tiger is at the foot of Bacchus.
“At one end is a faun bearing the infant Bacchus.
“At the other end is a Bacchante sounding the cymbal.”
Besides these, it is observable that the faun, or rather satyr,
who carries the infant, has a pedum in his hand; of which Dr.
Smith says—“On account of its connexion with pastoral life,
the crook is continually seen in works of ancient art in the hands
of Pan, and of satyrs, fauns, and shepherds.”—Dic. Grec. Rom.
Antiq. in verbo “ Pedum.”
This figure has also the skin, apparently, of a leopard, crossing
his breast; and Bacchus, in the centre compartment, has a chap-
let of flowers on his head, and a garland hanging from his left
shoulder down to the right hip. This garland is exactly similar
to one engraved in Dr. Smith's book, before quoted, under the
word Serta.
Pl. XI, II a.
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89
PLATE XLII.
SARCOPHAGUS (GREEK).
Carved in very high relief; was purchased of Mr. Lloyd, as the
last; entire and perfect. The following illustration of the subject
is copied from a MS. of Mr. Flaxman's, when at the Hyde, in
September, 1808.
“ Ulysses having suspected that Achilles was concealed among
the Daughters of Lycomedes, caused various trinkets to be ex-
posed before the young women, among which were warlike wea-
pons; the Daughters chose such things as belonged to female oc-
cupations, during which Ulysses caused a trumpet to be sounded,
when immediately Achilles seized a spear and shield, by which he
was discovered, although dressed like a young woman, and taken
to the Trojan wars. The centre figure is Achilles with a shield
on his left arm, brandishing a spear in his right hand; the female
figure kneeling before him is his wife; the five figures behind,
her sisters; the old man behind is Lycomedes; next to the shield
of Achilles is another Daughter of Lycomedes; next are Ulysses
and his two companions.”
“On the end, next the figure of Lycomedes, is Hector, slain
by Achilles; this is unfinished : at the other end is Achilles,
in the act of killing Penthesilea, Queen of the Amazons.”
This Sarcophagus was brought from the palace of the Marquis
de Cavalieri.
90
Mr. Flaxman when he saw it, in 1808, was decided that it is of
ancient Greek workmanship; and in this opinion those who have
more recently examined it fully concur. Ulysses, in this group,
has on the egg-shaped bonnet, called IIIxos, spoken of by P. Knight,
who says (quoting Pliny XXXV. c. x.) it was first given to Ulysses
by Nichomachus, a painter of the age of Alexander the Great.—
See Enq. art. 161 and n. 6.
The trumpet of Ulysses is the Tuba, the weapon fallen from
the hands of the dying Amazon is the Bipennis.
Pl. XLIII
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PLATE XLIII.
S A C R U M
H E R C U L I I N W I C T O.
P A U L U S AE M I L I U S I M P E R A T O R.
M A C E D ON I A M T E R R A R U M,
I M P E R I O P O S I T A M C E PIT
C U J U S U N O D I E LXXII
U R B E S W E N D I D I T E T I A M
I N D I AE W I C T O R P E R W E S T I G. I. A
L I B E R I, P A T R IS A T Q U E H E R C U L I S
R O M A N A S I G. N. A C I R C U M T U L I T
D I G. N. U M D E O D O N U M D I C A V I T.
Sacred to Hercules, the invincible. Paulus AFmilius, renowned
commander, who subdued Macedonia, once mistress of the world,
and sold seventy-two of its cities in one day; and moreover, as
the conqueror of India, carried the Roman standards as far as
Bacchus, and Hercules had advanced before, dedicated this gift
justly due to the God Hercules.
J. T.
Mr. Tate reads “cepit,” setting down, “ coepit,” as a mistake
of the engraver.
N 2
92
The inscription is upon a single stone, representing one side of
the pedestal of a small column. From the bottom to the base of
the column it is 2 feet 6 inches high ; the base itself is 6 inches,
at the bottom the marble is 20 inches wide.
The only account I have of this marble is, that it was pur-
chased of the Abate Bracci, at Rome, by Mr. Hollis, in 1753.
In December, 1752, Mr. Hollis writes, from Genoa, to his friend,
Mr. Brand, respecting this marble—
“I have sent to know what value he puts upon it. He says
he paid dear for it; and no wonder, from its singularity. If
it does not come very high, perhaps I may take it myself;”
which he did ultimately.
In a volume of letters, published by the Camden Society, 1843,
“Original Letters of Eminent Literary Men,” there is one, p. 393,
from Mr. T. Hollis, dated Genoa, December 25, 1752, in which
is a postscript, thus:—
“P.S. To fill up the paper I send you the copy of a very
curious inscription, found very lately at, or near, Rome, and now
in the possession of a friend of mine there.”
He then gives the inscription on this stone.
The letter is addressed to Professor Ward, of Gresham Col-
lege.
Sir H. Ellis saw this marble when at the Hyde, in 1842.
Dr. Lempriere, in his account of Paulus AFmilius, states that
“in two days the conqueror made himself master of all Macedonia;”
and “after he had sacked seventy cities of Epirus, and divided the
booty amongst his soldiers, Paulus returned to Italy.”
93
It is to be observed, that the word “coepit" has an O in it:
this seems to have been done in very old Latin ; and the O is
introduced in great profusion in the inscription on the famous
tomb of Scipio, copied at length in the second volume of
“Rome in the Nineteenth Century,” p. 171, where the words
9
“ Unum ” and “ Plurimi” are written
O I N O. P. L. O I R. V. M. E.
From this, and other circumstances, a very learned friend of
mine was of opinion that this stone is a copy, made about the
time of Augustus, of an original then decaying. The letters on
this marble belong to the Augustan age.
Of Liber, as conqueror of India, we have Ovid's testimony—
“Oriens tibi victus, ad usque
Decolor extremo quatingitur India Gange.”
METAM. iv. 20.
The Indian Bacchus is always represented as an old bearded
man; he is here called Pater; so in Horace—
“Hac te merentem, Bacche Pater, tuæ
Wexere tigres, indocili jugum
Collo trahentes.”
OD. Lib. iii. 3. 13.
P1. XLIV.
VM · FILA FRATER ETASO
OCER-ET, NVRVS. HIC-TAN
VM. DVO IACENT
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PLATE XLIV.
§
D I H S M A N I B U S S A C R U M.
P A T E R C U M F I L I A F R. A. T E R E T S O -
R O R, S O C E R E T N U R U S H I C T A N -
T U M D U O J A C E N T.
C O N S U L E S W I A T O R. E. T. AE M I L I U. S.
Sacred to the dead.—A father along with a daughter, a brother
and a sister, a father-in-law, and a daughter-in-law all lie here;
and yet there are but two of them.
The consuls at the time were Viator and Æmilius.-J. T.
*-º-m
On a tablet 193 inches wide, 7, high.
Mr. Tate's observations on this riddle leave it to some (Edipus
to make out, and associates it with the “Vir gregis ipse caper”
of Virgil, (Ec. vii. 7.) “Olentis uxores mariti” of Horace, (Lib. i.
Od. 17.) with which it does not appear to me there is much con-
nexion : these allusions of the poets being perfectly intelligible,
and which he calls classical sortes.
There is a date to this marble in the names of the consuls.
Viator and AEmilius, according to Dufresnoy, were consuls in
96
the year A.D. 495, when Anastasius was emperor of the East,
and Theodoric, of the Ostrogoths, in the West, nearly 500 years
after the other two were written.
That which Mr. Tate refers to in Gudius, p. ccxci. 1, is in
verse, and attempts to explain itself. From the style and names
of the parties there—HIRSALUs and MERHALLA, it is probably of
the lower empire also. The enigma may be solved, according to
my conception of it, thus:—
In order clearly to illustrate my meaning, I will take three sup-
posititious names—Marcus, Fulvia, and Julia. I suppose Marcus
to be the natural son of Fulvia, and that Julia is the daughter of
Fulvia by her son Marcus, and that Marcus marries his mother
Fulvia, after the birth of Julia.
Thus Marcus is (by the proposition) father of Julia. He is
brother to Julia, having the same mother, and he is father-in-law
to Julia, because he (Marcus) married her mother.
All persons who marry women, by whom they have natural
children, are fathers-in-law to them, till when they are termed
nullius filii.
Nor is this a violent or improbable assumption of facts.
Berenice married her uncle Herod, and lived under very sus-
picious circumstances with her brother Agrippa, and appeared in
public with him, when St. Paul made his defence before Festus.-
See Calmet.
An occurrence precisely similar to that supposed to have
taken place here, is recorded in the case of Lot, in the Old
Testament.
97
D I I S M A N I B US
AE L I AE A G A T H AE
C O N J U G. I B E N E. M. E.
R E N T I FE C I T P U B L I U S AE L I U. S.
A U G U S T I L I B E R T U S H E R M E S S I B I
E T S UI S E T L I B E R T IS LI B E R T A B U S P O S T E R IS
E O R U M.
Sacred to the dead.—To the memory of Ælia Agatha, in gra-
titude for all her kindness as a wife, Publius AFlius, Freedman of
Augustus (also named) Hermes, caused this stone to be erected,
(as a monument also) for himself, and for his family, and for his
freedmen and freedwomen, and their descendants.
J. T.
A tablet, 13 inches by 14 inches.
The Domus Augusti, the family or household of Augustus,
were buried in a vast Mausoleum on either side of the Appian
Way, great part of which has been engraved in Carlo Bruzzi's
Via Appia Illustrata.
In Plates 16 and 17 the burial place of the Domus Augusti is
particularly represented, and from that celebrated spot this tablet
was taken.
For an account of such names as Agatha (ab. 27.20m. bona. pura)
see Tate's Preface, ante, p. iv.
The points between the letters and words in this tablet are
angular.
98
There is an inscription in Gudius, (p. clxxxix. 10.)
T. A E L IO. A. W. G. L. I. B. H. E. R. M. E. T. I.
and it appears that it was not uncommon to put the Aug. Lib.
between the cognomen and the agnomen.
15
Pl. XLV.
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99
PLATE XLV.
15. C O N S I D I A V E N E R. I. A
F I L I A V IX IT A N N IS I I I. D I E B U S X X X
C O N S I D I A N A T A L I S
M A T E R V IX IT A N N IS X X X V.
Considia Veneria, the daughter, lived III years and xxx days.
Considia Natalis, the mother, lived xxxv years.
J. T.
mº m
On a small slab 4% inches high and 7} long.
It was found at Colchester, the ancient Camulodunum, in the
year 1713, probably dedieated by a poor Roman soldier to his
wife and child.
18. T IT U S P O M P O N IU S T IT I L I B E R T U S E X P E C T A N S
V I XI T A N N I S W I.
P O M P O N I A T IT I L I B E R T A D I C A R C H I S
W I V A S I B I E T F I L I O F E C I T.
Titus Pomponius, freedman of Titus (also named Expectans),
lived v1 years.
Pomponia, freedwoman of Titus (also named Dicarchis), in her
life-time erected this monument for herself and for her son.
J. T.
O 2 -
| 00
On a tablet 94 inches wide, 3} high.
The word on the tablet is not ExPECTANs, but clearly
ExPECTATUs, which has escaped my friend Tate's observation:
the small V between the T and S can by no contrivance be made
part of an N.
A very similar name, SPERATUS, not SPERANs, occurs in Mura-
tori; and my friend, Dr. H. Robinson, suggests that a boy six
years old was rather too young to be Libertus, a manumitted
slave.
If it be right to interpret the L in the third line Liberta, then
should not the L in the first, referring to the boy, be Libertinus 2
for he is the son of a Liberta. And according to Suetonius the
son of a Libertus was called Libertinus.—Claud. c. 24.
M A R C U S F U R I U S E U T Y C H U S
S I B I E T
P A P I R, I Æ M A X IM AE
C O N J U G. I C A R IS S I M AE.
Marcus Furius Eutychus (erected this monument) for himself
and Papiria Maxima, his most beloved wife.
J. T.
mmº ºm
On a tablet 11% inches wide, 6 high.
The name Eutychus occurs in the Acts of the Apostles, 20, v. 9,
and Gudius, p. cccxlv. 3. There is an inscription by a FURIA to
EUTyco (without the H) in Gori, Vol. I., p. 19.
Pl XLVI.
º
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PLATE XLVI.
10. D II S M A N I B U S
C A I O M E N A N I O B A TY L L O ET
CA I O M E N A N I O A N T H I M o
M E N A N I A M A R T I N A
B E N E M E R E N T I B U S C O N
J U G. I B U S S U I S F E C I T.
Sacred to the dead.—To the memory of Caius Menanius Batyllus
and of Caius Menanius Anthimus; in testimony of the great kind-
ness of both her husbands, Menania Martina caused this stone to
be erected.
J. T.
On a tablet 6% inches high, 17% long.
In the centre is a hole bevelled outwards.
Mr. Tate considers this hole as made for the purpose of holding
a lachrymatory, and quotes Adams, Rom. Antiq. (p. 483) which
by no means supports the notion : it is there stated that a lachry-
matory was put into the URN ; this was certainly true, but it is
quite impossible for a bottle to be put into this slab of marble.
I should rather say it was nothing more than a hole through
which an ornamented nail or clamp fixed the tablet to the wall.
See a similar instance in Gudius, cccli. 3. 6.
It belonged to Dr. Mead, as appears from the Hollis Memoirs,
p. 835. -
102
This inscription is found in Gud. cclxxx., and in his time, it
seems, belonged to Leonardus Augustinus at Rome.
D +- M
H O C. S U B. T. U M U L O T E C T A S U N T O S S A
I N C O M P A R A B I L I S J U W E N I S.
L U C I I C U N C T I. M. U C I E N I S.
F I L I O P O S U E R U N T P A R E N T I S.
Beneath this monument are interred the bones of Lucius Cunctus
Muciens, an excellent young man : his parents erected this to their
SOIl.
This is a fragment of a slab found at Colchester, on the spot
where the County Hospital now stands, in March, 1821, and was
given to me by Mr. Drummond Hay, who was present when it was
found. &
He was afterward Consul at Tangiers, where he died.
I have attempted to restore the lost letters as well as I can,
and give my authorities, as far as they go, for so doing.
+:- This I take to be an adze, used probably to dig the graves
with : such are still used in the south of Europe to cultivate the
land in vineyards.
Taking this adze as a centre, I have placed D at a distance
to the left, corresponding with the M, and thence assume
“ Diis Manibus.”
MVLO. I have filled up with “ Tumulo.” In Horsley's
Brit. Romana, (p. 262, xxxix. and Plate marked p. 192, No. 43,)
the letters TVM. are taken for Tumulum !
103
TEC. Tecta; in Labruzzi's Via Appia there is a marble with
Tecta Sunt Ossa,—See pl. 10.
RABLIS. “Incomparabilis,”—a word very frequent in mo–
numents to children, of which see many instances in Gudius,
p. ccxxx. 6, and elsewhere.
IWWE. Juvenis, seems obvious.
CVNCT. Cuncti: a proper name—Cunctus : it occurs in
Gruten, Inscriptiones Antiquae, DXXIII. 3.
MVC. Mucienis : a proper name. Horsley has a small stone,
(p. 213, Plate marked p. 192, No. 10,) found in Northumberland,
with the word MVCIEN. which he reads Mucieni, showing there
were Romans of that name in Britain. I venture, therefore, to
supply the vacancies in this fragment as I have done, and upon
these authorities; taking it to be a sepulchral monument to a child
whose name was Lucius (I take this only to fill up the line),
or some other praenomen—Cunctus Muciens: the father being
then at Colchester, Camulodunum, and probably a Roman
soldier.
There are in many places, as Dauphiné, Savoy, Languedoc,
Piedmont, slabs and urns with this sort of adze upon them.
Montfaucon says these monuments are dedicated “sous la
hache;” and where he finds the letters S. A.S. D. he reads—
“Sub ascia dedicavit.”
He has given an entire chapter to this subject—[Cap. V.
tom. V. liv. III., with a Plate, XCVII.], and declares he
cannot make out the reason or object of such a dedication.—
See Dr. Smith's account of the AscIA, p. 103.
P1. XLVII.
THREPſ.
PVBLIC
14.








| 05
14.
PLATE XLVII.
D II S M A N I B U S
T I B E R I O C L A U D I O
T H R E P T O -
W IX IT A N N IS X III M E N S I B U S W I. D I E B U S X X II
C. L. A U D I A S P E S E T
T H R E P T U S S E R V U S
P U B L I C U S P A R E N T E S.
F I L I O D U L C I S S I M O
F E C E R U N T.
Sacred to the dead.—To the memory of Tiberius Claudius
Threptus, their darling son, who lived XIII years vi months and
xxi.1 days, Claudia Spes and Threptus, public slave, his parents,
erected this stone. J. T.
mº ºm
This is on an unornamented slab, 16% inches high, 8% wide,
such as might be expected from the humble situation of the
parties. Of public slaves, Dr. Adams says they were used for
various public services, and especially to attend upon magistrates.
Their condition was more tolerable than private slaves, and they
had yearly allowances made them by the public.—Rom. Antiq., p. 39.
The name SPEs occurs in Gudius, cycIII. 5, ccxxxiv. 3, which,
like FoRTUNATUS, seems to have been given from some circum-
stances attending the individual's history.
For the name THREPTUS, and its derivation from deerrog, Alumnus,
see Gori, Vol. I., p. 89.
PI. XLVIII
-º-


107
PLATE XLVIII.
D II S M A N I B U S
T IT I FI L I O W E R O A U G U S T I
L I B E R T O T A B U L A. R. I O R. A. T I O N U M
A Q U A R I O R U M C O N
J U G I B E N E M E
R. E N T I O C T A
W I A T H E TIS FE C I T.
Sacred to the dead.—To the memory of Verus, son of Titus
and freedman of Augustus, clerk of accounts to the water-bailiffs;
in gratitude for all his kindness as a husband, Octavia Thetis
erected this stone.
J. T.
mm m
On a cylindrical urn; height 10 inches, diameter 11.
Such is Mr. Tate's reading; but another learned friend has
suggested that the T. FL. VERO. should be read TITO.
FLAVIO. VERO., and, I think, with more truth; then the
translation would run—To Titus Flavius Verus, &c., &c.
The outside of the cylinder is grooved in SSS, leaving a space
for the inscription, which is on a parallelogram, dove-tailed at
each end.
It is curious that the F. in the FL. in the second line is the
AEolic Digamma, in the precise form adopted by Mr. P. Knight,
in his edition of Homer, printed by Valpy in 1820.
P 2
108
The M.'s in this inscription are also in ancient form of double x.
Lambda, the same as that which is on a house of one Unentius
at Pompeii.-See Gell's Pomp., p. 166. When at Pompeii, in
1827, I could not find the letter in the place mentioned by Gell,
and probably it had been removed.
Mr. Astell, in his Origin of Writing, Tab. VII. III., p. 80, has
this form.
The A.’s are Lambda's also, with a second prop; a very un-
common form. Mr. Astell, in his Table I., p. (64), places it as
the A. of the Arcadians.
I looked for it with great care in such inscriptions as I could
examine when in Italy, and found only two instances; one a
Latin one, in the “Sale des Inscriptions,” at Florence, in which
it was used in the words ANN. and MATRI. on the same marble.
On the same marble, also, the digamma is used in the words
FECE. and FILIA.
The other instance was in a very old Greek tablet, fixed in
the wall of the colonnade round the court of the Palazzo Ricardi,
at Florence. I saw both these in November, 1826.
It is remarkable that this striking mixture of letters is not
noticed by Mr. Tate.
There is little doubt from this circumstance that this inscrip-
tion is of the time of Claudius, from A.D. 41 to A.D. 53, who en-
deavoured to add three letters to the Roman alphabet, of which the
AEolic Digamma was one.—(See the Encyclopaedia Metropolitana,
Biography, 448 (n), and Facciolati, by Mr. Bailey, verbo Digamma.)
We are thus enabled to assign a date to this urn.
P| \l, IX
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109
PLATE XLIX.
D II S M A N I B U S
M A R C O A U R E L I O M A R C I F I L IO
AE L I A G A L L A
V I V IN A C I O.
M I L I T I C O H O R T E S I W T HE PR AE TO R. I A N AE
V IX IT A N N IS X L V
M I L IT A W IT A N N IS X I V
A U R E L I A N I C E
M. A. R. I T O S U O
B E N E M E R IT O P O S U I T.
Sacred to the dead.—To the memory of Marcus Aurelius (son
of Marcus) Vivinacius, of the tribe of AElia Galla, a soldier in the
IVth Praetorian Cohort, who lived XLV years, and was xiv years a
soldier, Aurelia Nice, in gratitude for all his kindness as a husband,
erected this stone.
J. T.
mº ºm
That there was a family of the name of Galla in Rome, and of
consular rank, see Adam's Rom. Antiq., p. 97.
The inscription is on an urn, which contained the ashes of
the deceased after the body had been burnt, and therefore called
cinerary.—Adam, Rom. Antiq., p. 483.
The urn before us is a truncated cone, whose axis is 94 inches
high, and diameter at the base 10 inches. The outside is cut
1 10
so as to imitate very neat masonry, excepting that portion which
is occupied by the letters, the characters of which are of the
Augustan age.
There are two copies of this inscription in Gudius (p. Lxxxxv)
Praenominum, where he says of it—“Subscriptum est in vase
rotundo marmoreo;” and adds—“Romae in AEdibus Leonardi
Augustini Antiquarii Romani.”
There is little doubt, therefore, that this urn belonged to that
learned person, from whom Gudius probably copied it.
Pl, L.
11.

| 1 ||
PLATE L.
D II S M A N I B US
P O M P E I AE
M A R. G. A. R. I D I
F I D E L I S S I M AE
F E L I C I O
C O N J U G. I. S. U AE
B E N E M E R I, T AE
P O S U I T.
Sacred to the dead.—To the memory of Pompeia Margaris,
the most faithful and affectionate of wives, in grateful testimony
of all her kindness, Felicio erected this stone.
J. T.
On a tablet 2% inches wide, 23% high.
Why Mr. Tate adds the words “most affectionate of wives,”
I do not know ; there is nothing in the original to warrant it.
The only epithet for the wife is Fidelissimae. The characteristic
simplicity of it is destroyed.
The front of the pediment is ornamented with a wreath and
ribbons.—(See Mus. Mar., Part V., pl. I., fig. 1.) Below this is
a compartment carved in relief, a figure of a woman reclining on
a sofa.
| 12
This represents Pompeia sick or dying, and the crown in the
upper compartment is that with which she was to be crowned
after her death. The drooping flower is the poppy, used from
its narcotic properties as a symbol of sleep and death. The
dog was probably a favourite with the deceased, and exhibits his
“fidelity,” of which he is often the representative, by attend-
ing his mistress's last moments, a circumstance of frequent occur-
rence; though this is not the interpretation given by Montfaucon,
(Tom. V., p. 5, pl. 1,) where there is a dog in a monument some-
what similar, obvious as it appears to me.
There is nothing extraordinary in the man's name ending in O.
For such as Cato, Cicero, are familiar to us all.
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Pl, L.I.
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113
17.
PLATE LI.
H A V E * A C C I AE
£e P I AE F I L I AE T U L L I Æ
S O L I T IT I L I B E R T U S B E N E M E R E N T I F E C I T.
Hail! and farewell ! to Accia Tullia. In memory of a good
and only daughter, and in gratitude for all her kindness,
(her father,) the freedman of Titus, erected this stone.
* For XAIPE of the Greeks, see Mus. Meadianum, p. 239. Burke's Eulogy of
Sir Joshua Reynolds concludes with the words “Hail and Farewell.”—See works of
Sir. J. R., p. cxxiv.
J. T.
On a small tablet 8% inches wide, 4 high.
Such is the interpretation of my friend Tate, on which it must
be observed that there is no letter which justifies the word Libertus.
The two letters following SOL. are distinctly TI.
HAve occurs in Gudius, ccLv1. 8, on a marble found in the
Appian Way, and on several marbles in the Museum at Lyons,
which I saw in 1827.
The letters have the appearance of having been retouched in
modern times; but the difficulty, and there seems to be a good
deal, is in the construction of the two words Sol. TI., which are
separated by a dot.
l 14,
There was a college at Rome of Titii or Titienses, priests
of Apollo, under the empire.—See Lemprière and Dr. Smith,
in verbo Titii.
The letters S. Sol. have been interpreted Sacerdos Solis; and
by reading Sol T1, Solis Titii, we may suppose that this was de-
dicated to a priestess of Apollo by the members of that fraternity.
These letters have also been interpreted Soli tibi.
P.I., LII.


115
PLATE LII.
L U C I O S E N T I L U C I O R U M
C O C C E T I
V I XI T A N N U M U N U M M E N S E S S E X
N O L IT E D O L E R E P A R E N T E S
H O C F A C I U N D U M F U I T.
To Lucius Sentis Coccetis (son of) Lucius and Lucia, lived
a year and six months.
Cease to grieve, ye parents, this was inevitable.
A cinerary urn, found in 1825, near the tomb of Cecilia Metella,
on the Via Appia. The inscription is on the vase, and therefore
was not sunk in the columbarium, as the ollae were.
Mr. Tate never saw this urn.
I have read LL. “Luciorum,” Lucii et Luciae, from seeing the
great frequency of the wife having, or taking, the husband's name
with the feminine termination.
In this small collection there are no less than five instances;
we have —
Marcus Aurelius—Aurelia Nice.—No. II.
AElia Agathae—Publius AElius.-No. III.
Marcus Ulpias—Upia Plusias.—No. V.
Menania Martina, successively the wife of Menanius Batyllus
and Menanius Anthimo.—No. X.
Statilius Hermes—Statilia Philaenis.-No. XII.
Q 2
1 | 6
The inscription is somewhat remarkable for the resignation,
expressed in the “Hoc faciundum fuit.” In Gori's collection
there is an expression of similar import, by a wife to her hus-
band, in the words forming a pentameter line—
QUID LACRIMAS FACTUM EST. VIR, BONE. VIVE. WALE.
and that inscription begins with HAVE DUlcis.-Gori, I., p. 147.
PL, LIII.
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PLATE LIII.
D I I S M A N I B U S
M A R C O U L P I O
A U G U S T I L I B E R T O.
F O R T U N A T O %
P H I L E T U S P A T E R.
E T U L P I A P L U S I As
C O N J U G I B E N E M E R IT O F E C I T.
Sacred to the dead.—To the memory of Marcus Ulpius, freed-
man of Augustus (also named) Fortunatus. Philetus, his father,
and Ulpia Plusias, (his widow,) in grateful testimony of all his
kindness as her husband, erected this stone.
* Mus. Mead., p. 240.
P. SERVILIO MARTIALI Posuit
ForTUNATUS PATRONo SUO. B. M.
On a four-sided urn ; the height, including the lid, is 2 feet
23 inches, the width is 14 inches.
In the centre of the front of the lid are two dolphins and
a trident. The inscription is in a square compartment, framed
with a moulding; at the upper angles in front are two heads of
Jupiter Ammon, with a wreath of oak hanging from the horns
| 19
and passing under the inscription. At the lower corners are
two heads, wearing the pileus or freedman's cap.—See Adam,
Rom. Antiq., 422.
From the dolphins, trident, and oak wreath, we may be allowed
to conjecture that this Marcus Ulpius was a seafaring man, and
from his general history and success in his voyages he acquired
the agnomen of Fortunatus.
The names of Ulpius and Ulpia occur in Labruzzi's Via Appia;
the former four times, the latter twice in the same plate (pl. 24.)
Of Fortunatus there are several instances. Mr. Tate has in-
serted one, as noticed above, being dedicated by a lucky soldier
to his patron.
This urn was bought by Mr. Hollis of Mr. Lloyd, 1761.
Mr. Tate, by some oversight, has interpreted the last single letter
F. fecit, instead of fecerunt.
Pl. I, IV (a).
A third Side on Plate Ll V.

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| 19
PLATE LIV.
AE L I O P O S T U M I A V E R N A F E C I T
C O N J U G I C A R Is S I M O
C U M Q U O V IX IT A N N I S XXIII. B E N E M E R IT O.
To the memory of Ælius. Postumia Verna erected this stone
in honour of a most beloved husband, with whom she lived
XXIII years, and in gratitude for all his kindness.
J. T.
An ossuarium, 17% inches wide, 18 high.
Such is the reading of Mr. Tate, who has left out the second
line, i. e., the letters forming another word immediately below
the first line, for what reason I know not; and makes AEli stand
for Ælio, a man's name.
The letters he has omitted make the word Siv–i—tae, most
clearly.
Mr. Taylor Coombe reads this as Sivitae, the dative case of
Sivitas, the name of the husband; and Æli as AElia, the wife's
name; and then the translation would be–AElia Postumia Verna
erected (this) to Sivitas, &c., &c., which is, more probably, the
real meaning of the inscription.
The name Epaphrae is taken as dative of Epaphras, by Mr.
Hawkins, in Mus. Mar., Part V., pl. II., fig. 1, (page 10.)
120
Verna, may mean that she was a domestic slave, born in the
master's house; but this is not likely, as the urn is too much
carved, even on all four sides, and too costly for such persons.
The name Postumia occurs in Gudius, Ind. Lxxxi., and Verna,
ccclxiv. 2.
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121
PLATE LV.
T I B E R I U S C L A U D I U S H E R M I A S
F E C I T J U L I AE A N T H I D I
C O N J U G I S U AE
C A R. I. S S I M AE E T
S I B I. V. I X IT A N N I S XXXVI.
Tiberius Claudius Hermias erected this stone (as a monument)
for Julia Anthis, his most beloved wife, and for himself.
She lived xxxvi years.
J. T.
An ossuarium, 13 inches wide, 14 high, including the lid.
Mr. Tate has read TI for Tiberius, usually taken for Titus,
and has not assigned any reason.
There is a lid upon this urn which does not fit it, which is
covered with a roofing similar to that on the Choragic Monument
of Lysicrates, at Athens, engraved by Stuart, (Athens, p. 29,
cap. IV., pl. VIII.,) which he calls a thatch or covering of laurel
leaves. At each end of the urn are olive trees, with fruit upon
them.
The use of the olive on cinerary urns may be conjectured from
the following passage in Mr. P. Knight's Enquiry, Art. 27:—
R
122
“Not only the property of casting the skin and acquiring a
periodical renovation of youth, but also that of pertinaciously
retaining life, even in amputated parts, may have recom-
mended animals of the serpent kind as symbols of health
and immortality, though noxious and deadly in themselves.
Amongst plants the olive seems to have been thought to pos-
sess the same property, in a similar degree, and therefore was
probably adopted to express the same attribute.”
The dead were often crowned with olive.—(See M. Noel,
Dict. de la Fable Olivier.)
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123
PLATE LVI.
C N AE O C AE S I O
A T T I C O
J U L I A C Y P A R. E.
C O N J U G I C A R I S S I M O.
To the memory of Cnaeus Caesius Atticus, Julia Cypare
(erected this stone) in honour of a most beloved husband.
J. T.
An ossuarium, l l inches wide, 9} high.
The front is carved with a wreath of flowers hanging from two
heads of Jupiter Ammon; at the lower corners are two storks.
That these birds have been long considered as emblems of
parental and filial affection, see Mus. Mar., Part II., pl. III.
But they are also the representatives of conjugal affection, as here;
and in Millingen's Peinture des Vases Antiques, pl. LX., p. 83,
n. (4). •
The name Cypare is found in Gudius, cccxxx., 14.
R 2
124
D II S M A N I B U S
Q U IN TO C A L I DI O P O T H IN O V A L E R I A
I A S C O N J U G. I B E N E M E R E N T I
E T W A L E R. I Æ M A X I M AE F I L I Æ
C A L ID I U S E L E U T. H. R. I U S L I B E R T US FE C E R. E.
Sacred to the dead.—To the memory of Calidius Pothinus,
in gratitude for all his kindness as a husband, Valeria Ias, (on
her part,) and to the memory of Valeria Maxima, their daughter,
Calidius Eleuthrius, freedman, (on his part,) jointly erected this
Stone.
J. T.
mº m
An ossuarium, 17 inches wide, 1.1% high, including the cover.
The relative position of these parties may be, perhaps, well
explained by the following genealogical diagram:—
1. Quintus Calidius Pothinus (who is dead) was husband to
Valeria Ias.
2. Calidius Eleuthrius was brother to Q. C. Pothinus.
3. Valeria Maxima (who is dead) was daughter to Q. C.
Pothinus and Valeria Ias. Thus—
|
CALIDIUS ELEUTHRIUS. QUINTUS CALIDIUS = WALERIA IAs,
PoTHINUs (dead). his wife.
VALERIA MAXIMA,
their daughter (dead).
125
The father and his daughter are dead. The widow and her
husband's brother dedicate this urn to the husband and his child.
Calidius Eleuthrius was uncle to the child, and might have been
her guardian.
The workmanship on this urn is coarse, as might be expected
on a work done for a freedman. At each corner of the front
is an altar or tripod with fruit, with two birds underneath the
tablet of letters.
There is a lid upon this urn, which, however, does not belong
to it: it is covered with the same scales or leaves as those on
pl. LV., ante.
P1 LVII
-º-º-º: *-
- -
Toſsºvs
SACRVM
IS AT Lººt
Aſ IL A PHILA FN
º
º ºº
s º
* FECIT CON IV.GI
ºlºsvo-cakiss Mo
- ºf L
- E.T.' "BEN E. º º º -
º Mººr -SE º -
---
- -
- -- -- - -----
--~~~ -º ---- --
2- ºº
- - - --
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- - - - -
--- - - -
-- - - ------ -
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- –
--- - - --- -



















127
PLATE LVII.
D I I S M A N I B U S
S A C R U M
T IT O S T A T I L I O H E R M E TI
S T A T I L I A P H I L AE N I S
F E C I T C O N J U G I
S U O C A R I S S I M O
E T B E N E
M E R IT O D. E. S. E:
Sacred to the dead.—To the memory of Titus Statilius Hermes,
Statilia Philaenis erected this stone in honour of her most beloved
husband, and in gratitude for all his kindness to her.
J. T.
A solid block, 18 inches wide, 30 inches high.
In the above translation all the personal feeling expressed by
the words—bene merito de se, seems lost; there is nothing that
can be translated “in honour of,” or “to the memory of,” or
“in gratitude for.”
I cannot help thinking it is better to adhere to the literal
reading—“To Titus, &c., who well deserved of her,”—keeping
to the short and expressive style so forcible in these simple
memorials.
128
The letters are of the time of Augustus, and neatly and ac-
curately cut.
Below the panel containing the letters is a lion devouring
an ass or faun, which he has hunted down. Of the use of the
lion devouring other animals, as a bull, a horse, or a deer,
see P. Knight's Enq., art. 110.
But if this be an ass, it may still represent what he states of
the deer, and obscurely alludes to in the ass.-Art. (123).
At each corner of the base is an eagle. On one side of
the block is a jug, which Montfaucon, in a similar instance,
(Tom. V., pl. XXX., p. 61,) thus notices —“On y remarque
un de ces vaisseaux qu'on appelle praefericule.” On the opposite
side is a patera.
Gruter says—
“Le praefericule et la patére sculptés sur les cippes indiquent
les libations qu'on faisait sur les tombeaux.”
This urn (if we may so call it) is solid; and there are
such in the British Museum (see the Synopsis, Room XV.,
No. 237, 239); but it is probable that this was a base on
which a bust was fixed, as there is an iron peg on the top,
to which it might have been attached. Of this circumstance
Mr. Tate takes no notice.
These solid tombs were sometimes called “Arae,” and in
many instances the word Ara was inscribed upon them, as in
Montfaucon V., pl. LXXV., p. 91, but this can scarcely have
been used as one.
P.
l
VIII
12.
|× - -~----
|-----

| 29
PLATE LVIII.
Shows one side of the urn represented in Plate LVII.
At the bottom of the plate is a figure of the praefericulum
on the other side, and occupies the space corresponding with
the patera.
G. Woodfall and Son, Printers, Angel Court, Skinner Street, London,
MUSEUM DISNEIANUM,
BEING
A DESCRIPTION OF A COLLECTION OF WARIOUS
SPECIMIENS OF ANCIENT ART,
IN THE POSSESSION OF
JOHN DISNEY, ESQ., F.R.S., F.S.A.,
AT THE HYDE, NEAR INGATESTONE,
WITH ENGRAVINGS,
BY GEORGE MEASOM, UPPER SEYMOUR STREET, EUSTON SQUARE.
PART II.
“I NUNC, ARGENTUM, ET MARMOR WETUS, AERAQUE ET ARTES
SUSPICE ; CUM GEMMIS TYRIOS MIRARE COLORES.”
HOR EP. LIB. I, 6, 17.
L O N D O N :
PUBLISHED BY J. RODWELL, 46, NEW BOND STREET.
PRINTED BY SAMUEL HADDON.
MDCCCXLVIII.
PRINT ED BY SAMUEL HADDON,
24, ALDENHAM streET, old st. PANCRAs,
LONDON
LIST OF PLATES.
*A* A. As Lº. A *
LIX. . . . . . . .IBIS.
LX.........THURIBULUM (TRIPOD).
LXI. . . . . . . . LAMP (BULL's HEAD).
LXII.........LAMP (THREE BURNERs).
LXIII. ......LAMP (Six BURNERs).
LXIV.......LAMP (AFRICAN SLAVE, Two BURNERs).
LXV. ......PRINTING STAMP....LAMPS (Two).
LXVI.......A VASE HANDLE....LAMP (SHOE SHAPED).
LXVII. . . . . . A STEWPAN.
LXVIII. . . . . A VASE HANDLE. . . . ARMILLA.
LXIX.......SMALL TRIPOD (EGG CUPs).
LXX. . . . . . .JUPITER STATOR.
LXXI.. . . . . .JUPITER SERAPIS.
LXXII. . . . . . HERCULES (FATIGUED).
LXXIII. ....BACCHUS (YoUNG).
LXXIV. ....A WRESTLER,
LXXV. ....PAN ON A GOAT.
LXXVI. ....PAN (KNEELING).
LXXVII. . . . .ROMAN HORSE.
LXXVIII. . . . ACERRA.
LXXIX. . . . .HORSES HEAD.
LXXX......CANDELABRUM (BENVENUTo CELLINI).
LXXXI. . . . . LUCRETLA.
LIST OF PLATES.
LXXXII. . . . . VESTA SEDENS. ...ISIS. . . . A NONDESCRIPT.
LXXXIII ...EGYPTIAN ANTINOUS.
LXXXIV. . .ROMAN MATRON.
LXXXV....ETRUSCAN URN (THE MARRIAGE).
LXXXVI. ...ETRUSCAN URN (THE Door)....CHIUSI URN.
LXXXVII. . . POMPELAN GLASS.
LXXXVIII. . A BOAR'S HEAD. . . . A STELE.
LXXXIX. ..LEFT FOOT (WotryE).... PART OF AN EARTHEN WESSEL.
XC.. . . . . . . . SAMIAN FRAGMENTS (CoLCHESTER).
XCI. . . . . . . . THREE CELTS (DoDABRA)....THE BULLS HEAD.
XCII. . . . . . .ANGLO-ROMAN POTTERY.
XCIII. . . . . . . ANGLO-ROMAN POTTERY.
XCIV. . . . . . TABLE LEG (BLACK)....TABLE LEG (RED).
XCV. . . . . . . EGYPTIAN CONE.
INTRODUCTION.
THE former part of this work was exclusively dedicated to
marbles. It is now proposed to give engravings of some bronzes,
and Anglo-Roman pottery, and three cinerary urns, with other
objects in terra cotta and glass.
During a residence, in Italy, of three years, from 1795 to 1798,
a relative of mine was enabled to acquire many specimens, taken
at the time from Herculaneum and Pompeii, at much less cost
and trouble than they can be procured for now. In those days
the state of the country was such, and the indolence of the
Court of Naples in these matters so great, as almost to amount
to indifference, and consequently the people had more facilities
of selling objects which they found there. Greater care is, at
present, taken of these interesting relics; they are deposited
in the Museo Borbonico: the site of Pompeii is watched and
guarded.
iv INTRODUCTION.
It was owing to the want of these precautions that the fine
specimens then dug up were so readily bought by foreigners and
brought away. I have, however, carefully stated how each came
into my possession, or the possession of my ancestors, and when.
Of the correctness of these statements there can be no doubt.
The “ex votos,” such as the foot, and the female head, could
not well be omitted; and the cinerary urns, being of very peculiar
character, were omitted in the former part only on that account.
The two smaller ones are of terra cotta; and that of tuffo stone,
from Wolterra, I considered might well be placed amongst the
miscellanea, as also might the sepulchral stele and the two
table-legs.
I have designedly omitted every thing here which is in any
way connected with ancient painted vases, or comes under any
other designation, which might be considered as what now I
believe are generally denominated, “Fictilia.” Having several of
these, properly so called, I shall reserve them for a future part,
which I may possibly give to the public in a form, and under a
classification, which will make them acceptable and intelligible
to those who may feel an interest in such inquiries.
The few specimens of Anglo-Roman pottery which I have
introduced here, are not noticed from any singularity of form, or
INTRODUCTION. V
ornament, but rather as evidence that such things were found in
the places stated; for it is of some importance to record the
localities where, in fact, they were found, as indicating a former
occupation; and the shapes of the things themselves will often
mark the nature of that occupation—viz, whether it were civil
or military.
The conquest of Britain was completed during the reigns of
Titus and Domitian by Agricola, who arrived here, A.D., 78,
and left it A.D., 85; from which time till A.D., 427, a space of
342 years, the Romans were masters of this island.
During this period, therefore, these vessels were made; they
are to be found in divers parts of the island. Many of them,
which appear of a light slate colour, were left unfinished—that
is, were never burnt in a kiln, or were only dried in the sun;
and probably used solely to retain dry substances—as the seeds
of wheat, barley, or flour. g
I have, in several instances, put fragments of these into the
fire, and after passing through a red heat, when taken out, have
presented, as some of our tiles do, a layer of a dark blue in the
middle; between the two outsides red.
In the Journal of the Archaeological Institute, vol. I.,
pp. 142-222, are two very interesting papers on the “Primaeval
vi INTRODUCTION.
Antiquities of the Channel Islands,” by Mr. F. C. Lukis; in
which he notices many pieces of pottery, very similar to those
here drawn; and in the tables (page 143), he enumerates objects
of “sun-baked pottery” and “unburnt pottery” of the Roman
aera; also “charcoal » (rare), together with others of British and
Gaulic character.
In giving one or two specimens of ancient glass, I have omitted
those glass vials, usually called, lacrymatories, or tear bottles.
I have had some difficulty in making out the origin of this
word, “ lacrymatory.” One may easily suppose it was manu-
factured from lacryma, a tear; but upon consulting some of the
best established dictionaries, I do not find it is admitted as a
word of legitimate use.
In the last edition of that most elaborate work, the “Totius
“Latinitatis Lexicon,” of Facciolati, Bailey, 1828, I find,-
Lacrymabilis . . . . . lacrymabiliter.
Lacrymabundus . . . . lacrymans.
Lacrymatio . . . . lacrymatus.
Lacrymose . . . . lacrymosus.
Lacrymo . . . . . lacrymula.
But no other form of lacryma. We, therefore, may fairly
conclude that he did not consider it as a fit word to be
INTRODUCTION. vii
admitted into Totius Latinitatis Lexicon. Mr. Todd, in his
enlarged edition of Dr. Johnson, does not place lacrymatory,
the anglicised form of this word, at all in his Dictionary of the
English Language. -
On looking, however, into the Nouveau Dictionnaire de la
Langue Francaise, par M. Laveaux, I find the Frenchman
admits “ lacrymatoire," but specially guards us against sup-
posing it to be a bottle for tears.
His words are, L-‘‘ Lacrymatoire, du Latin, lacryma . . larme.
“On donne ce nom a des fioles de terre, ou de verre, dans
“lesquelles on a cru qu'on recevait les larmes répondues pour
“quelqu'un a sa mort, mais la seule figure de ces fioles que les
“anciens enfermaient dans les tombeaux prouve qu'on ne pouvait
“s'en servir pour recueillir des larmes et qu’elles etaient des-
“tinées a contenir des baumes, ou onguens liquides, dont on
“arrosait les ossemens brulés.”
The vulgar notion is, that these phials were used at funerals
to catch the tears of the relatives of the deceased: and in
support of this supposed use, a passage in the Psalms is
quoted. The passage referred to, is the 8th verse of the
56th Psalm :—
“Thou tellest my flittings; put my tears into thy bottle : are
C
viii INTRODUCTION.
“not these things noted in thy book 2"—Com. Prayer, Oxford,
1842.
I must confess, I cannot find the slightest pretence for
supposing this passage to justify the conjecture that men caught
their own tears in their own bottles. The whole of this Psalm
is addressed, by the Psalmist, to God, complaining of the
treatment he had received from his enemies: and, in the
particular verse, he begs God to remember his misfortunes.
And by a beautiful allusion, rich in Eastern figure, he uses
“tears,” as expressive of his mental distress; and “bottle,” as
the well known means of preserving liquids.
He begs of the Deity to preserve in his memory the injuries
which he (the Psalmist) has received from his enemies. But
the next line puts the matter quite at rest,-‘Are they not in
thy book!” Why not take this use of “book,” as literally as
the word “bottle P”
But there are other passages in the Psalms, where the use of
the word, tears, is very highly figurative; as occurs in the 80th
Psalm, verse 5, addressed also to God:—
“Thou feedest them with the bread of tears, and givest them
“plenteousness of tears to drink.”—Same Edit.
No one would suppose that bread was made of tears, as the
INTRODUCTION. ix
literal interpretation might imply: it is evidently analogous to
our phrase, that a man is fed by the sweat of his brow. Neither
would any one suppose that tears were collected in a bottle
and drank, as may be implied from the latter branch of this
verse. In truth, I neither think the literal sense of the former
verse, or the possibly-implied sense of the last, is correct; both
are highly beautiful and powerfully figurative.
That the ancients placed flowers on the funeral couch, we
have the authority of Dr. Adams, quoting Virgil's AEneid XI.,
l. 66, and others; and also that they threw into the funeral
pile unguents and perfumes. He says, also, that after the
funeral, the sepulchres were bespread with flowers. See Rom.
Antiq., pp. 416, 423, 426.
Dr. Smith, too, states the same thing, both as to flowers and
perfumes. Speaking of the dead, he says, “The couch on
“which he was laid, was sometimes covered with leaves and
“flowers.” And again, of the funeral Rogus, “When the
“flames began to rise, various perfumes were thrown into the
“fire.”—In verbo “ FUNUs.”
When in Italy myself. I followed a funeral procession to the
place of interment, and observed, that when the corpse was let
into the grave, they threw flowers upon it, which they had
X INTRODUCTION.
carried in their hands. It appears to me, therefore, that these
bottles were made to hold flowers or perfumes, and had nothing
to do with tears at all.
In the Pictorial Bible, published by Mr. Charles Knight,
1839, with Original Notes, there is one on this very passage in
the 56th Psalm, where it is supposed to allude to a custom in
the East, and “particularly amongst the Hebrews.” The
annotator, however, admits “ that there is no trace of such a
“custom in ancient writings or sculptures.” He states, that
the Persians have a custom annually, of the priests going about
collecting the tears of persons in pieces of cotton, and preserving
them in a bottle. Thus, it appears, on all hands, that the
Romans never had tear bottles ; and the modern antiquaries
have invented a word which means nothing, or worse than
nothing—it misleads.
There is no name to this comment, or any authority referred
to.
In Part I. of this work, plate xl. is stated to be an UNKNowN
meAD IN RELIEF, possibly of Hadrian. This marble was not
always considered as unknown, or of so late a time as the -
Emperor Hadrian; for Mr. Taylor Combe, who saw it at The
Hyde, in 1818, pronounced it to be a “head of Philip of
INTRODUCTION. XI
Macedon—genuine;"—and in proof of this, gave me a tetra-
drachm of Philip, the head laureate, as this is, with the word,
quxurtrov on the reverse; on horseback; and the material is
the hard, micaceous marble of Paros; as he observed, not
worked in Hadrian's time, when the marble of Luna was so
much in use. I regret that I omitted to insert these facts in the
account of the plate itself.
On shewing the coin, which Mr. Combe procured for me, to
a friend of mine, I was told that the head, on the obverse, was
a head of Jupiter; though there were no letters to indicate that
it was so.
But certainly it was not Mr. Combe's opinion; for though he
was aware it might be so on some coins, he sent me this coin as
one of those which he believed was not a head of Jupiter, but
the head of Philip himself; and told me so.
In the preceding accounts, I have stated all the facts from
my own personal knowledge, and the opinions of those eminent
men who have seen and examined the various specimens, and
pronounced them as genuine antique, or of later dates, as in
their judgments appeared to be correct.
Such men as Flaxman, Christie, and Combe, were, like other
persons, fully aware that specimens, in all classes of antiques,
d
xii INTRODUCTION.
are frequently forged, either in whole or in part; and that
bronzes are, of all others, most easily falsified; for it is only
necessary to make a mould of any given figure, and cast a
copy. The rust called patina, may, and has been imitated,
so as to give the appearance of antiquity to the metal—in a
manner not easily detected.
Mr. Flaxman himself, however, cautioned me not to form an
opinion too hastily against the antiquity of a bronze because
it had a patina, either doubtful, or even really factitious; for,
he said, he had no doubt of this false covering having been
put, in several instances, upon genuine pieces of antiquity, for
the purpose of suiting the taste of the times, or the market;
as, in appearance, the object was made to look older. Neither
did he believe that so many things were cast as is usually
supposed; and deemed to be so, almost as a matter of course.
For, he observed, and with great truth, that if a man take a
mould for a genuine figure, and cast one copy only, it will not
answer, or pay him for his trouble and expense; and if he makes
several copies, he at once furnishes evidence of his own fraud:
besides this, he deteriorates the value of his original. Moreover,
we never see—at least I never saw—two specimens together
(such as a mould would produce), of a figure said to be cast; so
INTROID UCTION. xiii
that one may fairly ask,--where is the original from which any
of these said-to-be casts were taken P
Cautioned by such authorities as the persons above-named, all
of whom held the same opinion, I do not admit these numerous
castings so readily as many others do. The converse of the
practice is also true; viz., that the genuine patina is, in many
instances, taken off to suit particular tastes; to shew the work
more sharp and clean; or from ignorance by those who ought
to know better. Instances of this have come within my
own personal knowledge.
The observations, signed E. H., are by my friend Mr. Edward
Hawkins, of the British Museum.
The wood engravings were executed by Mr. George Measom,
Upper Seymour Street, Euston Square; and plates lxx, lxxi,
lxxii, lxxiii, lxxiv, were drawn and lithographed by Mr. Scharf.
JOHN DISNEY.
THE Hyde, September, 1848.
PLATE Ll X.
-
miſſ
| Ilºilº

PLATE LIX.
I B I S.
This exceedingly curious and rare specimen of early sculpture,
is of iron; and represents the Ibis worshipped by the Egyptians.
Qualia demens
Egyptus portenta colat. Crocodilon adorat
Pars haec: illa pavet saturam serpentibus Ibin.
w Juv. Sat. xv. 1-3.
It has been formed of one sheet of iron cut out and hammered
into the shape of the bird.
Mr. Faraday, when he saw the bird at the Royal Institution,
fancied it might have been made of meteoric iron; and at his
request I permitted a small piece to be cut off the peg under
one of the feet, which he analyzed, and wrote me as follows:—
“I could find nothing extraordinary in the metal; there was
“no nichel; and it, certainly, is not meteoric : but is ordinary
“wrought-iron.”—June, 1835.
“Statues,” says Dallaway, “in very early times were made
“of iron; and Glaucus seems to have been the first artist in
“ that material.”—Stat. & Sculpt. : p. 2, and n. 2.
See more on statues of iron in the same work. p. 75-77.
It has been seen and strictly examined by some of the first
men of the present time, on whose judgment we may safely
B
132
rely: and pronounced to be unquestionably genuine and of the
highest antiquity—possibly as remote as the time of Rhaecus;
770 or 800 years before Christ.
It was bought at Dr. Mead's sale, about 1771, and belonged
to Mr. Thomas Hollis and Mr. Brand Hollis, and found, I
believe, in Upper Egypt.
Mr. R. Westmacott, son of Sir Richard, who gave some
lectures at the Royal Institution, on Ancient Sculpture, in March,
1845, and who was perfectly well acquainted with this figure,
requested me to lend it him to use on that occasion; which he
did at his first lecture: and took that opportunity to observe—
“That no monuments are so rare as sculpture in hammered
“iron, a pupm\arov. I am indebted to Mr. Disney for an un-
“doubted specimen of very remote antiquity, which was pro-
“bably one of the sacred birds in some temple.”
I was much gratified at being able to oblige my friend,
and also serve the Institution by exhibiting a specimen worthy
of the exalted station it ought to hold amongst the scientific
societies of Europe.
There is in Griffiths's edition of Cuvier's Animal Kingdom,
(1829), a print of the Ibis now existing, and which is called
there “The sacred Ibis of the Egyptians.” (Class Aves, order
grallae). The resemblance to this statue is so strong that it is
impossible not to admit at once the identity of the two. The
head and bill—the position of the legs—the shape of the wings
and tail, are too marked to be mistaken.
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PLATE LX.
THURIBULUM (TRIP o D).
Thirteen inches high—standing on three goat's legs—a wreath
of flowers hangs down between each leg—and a woman's head
attached to each wreath.
There are two handles representing the heads and necks of
swans. The interior of the patera is highly wrought with leaves,
and the so-called, honey suckle, in a circle;—in the centre is a
head of Medusa, found at Pompeii, 1790.
This was probably used to hold the frankincense and verbena
upon the altars, and thence called a Thuribulum; though a
thuribulum was more commonly a box. —See Adams's Rom.
Hist. p. 328.
It is injured by time, having a hole broken through it.
Count Caylus, in his second volume, has a dissertation on
these tripods, in which (p. 162) he says—
“Ces trépieds etoient offerts indifferónment a tous les
“Dieux.”
“Du Prytanée (dit Pausanias en decrivant la Ville d'Athènes)
“vous descendez dans la rue des trépieds, ainsi appellée,
“ parce qu'on trouve dans cette rue plusieurs Temples con-
“sidérables, dans lesquels ily a quantité de trépieds de bronze."
And again, -“Les cabinets de Paris n' en presentent que de très
“ petits et d'une grande simplicité.”—p. 163.
134
Some, he says (quoting Pausanias), in bronze, were consecrated
to Apollo, representing Venus, Diana, and Proserpine, and were
engraved as wellinside as out, and had bas-reliefs in the “cuvetti”
—the hollow or patera part. The tripod before us is thus orna-
mented, and was probably consecrated in the temple of the
goddess whose head is represented below.
The mask in the centre is Medusa.
PLATE LXI.
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PLATE LXI.
LA M P (BU LL's H E A D).
The centre part of this splendid lamp is nine inches in
diameter; and has ten lights radiating from it, each terminating
in a bull's head, so contrived, that the flame would issue out
from between the horns.
The top of the oil vessel is adorned with five bacchanalian
heads and vine leaves, beautifully wrought. The lid is sur-
mounted with a head of Jupiter Ammon, three inches high.
There are letters on the necks of the bulls, forming the
word M N H >, the same as M N E Y IX, as the word is
altogether barbarous. The letters and style of work are of the
best time of the Greek republics.
Mnevis, was the mystic bull of Heliopolis, where he was
worshipped as the representative of Noah (Bryantii. Mythol. 4to.
p. 415), together with Apis who was worshipped as Memphis.-
Bryant, p. 420.
See also Montfaucon, tom. ii. liv. i. p. 309, quoting Strabo.
Opposite to the last quoted page of Bryant (420), there is an
engraving of a Bull with a flame issuing out from between his
horns, as one of the Tauri Lunati; these may be considered
therefore as representing the tauri lunati also.
One of my very learned friends in these matters writes to me
as follows, respecting this lamp :-
136
“Turning over the Museum Odescalcum (Roma, fol. 1747,)
“I found represented in Plate LXX, Lucerna Metalli in bovis
“caput afficta, or Lucerna di Metallo figurata in una testa di
“bue. The head is surmounted by a half moon, and might
“perhaps refer to Diana as the moon. But in Plate XCVIII.
“of the same work, is ‘Bos et Apis, in vase marmorea, or Bue
“ Api in vasi di marmo.” The figure is a bull with a half moon
“ on his side; in this case, therefore, the lamp and figure seem
“identified, and the whole appears to me to justify the inter-
“pretation of the letters on your lamp into Mnevis.”—W. K.
Dec. 22, 1824.
This lamp was found in Herculaneum, about 1795. The
cities of Pompeii and Herculaneum were destroyed by an
eruption of Mount Vesuvius, A.D. 80.—Dufresney.
Lamps with so many burners are not common; there is one
with the same number (ten), engraved by Count Caylus, of
Greek work, in white marble, from which he conjectures that it
was never used with oil : and also, from being ornamented at
6
the bottom with a mask, he thinks it was an “ex voto " lamp,
not used for lighting, but formed what he calls “le tresor du
temple.”—Receuil, vol. 7. plate xxv.
There is also another with a greater number of burners.-
Cayl. Receuil, vol. 7. plate xxxvii.
PLATE LXII.


PLATE LXII.
L AMP (THREE BU R N E R s).
The body of this lamp is eight inches in diameter, with three
branches, projecting four and a quarter inches. The upper sur-
face is highly wrought, as represented in the upper figure, with
a double border of acanthus leaves; the opening for oil is two
inches and three eights in diameter, to which is an ornamented
lid.
Between each branch is a head with a fillet; the hair combed
straight and divided in the middle: three curls fall down on
each side of the face, much after the Egyptian fashion.
Over each branch hangs a wreath of oak leaves and ribbons,
reaching from the curls of the masks.
It was found at Pompeii, and bought at Naples in 1796.
This lamp was exhibited at the Royal Institution, on Friday
evening, March 21, 1834, in a lecture on ancient art, given by
Mr. Hellyer. In a letter, on returning it to me, he says, “when
“ the flame rose from the spirit in it, and they saw it a light for
“the first time after 1754 years, a general burst of gratulation
“was animatedly expressed.”
PLATE LXIll.

PLATE LXIII.
LA M P (S 1 x B U R N E R s).
The diameter of the oil vessel of this lamp is eight inches
and three quarters, with six lights radiating from it three inches
and a half long each.
The upper surface is ornamented with a border of vine leaves;
the opening in the centre is three inches and a half diameter,
with a lid, on the top of which is a crescent moon by way of
handle.
Between each light is alternately a mask with a cap and fillet
(probably comic masks used in farces, &c.), and a face of Bacchus,
with the hair combed up.
The whole is suspended by three chains, (which I have sup-
plied), fixed to a circular plate, on which is carved two heads
of Medusa, and a handle ornamented with the honey-suckle.
There is no ornament at the bottom; it was found at Pompeii
at the same time with the bull's head lamp.–(Plate LXI.), and
bought at Naples, in 1796.
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PLATE LXIV,
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PLATE LXIV.
LAMP (AFRICAN SLAve, Two BURNERs).
The central oval of the oil vessel is three inches three
eighths, by two inches and three quarters; and two branches for
lights project one and a half inch each. The surface of the
lamp is concave, with a figure of Jupiter, and an Eagle with
extended wings before him. •
This lamp is placed on the head of a figure eight inches
high, with his arms raised up so as to support it. On his
head is a cap of feathers, one on each side bending down to
meet the hands; under these is a fillet of small flowers.
Round his loins is the Egyptian apron, one end of which
wraps round his right hip, and folds in a corner over the left, in
the same manner as the Antinous, (Plate LXXXIII), this is said
to have been taken from Adrian's Villa. It was found about
the year 1796, where, precisely, I am not informed; but was
bought at Naples, in 1796.
The figure itself stands upon a tortoise; and that, upon a
base, making the height of the whole, including the lamp, ten
inches and three quarters.
PLATE LXV.
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PLATE LXV.
PRINTING STAMP.
This interesting object is two inches and a quarter long by
one inch and an eighth wide, and about three sixteenths thick.
The letters are raised as in common type, and the rest of the
metal cut away, forming a perfect stereotype: they are also
reversed, so that when used, the words would be in their proper
positions to be read from left to right.
It was, I doubt not, used as a stamp to mark pieces of pottery.
I have a lamp in terra cotta, which must have been marked by a
stamp of similar construction: the words on the clay being sunk
in as from a print whose letters were evidently raised in cameo.
The Count Caylus has one very similar to this, which he con-
siders to be a seal; and makes the following remark:—“Le
“charactère disposé en contre-partie pour rendre l'ecriture dans
“le sens naturel, les lettres évuidées avec la saillie suffisante pour
“leur faire prendre la couleur, sans que le fond puisse marquer:
“tout céla, n'est il pas l'imprimerie.”—Vol. i. page 254-255.
And curious it is, that having produced what was considered
in our time so great an improvement in printing, they should
pass over the first stage, viz., printing with single types.
It would be too bold a suggestion to say the ancients did in
some way use printing with single types, or blocks: it is,
E
144
perhaps, enough to say they might have known it—other arts
have been lost totally, and why not printing?
The inscription is “M. Ulpi, CEnantiani,” (opus).
There is a town “OEnanthia,” laid down by Cellarius, in
Sarmatia, on the North coast of the Euxine sea, with a moun-
tain behind it.—Geograph. Antiq., 4to. maps, tab. viii. 1821.
. In the letter press he states, z
“Hodié S. Sophia, in hoc tractu est quam alii OEnanthiae,
“alii Pityuntis loco positam opinantur.”—p. 88, cap. xx.
I do not find any S. Sophia, in this part of the world marked
in the modern maps; in Carey's Universal Atlas, 1808, plate xli.
Turkey in Asia, the modern town of Salumka is laid down with
mountains immediately behind it; and Mamak, two degrees to
the westward of it. OEnanthia seems to have been one of these,
or situated somewhere between them.
From all these considerations, I propose interpreting the
inscription simply, as the work of Marcus Ulpius, a native of
OEnanthia.
In Ptolemy's Geography, lib. v. cap. 9, Sarmatiae Asiaticae
situs, occurs OEnanthia, and in the margin S. Saphia is given as
the modern, or rather recent name.
Besides this specimen, I have another in precisely the same
style, that is, the letters reversed and raised, the inscription being
M M E E S )
T I ap – . . .
the letters in the lower line being laid upon their sides. As
the shape of the stamp is that of the human foot, the third may
145
be an E, but it has more the appearance of an F, with a dot
after it. The sixth object is a mere curve in the bronze, and
possibly meant for a part of the foot itself.
LAMP (SMALL).
The oil vessel is circular, having only one light;-on each
side is a head of Medusa; and the concave surface is richly
carved with leaves and wheat ears.
The handle represents the neck and head of a swan; and in
the hollow of the underside is the mask of a satyr.
Respecting this, I found the following memorandum:—
“Belonged once to Dr. Mead, who highly esteemed it.”
LAMP (SHoF-SHAPED with A CHAIN).
This lamp is unornamented, and of coarse work; the centre of
the oil vessel is, as usual, hollowed at the top ; and here has an
elevated rim round it to prevent the oil being spilt.
There are three staples for chains; and some part of the
chains themselves are still attached. It was found at Her-
culaneum, 1790, and bought at Naples, in 1796.
PLATE LXVI.
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149
PLATE LXVI.
A W A S E H A N D L. E.
The handle of a large bronze vase with two heart-shaped ears,
by which it seems to have been attached to the bowl; these are
highly ornamented with the honeysuckle reversed, at the top of
which there appears to have been a ribbed patera. The whole
is five inches and a half wide, and six inches high when standing
on the two points.
Caylus has engraved a handle, and a handle only, in his
fourth vol., (Plate XLVI.), of such a vase.
The vase to which this handle belonged, must have been of
considerable size; and might have held the water to be sprinkled
by the aspergillum alluded to by Dr. Smith, in Verbo “Lus-
tratio.”
LAMP (ShoB-SHAPED).
The shape is long and elegant; the central handle is orna-
mented with extended vine leaves.
150
The two small side handles terminate in roses, the whole
highly wrought.
The lid, now lost, seems to have worked upon a hinge, as there
is evidently part of one left on the surface of the lamp.
The bottom is, by time or accident, broken through. Mr.
Brand marked this as very curious; and, I believe, was bought
at Dr. Mead's sale.
PLATE LXVII.

151
PLATE LXVII.
A STEW PAN.
The dish itself, is eight inches and three quarters in diameter,
and about three inches deep; it is engraved in the inside with
the figure of a priest making a sacrifice.
The handle is curious and exceedingly beautiful; it consists of
the figure of a man seven inches and a quarter long, at whose
feet is a ram's head: his arms are extended so as to be above his
head, and serve as branches to support the pan. They hold,
however, a sort of crescent, which intervenes between him and
it; at each end of which there is also a ram's head.
Behind the man's head, and rising between his shoulders, and
reaching nearly to the centre of the bottom of the vessel, is an
acanthus leaf.
The figure itself is much in the Egyptian style, and crowned
with flowers:–found at Herculaneum, in 1790. f
Caylus has one of these engraved in his Receuil; but the
handle of his is straight, having also a ram's head at the end;
he calls it—“Espece de Casserolle.”
Receuil: vol. vii., plate xxxv.
These ornamented pans were used to serve up the viands hot,
at table.
152
“A large platter (lana or scutella) containing various kinds
of meal, was called Mazonomum, (edulium quoddam e farina et
lacte), which was handed about that each of the guests might
take what he chose.”—Adam. Rom. Anto. p. 391.
See also Mazonomus.--Dr. Smith's Rom. Anta. :—“This
“ term is applied to any large dish used to bring meat to table.”
See the figure of one with a handle.—Ibid. p. 721, “Patera.”
In the British Museum, is a terra cotta vase, on which is re-
presented persons at supper, and a boy waiting upon them,
carrying one of these things to each of the party.
PLATE LXVIII.
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153
PLATE LXVIII.
A W A S E H A N D L. E.
The handle of a vase, rising out of a plate, by which it was
fixed to the bowl, highly ornamented by the mask of a goddess
with flowing hair, and a sort of diadem on her head; above are
two horns curled up, with a marine shell between them.
It was, probably, part of one of those large vases or paterae,
which held water at the Lustrum or Lustratio, that is large
enough to admit the aspergillum with which the water was
sprinkled. See Dr. Smith, “Lustrum,” and “Lustratio.”
ARMILLA.
The best name I can give this object is armilla, though it is
not quite such an one as I have often seen: as to those things
which are called also armlet or bracelet, Dr. Smith observes,
“The armlet was either a thin plate of metal, or a wire of
“considerable thickness, and although sometimes a complete
“ring, it was more frequently made without having its ends
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154
joined,” &c.; here, however, the ends are joined, and the wire of
which it is made, is very thick and heavy, it might névertheless,
after passing the hand through it, have been pushed high up the
fore-arm.
Armillae were often given to soldiers for deeds of extraordi-
nary merit.
PLATE LXIX.
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155
PLATE LXIX.
SMALL TRIPOD (Egg Cups).
This consists of three cups, just large enough to hold one egg
each, and as the ancients used eggs very much in their repasts,
I have ventured to suggest, that this was made for the purpose
of setting them on the table.
Hence “Abovo usque ad mala,” from the beginning to the
end of supper (Hor. Sat. I., 3-6); and they seem to have been
indispensable.
These cups are each supported by a winged boy in a sitting
position, and there is a cover, consisting of three parts, which
fits them. On the top of this, is a figure of the maritime Venus
with her dolphin.
Some people have conjectured, that it was used to put sweet
scented unguents in : it signifies little which was really the fact,
but I prefer the egg cup.
The last possessor had little tin cups made to fit these, and
used it as an inkstand; a bottle being fitted to one of them,
which purpose it answered exceedingly well.

157
PLATE LXX.
J U P IT E R (STA To R).
This beautiful figure belonged to Dr. Richard Mead, and at
his sale in 1755, was bought by Lord Tilney, as appears from a
“priced” catalogue, in my possession.
It was bought by Mr. Young at Mr. Wellesley Pole's sale, at
Wanstead House, Essex, in 1822; and of him I had it, March,
1824.
In Mead's catalogue cntitled Musaeum Mcadianum, page 228,
it is thus described:—“Jupiter fulminator, sive potius Stator ;
“ita enim dicitur in nummis quibus sub eadem forma quâ hic
“noster exhibitur: nempe nudus et erectus, dextra demissa
“tenente fulmen, sinistra sublata hastam. Fulmen autem et
“hasta hic desunt. Alt pedem cum uncia et semisse.”
There are statues however of Jupiter in this character, in
which the thunderbolt and spear are placed differently: thus in
the Dictionaire de la Fable, by M. Noel, (in verbo “Stator.”)
La statue qu'on lui consacra, representa Jupiter debout :
tenant la pique de la main droite, de la foudre, de la gauche.
If the left hand of this figure be carefully examined, it will be
found that the thing remaining in it, very much resembles the
centre of a thunderbolt, as it is generally represented, as if bound
together, as is seen in the coins of Augustus in front of the face
on the obverse.
158
From this it should seem, that the spear and thunderbolt
were held as M. Noel describes rather than as Dr. Mead; for the
right hand is well enough placed to poise a spear.
For a figure of Jupiter with the thunderbolt in his left hand,
see Montfaucon, tom. I., pl. VIII., fig. 7, p. 34, and plate IX,
fig. 2.-pl. XI, fig. 10-13.
Upon shewing this figure to my friend Mr. Edward Hawkins
of the British Museum, he, notwithstanding the testimonies
above stated, gave me his opinion in the following terms:—
“Really a fine figure, and the work of an artist of considerable
“talent; but I cannot place it higher than the XVth century;
“there is more effort to display knowledge and produce effect
“ than is consistent with the practice of the ancients ; and it is
“deficient in the dignity and repose which characterise their
“ productions.”
It is but fair to state, however, that this is at variance with the
decided opinions of Mr T. Combe and J. Christie—Flaxman
never saw it: I have affixed E. H. to Mr. Hawkins's opinions in
other places.

159
PLATE LXXI.
J U P IT E R (S E R A P 1 s).
This is a highly finished figure, of the finest workmanship,
and in the highest state of preservation; the attitude dignified
and easy, yet commanding and displaying a sense of power. He
looks what Horace says of him :—
Qui res hominum ac deorum :
Qui mare et terras variisque mundum.
Temperat horis. Lib : I. 12.
The head has the same characteristic form of chevelure, as the
marble head of Jupiter, in the first part of Mus. Disneianum,
pl. VIII. Mr. Diggs, in the Hollis Memoirs, thus describes this
figure : taking it from, I believe, an account of Dr. Mead's
bronzes, to whom it certainly belonged, and was bought at the
sale by Mr. Hollis :—“ Egyptiacus ut videtur pallio 'solo
“indutus; modium capite gestans; ac lorum utraque manu tenens
“dextantem alt.”—p. 820.
From the sole of the foot to the chalathus, is ten inches and
a half high.
The pallium was the “toga " of the Greek.-Adams's Rom.
Antiq. p. 411.-It is certainly a great mistake to call this." Egyp-
“tiacus,” which, however, seems, by the “ut videtur,” Mr.
Diggs did not quite admit: when Mr. Taylor Combe saw, this
figure he unhesitatingly pronounced it one of the very best times
160
of Greek art; and indeed the thing itself shows first rate style
of workmanship.
The modius, now called calathus, is ornamented, as indeed the
marble referred to is, with olive twigs, which seem to indicate
his power over the vegetable world and physical classes of
nature. This vessel is full, to represent plenty. What he
holds in his hands, have been the subject of much consideration;
they are certainly not alike: that in the right is a strap, and
represents sufficiently well the lorum.
The lorum was a rein—like “habena.”—See Ovid, Metam.
ii. 14.
The left hand holds a sort of clamp—evidently of metal—and
has a hinge in it, well adapted to put round a leg, and be rivetted
on; from this I incline to think it is a “compes,” or fetter, for
criminals.
If these interpretations be correct, we have at once the em-
blems of three very important attributes:–
1. The “calathus,” showing productive power in the vege-
table world, and consequently in all physical nature, producing
by a full measure—plenty.
2. The “lorum,” or “reins,” of power, directing the events
and actions of men, in ordaining and guiding the civil govern-
ments of the world.
3. The “compes,” or fetter, holding the judicial power of
punishing crimes and misdemeanours, exercising a guardianship
over the moral habits and inclinations of men.
“Has much more claim to antiquity, and appears to have
161
“been cast from an antique original which had been mutilated,
“ and the defective parts have been supplied in the copy by
“some more modern artist.”—E. H.
See the observations of Mr. Flaxman and others on casts and
platina in the introduction, ante, p.
PLATE LXX||

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163
PLATE LXXII.
H E R C U L E S (FAT 1 g UE D).
A small bronze; six inches and a quarter high. He is clothed
in the lion's skin, with his club (which by time or accident has
been bent) in his right hand, and resting upon that shoulder.
The face of the lion covers the back part of his head, and one
of the fore paws hangs over each shoulder; the hinder paws
cross over the hips and meet in the front of the right thigh.
He is supposed to be returning from one of his labours: the
exquisite expression of fatigue and lassitude is quite striking—
dragging one leg after another, as if hardly capable of proceeding;
the left arm held out as if to balance a tottering walk, and open
hand, express so strongly this feeling, that when my friend,
Mr. James Christie, saw it, he said, “Admirable ! I never
“ saw a piece of tired bronze before.” The style of workman-
ship is coarse and bold, and induced a belief that this is a hasty
sketch, or ebauche, of some skilful artist, to work out a first
thought.
There is a bronze figure of Hercules in Caylus's book, where
the lion's skin is disposed in much the same way; but the
attitude is different: it is engraved in his Recherch., vol. I.,
plate xxii.
Of the lion's skin see Smith's Rom. Anto., Arma.
164
There is another also in Millengen's Vases, plate xxxiii.
Mr. Flaxman, Combe, and others, concurred in the character
above-stated of this little figure.
“I cannot admit this figure to be antique; it is probably not
“older than the beginning of the XVIth century. It has much
“the appearance of having been originally intended for a figure
“of Christ bearing the cross, and afterwards converted into a
“ Hercules.”—E. H.
It is but fair to say, that I cannot by any means concur with
my friend Hawkins respecting this figure. How the head can
ever have been meant for Jesus Christ, when the lion's skin is
so closely fitted to it, I leave those to determine who are better
acquainted with this sort of metamorphose. My conviction
goes entirely with the authorities above-mentioned; and the
uniform concurrence in opinion by all to whom the figure has
been shewn for the last thirty years.
I take it this may be one of those cases of borrowing an
individual character or countenance, not unfrequent amongst
the ancients, and of which Payne Knight complains, when they
transferred a sort of individuality from Socrates and Plato, to
Fauns and the Indian Bacchus.
PLATE LXXIII ,

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165
PLATE LXXIII.
B A C C H U S (You Ng).
A small elegant figure, with sandals, and a skin hanging on
his left shoulder, reaching to his middle only. His head is
crowned with a wreath of poplar leaves, and the fillet which goes
round his head, falls down at the ends over his shoulders in
front ; in his left hand (which is elevated), he holds the remains
of a vine twig ; in his right hand he holds a jug or praefericulum.
The figure is five inches and seven-eighths high :—in the old
catalogue it is called :—
“Bacchus—bronze—antique—very good. Bought at Na-
“ples, by T. B."
This means Mr. Thomas Brand, who was there about 1752.
As to the poplar.—In the British Museum, there is a bust
of Hercules said to be crowned with poplar.—Mus. Mar., part
II., p. XLVI. Poplar was also used by Bacchus. See Le Fabre.
The skin I take to be fawn’s skin, and is the Nebris, covering
the breast, and so described by Ovid, Met. IV., 6.
— Festum celebrare, Sacerdos
Pectora pelle tegi, crinales solvere vittas,
Jusserat.
This is also referred to more fully in my former Part, p. 86.
I
166
In the engravings published by the Diletante Society, vol. I.,
pl. LXXVII., there is a figure in bronze which belonged to
Payne Knight, carrying precisely the same jug, which he calls
the figure of Bacchus. Of the piece now under consideration,
Mr. Hawkins says:—
“Cast from an antique original, which had been repaired and
“spoiled before the copy was made ; the arms and legs appear
“to have been supplied to the original, which was only a
“fragment.”—E. H. -
See observation on these casts, Introduction, p
PLATE LXXIV.

167
PLATE LXXIV.
A WRESTLER.
This elegant figure is six inches high ; the left hand is closed
up to the breast, as if in guard, and the whole attitude shows a
position either preparing for combat, or practising ready for it.
In the right hand, also, there seems to be something like an
armilla, which gives further reason for ascribing to this figure the
character of a wrestler.
The anatomy of the whole is exceedingly good, and the legs
are thick, a style frequently given by the ancients to strong men,
as in the Egyptian Antinous elsewhere.
It was found at some depth under the house of a M. Fabre, at
Nismes, now (1827) pulled down to make a new street in front
of the Maison Carrée to the north, by a workman, who sold it to
M. Perrot, Oct. 1826, of whom I bought it in April, 1827.
“A cast probably from an antique original, which had been
“damaged, and became mis-shapen before the copy was made.
“The real surface of this, as well as some of the other figures,
“is concealed by a modern artificial patina.”—E. H.
See observation in the Introduction, p.
PLATE LXXV.
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169
PLATE LXXV.
P A N ON A G O A. T.
This figure belonged to Mr. Hollis, and in his Memoirs,
p. 819, is thus noticed:—
“Pan on an African goat, a vase in his hand, and holding by
“ the horn.—Bronze.”
The figure, up to the head of Pan, is seven inches high. The
goat is a female (capra), and has a bell hung round the neck by
a wreath of leaves, which appears to be ivy. In his left hand he
has a monota, or praefericulum; and has hold of the goat's horn
with his right hand; the ears of the goat are long and pendulous,
and the forehead arched and high. Mr. Hollis quotes:—
Semicaper nimis lassatus amoribus, acrem -
Scando capram retinens cornua : cede nolae.
J. Gronov.
Of the word “Nola,”—see Facciolati, who treats it thus:—
Est autem vox nove conficta ad acnigma conficiendum, quod
expedivit ad huc nemo; and further:—A recentionibus adhibetur
ad significandum tintinnabulum, vulgo a bell, quod haec primum
usurpata fuerit Nolae a Paulino, Episcopo.
It is described as bronze, antique, and very good; and bought
of Mr. Blackwood. This J. Gronov, appears to be James
K
170
Gronovius, who was author of the Thesaurus Antiquitatum
Graecorum, and died in 1716, It is possible, that this very
figure, may have been seen by him, as the verses allude to the
bell, if nolae may be taken for it here.
The goat was particularly associated with Pan, for which see
a full account in Mr. Payne Knight's Inquiry, Art. 33, &c.
The only figure of Pan in company with a goat, at present
within my reach, is one represented in M. Montfaucon's first
volume, plate CLXXVI, fig. 5, where Pan is leading a goat
with Bacchus upon it, and described as :-L'image suivante est
de Pan avec toute la forme d'un Satyre qui conduit Bacchus
monté sur un Bouc.—p. 271.
Pan was particularly honoured in Egypt. This is called an
African goat :-
" Pan : ce dieu etait en tel honneur en Egypte qu'on voyait
" ses statues dans tous les temples; et qu'on avoit bati dans la
" Thébaide une ville qui lui etait consacrée sous le nome de
" Chemnis; ou, la Ville de Pan."—Noel : Dic : de la Fable.
" On le represente ordinairement fort laid : les cheveux et la
" barbe negligés avec des cornes et le corps de bouc depuis la
" ceinture jusqu'en bas; en fin ne differant point d'un Faunc ou
" du'n Satyre."—Ibid.
Mr. Stark, in his Elements of Natural History, says, on the
subject of goats :-
" In Egypt, there are three varieties, viz:-one with long hair ;
" a second with spiral horns, and ears longer than the beard ; a
171
“third with very large ears and the horns small, or none. But
“like other domesticated animals, the goat runs into endless
“varieties.”
It seems therefore, that this African goat, is one of the second
Egyptian varieties, with ears longer than the beard, and the
horns became less spiral by domestication.
PLATE LXXVI.
|||||In "T
§


| 73
PLATE LXXVI.
P A N (KN E E L IN G).
“A satyr kneeling on one knee, in bronze, purchased by Mr.
T. B. Hollis, in London; rough and ugly. It is said, there remain
thirteen of these figures, and that they were used to hold lamps
to light a grotto of Tiberius in the Island of Caprae, where he
resided the last seven years of his life, and died, A.D. 37.”
Such is the account given of this figure in an old catalogue
which I have seen; the position is well calculated for such a use,
and there is a hole in the right hand which might have secured
a lamp there; which indeed seems thrown back for the purpose.
As to the general history of Pan, I can only refer to the last
plate, where a general account of him is given.
This figure has been mutilated.
It seems that it was not uncommon to have figures in their
houses holding lamps in their right hands.
Si non aurea sunt juvenum simulacra per aedes,
Lampadas igniferas manibus retinentia dextris,
Lumina nocturnis epulis ut suppeditentur.
Lucretius, Lib. ii., v. 24.
The room, with all its splendour, would be dark.
PLATE LXXVII.
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175
PLATE LXXVII.
ROMAN HORSE.
This beautiful monument is five and a half inches high to the
top of his head, on an oval base three and a half inches high; his
head erect, and the mane between the ears raised up in a bunch,
much after the manner of the mane on the head of Marcus
Aurelius's horse in front of the capitol at Rome.
The base is adorned with an eagle in front face with his wings
extended, and resting on a wreath of flowers: this is repeated
four times:–once on each side and at each end; the ends of
the wreaths are tied together by a sash.
The antiquity of this has never been doubted. Mr. Yates in
his disquisition (Adams's Dic. Signa) on the Roman Signa Mili-
taria, enumerates the horse as well as the eagle, and gives an
engraving of a horse in bronze, which was used as a standard.
The horse before us is in precisely the same attitude, and in
the erect position of the head, and the stiff, upright mane exact-
ly corresponds with it, but the tail is here longer. The Eagle,
too, on this bronze, is in the same position as those represented
on the standards.
So that it appears, the figures used as standards, were used
also as ornaments on utensils and other things.-The eagle is of
perpetual occurrence.
PLATE LXX V ||.
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177
PLATE LXXVIII.
ACER.RA.
Fortunately I am enabled to give a very circumstantial
account of this beautiful monument, for nearly a century past,
every particular of which may be fully relied upon. In 1761 it
belonged to Count Caylus, who has engraved it in his Receuil,
Vol. IV., p. 281, and states :-
* Il a fallu les soins et l'amitié du P. Paciaudi pour rassembler
* les morceau èpars de cette belle acerra ou coffert, destinée
* pour renfermer l'encens; selon l'usage des Romains dans leur
* sacrifices.
* Ce monument dont il m'a vendu possesseur est complet a la
* reserve de la partie platte qui couvroit le dessus, et qui tenoit
* a deux mouvements de charniere ; dont ou voit encore les
* places."
After a dissertation of four pages he says, " Je finis cet article
" en assurant que j'ai peu vu d'ouvrage Romain, de ce mouvements
" de ce gout-de cette execution ! !"
The following extracts are taken from a short account of M.
Paciaudi in Dr. Rees'Cyclopaedia,—º Paciaudi, Paolo Maria, an
" historian and antiquary, was born at Turin, in the early part of
" the eighteenth century; he entered into the order of Theatines,
" and became librarian to Philip Duke of Parma; he diedin 1785.
M
178
“. . . . His principal works are, Monumenta Peloponnesiaca, in
“two vols. 4to., Rome, in 1761; and several dissertations on
“ particular subjects of antiquity. In page 249 of the second
“volume of the above-mentioned work, he notices particularly
“ the use of acerrae amongst the Romans.”
Thus it seems clear, that when the Count had it from M.
Paciaudi, the lid was not attached to it; if by “partie platte” he
means the lid.
This acerra however, together with the lid, certainly passed
from the Count, who died 1765, to Mr. Thomas Hollis; on
whose death, in January, 1774, it passed to Mr. T. Brand, who,
on that event, took the name of Hollis: the lid still being with
the boa, but not attached by the hinges.
It remained in this condition in Mr. Brand Hollis's possession
till his death in 1804, when it passed on to my father, who kept
it carefully as it was, till he died in 1816: while with him I, and
all his numerous friends, had constant and daily opportunities of
seeing it; and it was covered, up to this time, with that important
characteristic, called “patina” by the antiquaries — a most
interesting and valuable evidence of age; which seems to have
been sufficiently valued even in the time of Juvenal, and this
piece might well have ranked with what he calls,
Grandia Templi
Pocula adorandae rubiginis!
Sat. XIII., l. 148.
This patina was then perfect and good, the lid being still de-
tached. In 1817, it became the property of a lady, a friend of
179
mine, who wishing to have the hinge restored, so as to make the
thing complete in itself, and preserve it in its obviously original
state, put it into the hands of the late celebrated silversmiths,
Messrs. Rundle and Bridge, of London; solely for the purpose
of putting on hinges, believing that they were trustworthy
as to matters of taste; but most unfortunately and unjus-
tifiably, not only did they put on the hinges as they now are,
but took off the patina entirely!! and they did not even
leave the metal surface to re-acquire a natural rust; but washed
it with a lacker, now visible upon it.
This monstrous want of taste has not indeed hurt the thing
itself; but has removed that obvious evidence of antiquity which
can never be replaced. Lucky it is that I know all these facts
personally.
The best consolation which we have is, that this removal has
developed the beauty of the ornaments, and shewn a skill and
sharpness of workmanship not surpassed in any more modern
times. - &
These acerrae are not common; the British Museum, I
believe, has not got one :—Caylus has a triangular one, engraved
Vol. I. p. 233, and there is a representation of a four-sided one,
with a short account of them by Mr. James Yates, in Dr. Smith's
Grec. and Rom. Ant: verb: “Acerra.”
This present specimen came into my possession only a very
short time ago—in this year, 1848.
It is to be observed, that there are grooves in the inside of the
box to admit of partitions: these I believe were made when at
180
Rundle's, as they probably meant to make it serve as a lady's
work-box.
From the fresh and brilliant appearance which this barbarous
change has given it, it may be suggested by those who form
hasty and off-hand opinions in such cases, that this was the
work of Benvenuto Cellini, to whom many things are ascribed
which he certainly never saw.
I have seen many of his celebrated works, and possess some,
and have observed that in his, and the articles of his day, where
the artist introduced an ornament as pendant to another, they
were identically alike: now, here, the two musical instruments
under the horses are different; one is a lyre, and the other is the
pipe of unequal reeds. The wreaths at the ends are hung upon
the sculls of oxen, exactly resembling wreaths similarly hung
upon a marble ossuarium in my possession, of the time of
Augustus.
The figures of Cellini have wings, and generally no arms: those
on this specimen have arms as well as wings, very common on
Roman Sarcophagi.
From all these circumstances, and the evidently concurrent
judgment of Paciaudi and Caylus, and the unhesitating admis-
sion of numerous antiquaries personally known to me and my
ancestors for above eighty years, I have no difficulty in stating
my full conviction, that this splendid monument is of genuine
Roman work.
PLATE LXXIX.
~~45.7/wº


181
PLATE LXXIX.
HORSES HEAD.
This fragment, which consists of the head only, and a very
small part of the neck, is spirited and finely executed. Between
the ears is a goat's horn; and the mane is carefully plaited
down the right side in six plaits: on the left side one single
ringlet hangs from between the ear and the eye, immediately
below which is the knot of a band which goes under the throat.
There are two long ringlets which fall down the forehead
on each side from the base of the horn.
This specimen was found at Nismes, in the foundation of
some houses which stood on the site of the palace of Princess
Pauline, behind, and close to the ampitheatre, by one of the
workmen who pulled down the house under M. Astrue, 1826,
and who built the present Palais de Justice on that spot.
M. Perrot, concierge of the Museum, bought it of the
workman; and sold it to me, April 13, 1827.
I conjecture that it is the head of a horse represented as
actually running on the course: as the mane is plaited it
cannot be a wild horse.
The horn is an ornament tied on between the ears, as we see
is constantly done even now with horses running races during
the Carnival at Rome, and elsewhere; and very common with
N
I 82
the brewers' cart horses in London ; and plumes on horses
which draw hearses and mourning coaches. I am the more
confirmed in this, because Montfaucon has an engraving of a
lamp on which is a chariot with four horses in the circus, and
each horse has an ornament of a similar kind standing up
between the ears attached to a frontal over the eyes, Tom. v.
part ii., pl. cxciii., p. 229-230—and all he says of it is—“Les
“quatre cheveaux y parroissent couronés d'une maniere extra-
“ordinaire, et que nous n'avons jamais remarqués.”
See also Sir William Hamilton's Vases, by Kirk., 1804,
pl. xix and xli.
PLATE LXXX.
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183
PLATE LXXX.
CANDELABRUM (BENv ENUto CELLIN1).
This is one of a pair of triangular stands for lamps or candles,
highly wrought with rams' heads and wreaths of flowers, by
Benvenuto Cellini, the celebrated Florentine. He died, 1570.
They belonged formerly to the Duke of Argyle.
PLATE LXXX|.
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185
PLATE LXXXI.
LUCRETIA.
In very deep relief, and in a frame fifteen inches high, seven
inches wide, and one and a quarter deep, forming a sort of recess,
as if it had been let into a wall: on the edges of the frame are
plates of brass, containing the following fragments of an inscrip-
tion, formerly filling up every side.
Pectus sanguinis,
Et torrens egrederetur ait . . . . favisse tyramno,
Ante virum sanguis; spiritus ante deos.
This is evidently the following epigram—to be found in
Valpy's Deph. Ovid., vol. xxxii., p. 3832,-
Cum foderet ferro castum Lucretia pectus,
Sanguinis et torrens, egrederetur ait;
Procedunt testes—me non placuisse tyranno,
Ante virum sanguis; spiritus ante deos.
Which may be thus translated:—
While crimson torrents from her bosom flow'd,
Lucretia cries—(by conscious virtue moved)
That I no favour to the tyrant shew’d,
"Fore men my blood—fore gods my soul has proved.
O
186
In the Musée des Monumens Francais of M. Le Noire, is an
account of a group of “The Graces,” by Germain Pilon, one of
which is said to be Madame de L'Aubespine, wife of Francois
Nicholas de Neuville, Duc. de Ville-Roy. She translated
several of Ovid's Epistles; and died in 1596.
See Le Noire, ut. Sup., vol. viii., p. 40.
Le Noire, in another place (vol. iii., p. 134), gives a figure of
Mde. de Ville-Roy., under which is written,_
“Ante homines junctus spiritus ante deos.”
Putting these circumstances together —
1. That the lady translated Ovid.
2. That this lastline quoted, is so like Ovid's epigram inscribed
on the bronze. e
3. The style of this figure bearing a strong resemblance to that
of Mde. de Ville-Roy., in Le Noire.
4. General style of workmanship; and the bronze itself, in
this figure, being of that scaling sort, in use about that time—
It may fairly be conjectured, that this is a complimentary
figure of Mde. de N., in the character of Lucretia—applying to
her the lines of her favorite poet. By Germain Pilon, who,
according to the Biographie Universelle, died, 1550.
The reference to the epigram, in Valpy's Ovid, was furnished
me by the late James Tate, Canon of St. Paul's, many years
ago, in a letter, in which he observes the different readings, L
“favisse ’’ and “ placuisse.” Observing how much better the
former is than the latter.
187
Mr. John Noble, F.S.A., furnished me with the suggestion as
to the Duchess de Ville-Roy. The two projections on each side
of the neck, appear to have been parts of the head dress, or veil,
and are attached to the head behind; but the brass is so injured,
that their real shape is not easily made out.
PLATE LXXXII.
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189
PLATE LXXXII.
VESTA SEDENS (SILVER).
This figure is very small, and the same as that in the Musaeum
Meadianum, and bought at his sale: it is thus described:—
“Vesta Sedens: stolata et velata; in dextra pateram tenet;
“prout exhibetur in multis Augustarum nummis quae pudicitiae
“laudem affectabant, cujus rei symbolum fuit Vesta ex argento;
“alt sextantem.”—Mus. Mead., p. 230.
The sextants were usually a measure of weight, being laid
down in all the tables as one ounce and three quarters, or one
ounce and a half, a definite quantity.
But, as a measure of length, it was taken to express an aliquot
part, as the sixth part of any thing. Facciolati has it, “Sexta
“ pars, alicujus certae quantitatis pedis, jugeri,” &c.
Taking the Roman foot at its most probable value, it is eleven
and a half English inches, one sixth of which would be some-
thing less than two inches, and this figure measures one inch and
<º eight-tenths, so that I have no doubt of its identity.
Mr. Combe admired it much, and considered it as genuine and
Falſe.
There is an engraving in Caylus of a sitting figure like this, of
which he says:—
190
“Je le croirois d'autant plus que la patelle qu’elle tient est
“donnée le plus souvent pour attribut aux divinitées.”
Receuil, vol. VII., pl. lxxvii.
In the Musæum Meadianum, p. 145, there is a coin of
Augustus thus described as to the reverse:—
“Fig. velata. Sed., d. pat. s. hast.,” and also p. 152, a coin of
Sabina. Augusta reverse:–
“Vesta Sed., d. Palladium, s. hast.”
I have both these.
ISIS (SITTING).
This figure is very small, only two inches and one-eighth high.
She is sitting on her legs, which are tucked up under her,
precisely in the same manner as is represented in a plate by
Mr. Dallaway, p. 13-178. The lower garment and the head
dress are inlaid with transverse stripes of gold: this is very rare.
Mr. Taylor Combe told me he had never seen it in any other
specimen, and considers it as genuine of Adrian's time; and
inferred from this, that the bronzes were not always lackered, or
kept bright; for, if they were, the brightness of the gold
would have been lost; but that they were left to acquire the
ordinary “rubigo.”
Count Caylus has a figure in the same attitude at the head of
a coffin, which he says is—
19|
Isis weeping over the body of Osiris, which she has just
found, after her long search.—Receuil, vol. I., pl. viii. No, 3,
and same book, p. 32.
I, therefore, consider this to be the same weeping Isis, though
the coffin be not there.
A NONDESCRIPT.
It is difficult to say what this is : it is of bronze, and there is
an engraving of one in Count Caylus's Receuil, which at first he
calls a “ Chausse Trappe, pour enclouer la cavaleric;” but he
gives up that idea, and says, -
“Le lecteur plus heureux et plus sgavant que moi pourra
“ trouver l'explication d'un monument au quelle j'avoue que je
“ne comprends rien.” He places it amongst his Roman an-
“tiquities. See Receuil, vol. VII., pl. lxi.
I believe this to be the very specimen engraved by Caylus, as
I know that Mr. Brand Hollis had many things that belonged
to the Count.
Dr. Meyrick seems to have been as much puzzled with this
thing as Caylus; for having engraved one in his work of Roman
armour, &c., he calls it, “A curiosity of bronze, which appears
“to have formed the centre of that severe snaffle-bit, which was
“ termed fraenum lupatum.” — From Italy. Engraved Illus-
trations, &c., vol. I., pl. xlv., fig. 5.
192
As to the franum lupatum, see Smith's Roman Antiquities;
but such an application of this bronze seems quite out of the
question.
Some have supposed that it was used to draw a bow with;
but it is remarkable that Dr. Smith, who gives a dissertation of
two columns in length on the use of the bow, and particularly
the mode of pulling it, and also three wood-cuts, does not say
one word about any instrument, or even guard to the fingers, for
pulling the bow-string.
I confess that I am not satisfied with the evidence of its being
so used, especially as great mechanical advantage would be lost
by its adoption.
It may have been an instrument of torture, by putting two
fingers into the rings, and driving the spikes in between them.
But all these conjectures assume it to be an entire instrument
—it may be a part only of something, quite unintelligible
without the other parts.
PLATE LXXXIII.
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193
PLATE LXXXIII.
E G Y P T I A N A N T IN O U S.
This figure is twenty-two inches high, and eleven inches and
three-eighths round the waist.
It was found about the year 1790, in the Villa of Adrian, at
Tivoli, and is a reduced copy of a large statue in marble, now in
the capitol at Rome—of which hereafter. There were, it
appears, several of these smaller ones in bronze. I have seen
one other copy, but it was very much injured by time.
For an account of the Egyptian works in the Villa Adriana,
see the British Museum Terra Cottas, p. 35. Adrian died,
A. D., 138.
Of the original large marble figure, we have the following
notices :-
In the Capitoline Museum at Rome is a large figure of this
Antinous, of which there is an engraving in a work of Volpato's,
entitled, “Principes des Desseins,” pl.xxii, and printed at Rome,
1786: it is there called, “L'Idole Egyptienne du Capitole.”
Mr. Dallaway, in his work, “On the Statuary and Sculpture of
the Ancients,” speaking of this statue, says:—
“But the Antinous, although in the disguise of an Egyptian,
“will be found, by an attentive observer, to be a Grecian in the
“whole form of the head;—its oval contour, the correctness of
Q
194
“the profile, the fulness of the chin, and the suavity of the
“mouth.”—Stat. and Sculp., p. 16.
He has given an outline of this figure in a plate, p. 178.
Mr. Dallaway further states, that
“The Antinous, or Mercury, was found on the Esquiline hill,
“near the church of St. Martin, in the reign of Paul III.,
“from A.D., 1534 to 1550, who placed it in the Vatican. It
“ has been likewise called Hercules imberbis, and Theseus,
“ and is of the finest Parian marble. The trunk of the palm tree,
“by which this statue is supported, alludes to the use of the
“ palm for writing on; which was an invention of the Egyptian
“Mercury. This figure is exhibited in perfect repose, and the
“head is most beautiful; but the legs do not correspond in size
“with the rest of the body.”—Dal. Sculp. Stat., p. 213.
Mr. Burton, in his excellent book on the “Antiquities of
Rome,” quite concurs in Dallaway's observations as to the
Grecian character of this curious figure, by stating, -“In some
“cases the ancient models were strictly copied; in others, an
“attempt was made to unite the Egyptian and the Grecian
“styles together. The Antinous, preserved in the capitol, is a
“specimen of the latter taste.”—Vol. I., p. 129, Ed., 1828.
There is an exceedingly fine plate of the original marble
statue in the Museum Capitolinum of M. Bottari, printed at
Rome, 1750, vol. III., pl. lxxv; of which, after extolling the
workmanship very highly, he says,
“Justam statuam excedit, et albo marmore sculpta est: atque
“omni ex parte integra.” And further, as to its character, H
195
“Sunt qui putent hanc repraesentare sacerdotem Egypticum,”
&c.—Vol. III., p. 165.
I am not disposed to concur entirely with the observations
of Mr. Dallaway as to the Grecian part of the character of
this figure, especially as to the legs. They certainly have
something very peculiar about them: the calf is very high up
towards the under side of the knee, and the whole thick and
muscular; but this is the true formation of the African man, as
appears from a cast of an entire human figure in the museum
of the College of Surgeons, in Lincoln's Inn Fields, taken by
John Hunter, off a living African; and there the legs have this
peculiarity, and correspond exactly with my bronze.
My attention was called to this expressly by Professor Owen,
who pointed it out to me, and gave me this account of their
plaster cast.
PLATE LXXXIV.

197
PLATE LXXXIV.
ROMAN MATRON.
This is a votive figure, in terra cotta, eleven and a quarter
inches high; and represents a Roman lady in the Stol A ; it
has fortunately escaped all injuries, and is a very elegant piece
of work; about the time of Augustus.
The stola was used by the Roman ladies, and from the
modesty and purity of their conduct and deportment, it became
the distinguishing dress of that highly respectable class—the
MATRoNs; so much so, that it was forbidden to women con-
victed of adultery, and courtezans to wear it.—Adams in verbo
Stola.
There is a figure of a lady in the stola, in Dr. Smith's
Roman Antiquities, whose dress is almost identical with this ;
but she has on a veil in addition.
Martial has, from this circumstance, used Stolatus as an
epithet to pudor. in Epig. 36, Lib. i., he has Quis—stolatum,_
Permittit meretricibus pudorem P
How completely does the whole style and character of this
very pretty figure justify this notion.
It was given me by Sir Richard Westmacott, at the Hyde, in
1835.
For a very full account of these votive figures, or as we call
R
198
them, “ex votos,” both public and private, amongst the ancients.
See Montfaucon, (tom. II., lib. iv., c. 4), but particularly as to
the latter class; i.e., the dedication of eyes, hands, feet, &c.,
(see cap. 6), which it appears were made to Esculapius.
Many were made of stone, but more of terra cotta.
According to Mr. Birch this figure is the muse Polyhymnia,
and is of Greek workmanship. She has a fillet on her head,
but is not in the attitude of speaking, as she often is, being con-
sidered as the patroness of rhetoric and persuasive oratory.
When she spoke she was heard first, and all others, were silent,
and pondered over her words. Thus Ovid, referring to the
Muses, in his Fasti, observes,
Dissensere deae quarum Polyhymnia coepit,
Prima, silent aliae, dictaque mente notant.
Lib. v., 10.
Horace also speaks of her, as playing upon the instrument,
called Barbiton, Ode I., 34. By some she was called Polymneia.
(Delph. note.)
PLATE LXXXV.
Nº.

199
PLATE LXXXV.
ETRUSCAN URN (THE MARRIAGE).
A square Etruscan cinerary urn with a lid, both of the tufo
stone of Volterra, in Tuscany; the front having engraved on it a
group of five figures.
The height of the front is sixteen inches and a half.
The length of the front is twenty-one inches and a half.
In the absence of better information, I conjecture that the
bones, which this urn contained, were those of a person who died
not long after he (or she) was married; for the group may,
without much violence, admit of an interpretation; which,
however, I will venture to propose.
The man and woman in the centre, holding each other's hands,
are the bride and bridegroom; behind the bride is the person
who gives her away, receiving the Hymeneal torch from the
attendant near him.
Next to the bridegroom is the winged Genius Alastor (or
0avaros, the Genius of death), with the torch reversed, and
putting it out—the well-known emblem of human dissolution.
The inverted torch is seen at a marriage ceremony, in the
hands of the bride herself, Thetis, as the emblem of sleep. Such
is Mr. Millingen's reading on the celebrated Portland vase.
See his unedited Monuments, Series I., p. 28.
200
The Genius here has hold of the husband's arm, and is giving
him warning of the instability of human expectations and hap-
piness. On a vase, engraved by Millingen, is this same winged
figure holding a sword, who is attending Medea and Jason. He
calls him Alastor, and says, “Son regard annonce les funestes
“ auspices sous lesquelles l'union des deux amans etoit formée.”
Peintures Antiques, pl. vi., p. 15.
The folding of the dresses of the figures round the waist, is
very curious, and not usual. The lid represents a recumbent
priest lying on his left side; his head is bound by a fillet, and in
his right hand is a patera, remarkable for the boss in the centre,
which is hollow behind, to give the fingers a firmer hold.
They are made of terra cotta, one of which, highly orna-
mented, is in my possession. The disproportion in all these
recumbent figures, of which I saw at Volterra, at least an
hundred, is all the same: the heads are universally too large;
the bodies too small; with legs quite deformed; and this does
not arise from a want of knowledge in the art of sculpture, as
Sir R. Colt Hoare, in his continuation of Eustace's tour, would
insinuate, but from a design, as appears to me, to represent only
so much of the figure as will shew the attributes of the priest;
for there is no such want of proportion in the figures on the urns
themselves.
They are found in tombs under ground; small chambers,
similar to, but ruder, than those of Greece.
There is an engraving of one of these in Francesco Inghirami's
Monumenti Etruschi o di Etruscho Nome, tom. IV., pl. xvi. ;
201
and also some tufo urns of the same class as that we are now
considering.
See Ibid, tom I., pl. lxxv., p. 643, and pl.xc. I bought this
of Sig. Cinci, at Volterra, October, 1829, soon after it had been
found.
PLATE LXXXVI.

203
PLATE LXXXVI.
ETRUSCAN URN (THE Door).
Etruscan. with its lid, a cinerary urn, square; the height of the
front is seven inches and a half, the lid three inches and a half.
It was found about the year 1809 at Chiusi, ancient Clusium,
one of the great twelve cities of Etruria and the capital of
Porsenna, 507 years before Christ. See Mr. Cramer's account
of Clusium, in his “ Ancient Italy Described,” vol. I.
I bought it in December, 1829, of Sig. Carlo Lasinio, the
keeper of the Campo Santo, at Pisa, where it had been some
time exhibited; he had it from Professor Sebastiano Ciampi.
This is also engraved in the “Raccolta del Campo Santo,” by
Prof. Rosini, pl. cxlix., No. 104, and described, in page 52, as–
“Cassetta ossuaria in terra cotta con rappresentazioni non
“nuove : ma al solito oscure.”
In the smaller work of Rosini, the
“Descrizione delle pitture del Campo Santo,” &c., p. 196,
No. 104, he says it is,
“Urna cineraria di Chiusi di terra cotta, con figure, l'una
“muliebre, l'altra virile; due delle quali presso una porta in
“atto di domandare l’ingresso. Ai lati figure di Ercole che le
“accompagna : il coperchio solito, di figura giacente.”
204
In both these accounts, I think the Professor is mistaken ; in
the first, by setting it down at once, that it is, as usual, obscure ;
and, secondly, in supposing any of the figures to be Hercules;
of whose attributes there does not appear the slightest trace.
It seems to me very plain, that the door is the entrance into
the next world: and this is constantly used to denote the passage
of the soul into the abode of departed spirits.
See Mus. Mar., Part V., p. 11.
The man and woman are a priest and priestess, or the relatives
of the deceased, procuring admission as for his soul.
The two figures, at the corners of the front, are the Genii of
Death, with their hoods, &c., and having torches, which they
are extinguishing, the constant emblem of dissolution.
The learned Professor probably took these for clubs; but
who ever saw Hercules in such hoods as these attendants on
funerals wore ? The lid represents the sick man on his couch,
al solito, as usual—and very natural.
Montfaucon has a chapter expressly dedicated to the con-
sideration of it:—“Le passage des àmes aux Enfers:” and “Les
“portes de l'Enfer”—wherein he says, “Ces portes de l'Enfer
“se voient assez souvent dans les monumens.”
Tome V., Livre IV., V.
There is an exceedingly interesting note on the distinction
between the “manes,” anima,” and “spiritus,” of a deceased
person, in Dr. Adams's chapter on Roman funerals, in his
valuable “Account of the Manners and Customs of the Romans,”
and it appears that funerals often took place by night, and torches
205
were carried at them—persons even hired to attend the deceased;
these were chiefly women, called “praeficae.”—Adam. ut sup.
I find the following reflection of Addison's, alluding to these
references to the passage of the soul in the next world, in his
“Remarks on Italy.” He says:–
“A man is sometimes surprised to find so many extravagant
“fancies as are cut on the old Pagan tombs. Masks, hunting-
“matches, bacchanals, are very common. . . . . . There are,
“however, many of a more serious nature, that shadow out the
“existence of the soul after death, and hopes of a happy
“immortality.”—Tit. Rome, 8vo., vol. 5, p. 282.
CHIU S I U R N (MARATH on).
This is an Etruscan cinerary urn, square, of terra cotta, with
a lid, and a recumbent figure upon it.
It was found at Chiusi.
“Clusium, now Chiusi,” says Mr. Cramer, “of all the cities
“that have hitherto been named, seems to have the best
“pretension to be ranked amongst the twelve, since we know
“that it was the capital of Porsenna (B.C., 507) the early enemy
“of Rome.”—Description of Ancient Italy, vol. I., p. 219.
Martial has celebrated the fame of the Etruscan earthenware
in the name of Porsenna :-
Lautus erat Tuscis Porsenna fictilibus.
Ep. lib. xiv., 98.
T
206
The Delphin commentators have interpreted Lautus by
“Splendidus,” so that we may fairly enough render this by our
own well-known phrase, “Porsenna shone in Tuscan ware.”
I bought it in December, 1829, of Carlo Lasinio, conservator
of the Campo Santo, at Pisa, where it had been exhibited some
time. He had it of Professor Sebastiano Ciampi.
The figure on the lid represents, I presume, the person when
sick, whose remains were afterwards deposited in the urn itself.
On the front is a very spirited bas-relief, which is engraved in
a book, entitled,—
“Raccolta di sarcofagiurne ed altri monumenti discultura del
“Campo Santo di Pisa intagliati da Paolo Lasinio, figlio.
“ 4to., Pisa, 1814” (plate xxxxvii). It is dedicated to the
conservator his father, and where it is specially marked as his,
Carlo's, private property.
In page 16, this urn is described as, -
“Piccola urna di coccio, dove comunemente, gli antichi
“Etruschi ponevano come negli altri già indicati le ceneri degli
“estinti. Lo storiato lavoro che in questa vedesi, viene creduto
“rappresentare la Battaglia di Maratona. Lo stilo è assai buono
“essendo le figure molto bene eseguite.”
This is ascribed to Professor Rosini, now living at Pisa (1829),
author of the “ Monoca di Monza,” &c., &c.
The subject seems to have been a favorite one, and often
repeated: I saw several of them in an apartment of the gallery
at Florence, appropriated to the antiquities of Chiusi.
There are two in the British Museum ; and Mr. Combe gives
207
the same account of the subject, namely,–the story of Echetles
rushing into the battle at Marathon;–we have it from Pau-
sanias, -
“That a man, habited like a husbandman, came into the
“fight, and greatly assisted the Greeks; when, having slain a
“great many of the barbarians with his ploughshare, he suddenly
“disappeared.”—Pausanias Attica, page 31, edit. Xylandri,
quoted Brit. Mus. Mar., Part V., pl. vi.
But this devotion to one's country, does not seem confined to
Greece alone; an incident exactly parallel to this took place in
Scotland in the tenth century (A. D., 980).
The event and circumstances were these:—
The Danes had invaded Scotland, and the natives were
worsted in a battle near Loncartie about the year 980, and were
flying, when Thomas Hay, a countryman, and his two sons,
Seward and Achaius, observing the foremost making towards
a narrow pass, left their plough and rallied them.
Being led back by the brave old man, his two sons who were
only armed by such weapons as their ploughs afforded, turned
the event of the day, and gained the victory.
This Thomas was the ancestor of the Lords Hay, Earls of
Kinnoul, who, in commemoration of this, bear, as supporters,
two husbandmen, one holding on his shoulder a plough coulter,
the other a plough paddle.
Collins' Peerage, “Barons,” Hay, vol. VII., p. 197.
PLATE LX x XVI 1.
_-_T – --~
ºl" - A
Ulm 7112
—



209
PLATE LXXXVII.
POMPEIAN GLASS.
That glass was manufactured by the ancients in very great
Quantities, and of a great variety of colours and shapes, is now
clearly made out.
A glass bead has been found at Thebes, bearing the name of
a monarch who lived nearly 3,300 years ago, about the time of
the Jewish Exodus. Vases, also wine bottles, drinking cups,
and bugles, have been found in sepulchres, and attached to
mummies, both in Upper and Lower Egypt; and numerous
specimens prove that the ancients had the art of colouring glass.
See a very satisfactory and full dissertation on ancient glass,
signed “W. R.,” in Smith's Greek and Roman Antiquities in
verbo, “Vitrum.”
It appears, also, from “Müeller's Ancient Art and its
“Remains,” by J. Leitch, that the Phoenicians made glass.-
p. 216-217.
In the British Museum, in the bronze room, cases 34 and 35,
shelf 2, are, amongst many other things, several specimens of
glass, stated, in the Synopsis of 1847, to be “ Glass vases from
“Athens, and others, in opaque glass, from Melos."
210
One of the vases on this shelf is exactly similar, in every
respect, to the ribbed cup here engraved.
This cup, and the little vase, which is of red-coloured glass,
beside it, were brought from Italy by Mr. Thomas Hollis and
Mr. Brand, about the year 1752, and, I have every reason to
believe, found at Pompeii.
Also a glass four-sided bottle, two inches and a half by two
inches and a half; six inches and a quarter high, including the
neck, which is one inch and a half high; a handle rises from
the shoulder and touches the neck. On the bottom are the
letters, B L AS II L A E M I L I, cast in the glass.
It was found by Mr. W. Clarke, the architect, in the Amphi-
theatre at Verona, and given, by him, to me in 1825.
The letters at the bottom are very cleanly cast, and perfectly
legible—quite as much so as the letters, now so common, on
many scent and other cast glass bottles.
There are engravings of two bottles, of Roman glass, square,
and with handles very similar to this: one is in the first volume
of the Journal of the Archaeological Institute, page 159; the
other is in the second volume of the same work, page 255; but
it is not stated that either of them have letters, or words, upon
them.
PLATE LXXXV ||.
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211
PLATE LXXXVIII.
A BOAR'S HEAD.
In terra cotta : the size of small life. Mr. T. Combe con-
sidered it as having been the end of a water spout; though,
upon closer examination, I should suppose it was merely a
terminal ornament to some building, as the insides of the mouth
and neck are by no means smooth enough to allow of the easy
flow of water,
There is in Caylus's seventh volume, an engraving of a small
boar's head, exceedingly like it, in bronze, which he takes to have
been the pummel of a sword, or the handle of some instrument.
—p. 193.
A STELE.
The word, stele, was used generally to express a tomb-stone;
and most commonly in the form of a pillar, as appears in the
Archaeologia Graeca of Dr. Robinson, page 434.
The term, stele, is applied to all kinds of funeral monuments;
but properly designates upright stone tablets, which usually
terminated in an oval heading.—Smith's Rom. Antiq., p. 437.
X
212
The one here engraved has three, evidently the remains of five
points.
The figures on this have been greatly admired, and it is
considered as genuine Greek. The blank space is probably
left for the names of the parties, for whose tomb it might be
used. It is two feet long, by eighteen inches high, and brought
to England by Mr. Brand.
PLATE LXXXIX.
; : coopa 99 o c 6 e
(ſ)}{F'ſ





PLATE LXXXIX.
L E FT F O O T (V o T 1 v E).
Very well made, in terra cotta; figured in Rosini's Raccolta
(page 15), and noticed there, and is numbered, “34. Voto
“Religioso :” it has the No. 34, upon it in ink. See also a
votive foot, in Montfaucon, tom. II., part I., pl. c.
This is one of those ex voto offerings, which were made in
gratitude for some cure, or benefit received. Carlo Lascinio, of
whom I bought it, at Pisa, gave me the following account
of it :—
“Retrovato in un Ipogeo a Ferriciola sopra Volterra fino
“nel anno 1793; e nel anno 1811, da me requistate; et il tutto
“ da me veduto con mei proprii occi.”
Ipogeo, is Hypogeum—a vault, or tomb.
Montfaucon, in his tome second., premiere partie (book IV.,
cap. vi., p. 148), has a very interesting discussion on these ex
votos: he says, L
“Plusieurs antiquaires les plus habiles prennent pour des
“voeux a Esculape, des yeux, des doigts, des pieds, et des
“jambes qu'on trouve encore aujourd'hui dans plusieurs
“cabinets de l'Europe.”
214
After having stated that the fingers were under the care of
Minerva, he says,
“Les pieds etoitent sous la tutele de Mercure;” but excepts
those which have a serpent about them—“parceque le serpent
“etoit le symbole le plus marqué d'Esculape.” He has, in
pl. c., in the same volume, a left foot engraved.
There is, in the British Museum, a very fine bas-relief, con-
sidered as the monument of Xanthippus, who holds in his hand
a human foot. The editor, after some discussion, says, “We
“are disposed to think that this object represents a votive
“offering, dedicated, perhaps, at a former period, on account of
“some remarkable cure.”—Mus. Mar., part X., pl. xxxiii., p. 77.
There is a great deal of curious learning, and very interesting
specimens (amongst which is a foot) in the IXth part of the
Museum Marble, pl. xli., on the subject of ex voto dedications.
*
PART OF AN EARTHEN VESSEL.
Is a very interesting fragment; found at Colchester, in 1837,
and is evidently part of the rim, or handle, of a large vessel, of
white clay, and is stamped with the letters, SE-X'I'V., clearly
marking its contents; which was, probably, fourteen sextarii,
taking SE' as divided from fourteen; or, it may be read,
SEX. IV., making the measure only four sextarii—a sextarius
was about one pint of our measure. Mr. Philip Smith states
it at 99.11 of a pint. See Dr. Smith's Rom. Ant. in verbo.
215
Count Caylus has given us a representation of a portion of
the rim of a vase, very much after the manner of this fragment,
with an inscription stamped, and which he translates as a sort of
prescription for a compound of herbs; and was used by the
physicians of those days. See Receuil, vol. VII., p. 261,
pl. lxxiv.
Mr. Roache Smith, F.S.A., has a great many fragments of a
similar sort and form, and stamped in a variety of words and
letters; all found in ancient London.
The woman's mask, in this plate, seems only to be a more
ornamented portion of some large vessel.
PLATE XC.

217
PLATE XC.
SAMIAN FRAGMENTS (ColchestER).
These are fragments of a sort of pottery, usually called,
Samian ; the colour is a bright red, with a very shining varnish.
They are generally ornamented with figures and flowers, which
seem to have been done by a stamp.
Samos, or, as Dr. Lempriere writes it, Samus, is an island in
the AEgean Sea, on the coast of Asia Minor, and famous not
only for the birth of Pythagoras, but for the commerce and arts
of the inhabitants, especially pottery: this circumstance has
given rise to the name, Samian, being attached to these sorts of
fragments.
On one of those here engraved, is the figure of a man in con-
versation with a woman; on another, a faun dancing, and a
female figure, in a distinct compartment, holding, apparently, a
bunch of grapes.
The largest fragment shews the edge of the cup, and a portion
of a very handsome border, with foliage.
The smallest has Cupid, driving a biga, or two-wheeled
chariot.
These were all discovered at Colchester, in 1827, where a
much larger quantity has been found.
218
An immense number of these vessels must have been brought
to this country in times past, seeing the number of pieces in the
British Museum; and the vast collection which Mr. Roache
Smith has got together, dug up in and about London; and
which are, some of them, of the largest size, and most
beautiful workmanship.
PLATE XCI.



219
PLATE XCI.
THREE CELTS (DolaBRA).
FIG. 1.-This celt, or chisel, is made with a socket, into which
the handle was fixed; and it has two small hooks projecting on
each side, just above the blade.
Dr. Smith has given a wood engraving of these instruments,
which he describes under the word, “ Dolabra,” having had
the equivalent name, Celts, given them by antiquaries, from
“CELTEs,” an old Latin word for chisel.
One of those represented in his cut, is exactly like this now
under notice, excepting that the socket of Dr. Smith's is square,
and has a loop on one side, instead of the small hooks on both.
He says, “It must have been a very effective implement for
“removing the stones in the wall of a city, or fortification, after
“they had been first shattered and loosened in some degree by
“the battering ram.”
What these hooks are for, is not quite obvious.
FIG. 2.-A very handsome celt, made, as many are, to fit into
the handle; which was probably afterwards bound with iron
to prevent its splitting. This celt is ornamented with lines, in
a curious pattern, on the blade, which is widened outwards in
Z
220
the shape of a fan. It was found at Liscol, in Ireland, 1815,
and given to me by Lord Garvagh, 1822.
FIG. 3.−In this specimen, the edges of that part, where we
may suppose it was inserted in the handle, are very much
raised, and curved, and rounded outwardly. From this, I
conjecture, that the handle was very short, and that it was used
by clasping it in the hand, and chopping away, as it were, the
wood, which was to be hollowed out, or got rid of
Mr. Du Noyer, in two papers, in the Archaeological Journal,
No. 13, March, 1847, and No. 16, December, 1847, has
endeavoured to arrange these celts into four classes; in the
last of which, he includes those which are socketed, and have,
what he calls, a ring or ear, for the purpose of tying them to
the handles.
The celt here represented as No. 3, falls within his fourth
class, and instead of the ear, are two small hooks, bent toward
the edge of a wedge: the fastening cord might have passed in
front of these; but it would have been exposed to great injury
when working the tool.
The other two come within his second class; viz., “The
“wedge, with sides, more or less overlapping; the blade thicker
“ than the wedge for insertion into the handle; and a stop-
“ridge, or elevation, at the termination of the blade.”
221
THE BULL'S HEAD (BULLA).
FIG. 4.—A bull's head, or rather face only; behind is a bar,
which would admit of a strap passing through it; the back
part is hollow; and between the horns is a loop of bronze, by
which it may be hung to a chain, or otherwise, round the neck.
This appears to have been an amulet, or “Bulla,” for Mont-
faucon has an engraving of a bull's head very like this; and it
seems that the heads of other animals were thus used—for he
says, “Les autres (i.e., Bullae), on des figures de singe, de cheval,
“ de chien, de rat, d'oiseau, de poisson,” &c.; but he does
not mention Taureau, though he gives an engraving of a bull's
head.—Tom. III., part I., pl.xxxviii., pp. 69-71.
An amulet was any object—a stone, a plant, an artificial
production, or a piece of writing which was suspended from the
neck—“ or tied to any part of the body, for the purpose of
“counteracting poison, curing or preventing disease, warding off
“the evil eye, aiding women in childbirth, or obviating calamities,
“ and securing advantages of any kind.”—Amuletum, Dr. Smith.
PLATE XCll.

223
PLATE XCII.
ANGLO-ROMAN POTTERY.
FIG. 1.-A jar, eight inches and a half high; of coarse and
rough work: the earth seems to contain a large portion of sand;
and it has been in the fire. This, with twenty others, were
found standing upon a kiln of about six feet by five inches and
a half; were all of the same shape and size, and stood in little
sockets, which fitted them, to keep them upright over the
fire-place.
This discovery was made when the foundations were dug for
the Essex and Colchester Hospital, in 1819. Probably, a
cinerary urn for the poorer people amongst the Romans. Mr.
George Saville gave me the vase, with this account, and was
present when the place was opened.
Fig. 2.-A bottle-shaped vessel, with a very narrow neck,
and one handle ; found in Wivenhoe Park, near Colchester, the
residence of General Rebow, in July, 1830; and, by him, given
to me, the same year.
2 A
224
FIG. 3.−A sort of bottle, of a very unusual shape; of white
clay, with a large lip, and a circular foot: it is five inches and
three-eighths high, and indented, all its length, with a coarse
spiral groove.
It was found at Colchester, and full of the coins of Constans,
and seems very likely to have been made to keep money in.
*
;
PLATE
XCIII.


225
PLATE XCIII.
ANGLO-ROMAN POTTERY.
FIG. 1.—A tall bottle-shaped jar; quite entire ; seventeen
inches high, including the neck, which is seven inches and a
half long. It is of a dark grey colour, almost black; but in the
centre of the foot is a crack, like a fire-flaw, shewing that it has
passed through the furnace.
There are a vast number of sparkling grains all over the sur-
face, as if it had a mixture of plumbago in it—but that is not so.
Several smooth lines run round the neck as well as the body,
which seem to have been made, while turning on the wheel, by a
blunt, smooth instrument, and by way of ornament.
The only account I have had of this, is, that “it was found
“ in Kent, near the Thames”—which I have some reason to
doubt.
FIG. 2.-A small Anglo-Roman vase, two inches and a
quarter high; of unbaked clay; was found by the Rev. Thomas
Brooksby, on West Hanningfield Common, in December, 1823.
This small vase was, when found, in the inside of a larger one,
which fell to pieces as soon as moved: it was filled with dirt,
roots of trees, and some remains of human bones. The little
226
one was laid down on its side, and contained small bones.
There was no coin, or anything to lead us to a date,
I venture to conjecture, that these two contained the bones of
a mother and her child: some of them are still in my possession.
FIG. 3.−At the same time and place, the small dish, of the
same sort of clay, was found; two inches and a half in diameter.
Fig. 4.—A Roman vase, five inches and a half high, and
broken at the tip; on the shoulder is a raised border, folded
inwards in a sort of wave: it is of the usual sun-dryed clay.
The following is a copy of a paper which has been preserved
in the vase itself, written at the time it was found:—
“Found at Flintham, in Nottinghamshire, in the year 1776,
“ by some workmen, who were digging a ditch about three feet
“deep, upon the lands allotted to Mr. Richard Green, in the
“ north field upon the enclosure of the lordship.”
The manuscript is in the hand-writing of my father, who was
then resident at Flintham Hall.
PLATE XCIV.

227
PLATE XCIV.
TABLE LEG (BLAck).
One of the legs, of a tripod, or table with three feet, three
feet high, called, trapezophoron. There is a very fine one in the
British Museum, engraved in the Museum Marble, part I.,
pl. iii.
This, before us, is of very short and thick proportions, is
of basalt, and very similar to that in the British Museum.
There is, in Count Caylus's Receuil, an engraving of an entire
tripod, with a centre leg also ; of which he says,
“La hauteur de ce monument, qui est d'environ cinq pieds,
“selon ce qu'on m'en a dit, prouve qui'l n'a point été fait pour
“usage et qui'l n'a €té destiné que pour une offrande. Il est
“ de pierre de touche.”—Vol. II., pl. liii., p. 164.
It is possible that this specimen may be of the same material
as that which the Count calls “pierre de touche,” or touch-stone.
M. La Veaux, in his Dictionnaire, describes “Pierre de
“touche:” sorte de pierre ainsi appelée; parcequ'on s'en sert
pour eprouver l'or, et l'argent, en les y frottant.
These tripods were oftener made of bronze; and some of them
to fold up, and portable; and used in the temples.
The term, trapeza, a table, seems to have been used com-
monly for any kind of table; and the leg, or table-prop, to
2 B
228
have been called, trapezophoron, when they supported a three-
legged tripod, though it meant, by its etymology, a table with
four legs.—See Smith's Ant. Rom. Mensa.
Cicero, in his Familiar Epistles, uses the word, trapezophoron.
—Lib. VII., p. 23, quoted in Museum Marble, part I., pl. iii.
TABLE LEG (RED.)
In rosso antico; very fine and genuine.—T. C.
A panther's head, descending into a claw, the eyes are set in ;
of black marble. This is a very beautiful and highly finished
specimen, of the same sort as the last plate, and rare, as being of
this fine sort of marble, and stands two feet five inches high.
There is, in Mus. Mar., part III., pl. cxi., a specimen similar
to this in Pavonazzo marble.
There is also an engraving of one of these legs in Caylus's
Receuil, where he mentions the circumstance of their having
...eoloured eyes, of stone or paste:–“Les yeux sont creux et ont
“été autrefois remplis par quelque pierre fine ou par quelque
“composition coloriée, qui, selon usage de ces temps etoient ad
“mises dans cette partie du corps plus brillante en effet que
“toutes les autres.—Vol. I., p. 259.
PLATE
-
XCV.
º - N º - - N N N
sº S.
w KN Nkºlº-
QN
sº
N N
º
- N
N N N N º
N















229
PLATE XCV.
E G Y P T I A N C O N E.
These cones have been called seals; but of this fact there is
no proof–on the contrary, I have seen as many as fourteen
stamped from one block, and even instances in which the same
cone has been stamped twice.
The impression was, to all appearance, made from a wood
block.
They have been found in considerable numbers over the
doors of tombs, and were evidently manufactured for purposes
purely sepulchral, as they always bear the name of a deceased
person, occasionally allied to another member of his family.
The present cone is probably about the sixth century, B.C.,
to judge from the peculiar titles upon it; for a cone, very similar,
in the British Museum, is of an officer of the Queen of Amasis
II., of the twenty-sixth dynasty, who just preceded the Persian
conquest of Egypt.
On this cone is the bark, or boat, of the sun, supposed to be
traversing the heavens, bearing in it the solar orb, which is twice
adored by the same person, kneeling down and worshipping it.
Down the centre are four perpendicular lines of hieroglyphics,
containing the name and titles of the deceased. These are,
“ the Osirified person of Coptos—the chamberlain—priest of
230
“libations, and king's cousin, BABA, declared true; i.e.,
“deceased.” On the other side, are another series of titles,
9 2 3
“priest of Anubis, governor of [his] country—viz., “Coptos.
Two sepulchral figures of X as 5. Best-em-heb ; a person
who, probably, from his name, flourished during the twenty-
first dynasty, B.C., 700. The name means “Bubastis in the
festival.” These figures represent the deceased with his
pick-axe, hoe, and reed basket, ready to plant the Elysian fields
in the future state.—S. B.
For these very valuable notes upon the cone, I am indebted
to my friend Mr. S. Birch, of the British Museum.
I had the cone itself from the late Mr. Barnard Hanbury,
who travelled in Egypt and Ethiopia with Mr. Waddington, in
1822. -
In Bryant's Analysis of Ancient Mythology, vol. II., pl. xvi.,
is a representation of a bull-headed god, with two heads, before
whom is an Egyptian king, in the usual attitude of adoration,
holding in each hand a cone, like those just described, with this
inscription upon it, “Meno-taurus Egyptiacus biceps, cum
“sacerdote supplicante.”
On the head of the king, projecting over the forehead, is a
serpent with the swelled neck, evidently the Naia Haje of
Cuvier: Coluber of Lin. ; on which Mr. Stark observes, that
Cuvier supposed it to be the aspic of Egypt, which country it
still inhabits.-Stark's Elements of Natural History, vol. I.,
p. 363.
MUSEUM DISNEIANUM,
BEING
A DESCRIPTION OF A COLLECTION OF WARIOUS
ANCIENT FICTILE VASES,
IN THE POSSESSION OF
JOHN DISNEY, ESQ., F.R.S., F.S.A.,
AT THE HYDE, NEAR INGATESTONE.
WITH ENGRAVINGS,
, , -, -, -, -,-,-,-,--~~~~~~...~~~~~~~ *.*.*.*.*.*.*.*.*.*.*.*.*.*&^^_^_^--~~~~~~~~...~~~~~~~~~~~~~~~~s.
PART III.
“MAJOR QUOQUE PARS HOMINUM TERRENIS
UTITUR VASIs.”
PLIN. N. H. XXXV. 46.
L O N D O N :
LONG MAN, BROWN, GREEN, AND LONG MANS,
PATERNOSTER ROW.
MDCCCXLIX.
XCVI.
XCVII.
XCVIII.
XCIX.
C.
CI.
CII.
CIII.
CIV.
CV.
CVI.
CVII.
CVIII.
CIX.
CX.
CXI.
CXII.
CXIII.
CXIV.
CXV.
CXVI.
LIST OF PLATES.
THE HEAVY BLACK.
PLAIN UNPAINTED WARE.
EARLY PAINTED WASES.
THE HORSE.
THE SUBJECT ENLARGED.
THE PATERA VASE.
THE SUBJECT ENLARGED.
THE JUDGMENT OF PARIS.
THE SUBJECT ENLARGED.
ACHILLES RECEIVING HIS ARMOUR FROM HIS
MOTHER THETIS.
THE SUBJECT ENLARGED.
DIONYSUS OR BACCHUS.
THE SUBJECT ENLARGED.
THE GOOSE WASE,--THE EVIL EYE.
BOTH SUBJECTS ENLARGED.
BACCHANTE WITH A BUNCH OF GRAPES.
THE SUBJECT ENLARGED.
MERCURY.
THE SUBJECT ENLARGED.
PENELOPE.
THE SUBJECT ENLARGED.
iv
LIST OF PLATES.
CXVII.
CXVIII.
CXIX.
CXX.
CXXI.
CXXII.
CXXIII.
CXXIV.
CXXV.
CXXVI.
CXXVII.
THE LION AND STAG.
THE SUBJECT ENLARGED.
PRIESTS OF BACCHUS.
THE SUBJECT ENLARGED.
CYPPUS. -
THE SUBJECT ENLARGED.
FAUN US AND THE NYMPH.
THE WOLF.
THE GOAT SACRIFICE.
A CRATER VOLTERRA.
AN AMPHORA VOLTERRA.
IN T R O DU C T I () N.
HAVING described the marbles and bronzes in this collection, we
now come to another highly interesting class, namely, Vases.
When we contemplate these beautiful remains of ancient art—
the works of a bygone people, who, but for these very monu-
ments, would have been forgotten, three questions naturally
arise:—
Where were they found 7
When were they made 2
What were they made for 2
It will be my endeavour to satisfy these inquiries in as clear
and concise a manner as the subject will permit, illustrating it
with specimens taken from my own collection, which have been
selected, not for the intrinsic beauty of the things themselves, but
for the light they throw upon the state of the arts, as well as
upon the manners and economy of former times.
vi INTRODUCTION.
WHERE WERE THEY FOUND 2
SECT. I.-These vases (it is well known) were at first discovered
in Tuscany or Etruria, and were thence called Etruscan; great
numbers, however, were subsequently found in Greece and the
lower part of Italy (i.e. south of the Tiber), great part of which,
in early times, formed Magna Graecia; these are of later periods,
and, generally, of much greater beauty. M. Winkelman was the
first person who showed the absurdity of calling those things
exclusively Etruscan, which were found so plentifully in other
places.
Though Buonarotti and Gori, indeed, persisted in adhering to
this inaccuracy with a tenacity which Winkelman ascribes to
their vanity—they being of Etrurian descent themselves, sub-
sequent writers have given up this much too limited designation;
some, proposing one mode of denomination, and others, another.
Their different suggestions will be seen as we proceed.
Monsieur Dubois Maisonneuve, in his “ Avertissement de
l’Editeur" to M. Millin’s “Peintures des Vases Antiques vul-
gairement appelés Etrusques,” states thus:–
“Le système que nous avons adopté dans la composition de
cet ouvrage est à-peu-près le même que celui qui a si sagement
guidé M. Tischbein dans la publication de la seconde collection
de M. Hamilton, et dont le savant M. Italinsky a donné les
explications.” He alludes also to the works on Greek vases by
M. Passeri and D'Hancarville.
It is greatly to be regretted that the usefulness of Mr. Millin's
INTRODUCTION, vii
very elaborate and valuable Essay, for such it is, on Painted Vases,
should be so obstructed by the enormous size of the book itself,
each page being no less than thirty inches high, and seventeen
wide; so that, when open, the book covers a space of thirty-four
inches, or (with the binding) three feet in breadth, covering a
space of nearly seven square feet. It is impossible for most
persons to possess or find room for such a work; and painful, to
the eyes, to read it.
The vast quantity of information and instruction which it
contains, renders it an inestimable and inexhaustible mine, from
which an accurate acquaintance with these interesting objects may
be obtained. I have availed myself, therefore, of such portions
of it as may be desirable in this place; referring the reader to the
original for any farther information he may require.
M. Millin having cited many authors, such as La Chausse,
Laurent Beger, Montfaucon, Gori, Dempster, Caylus, and others
as writers on these subjects, says (Section V.) : “Les auteurs que
je viens de citer regardaient les vases peints comme Etrusques, et
pensaient pouvoir y trouver des détails propres à expliquer les
moeurs, les usages, et même l'histoire de l'Ancienne Etrurie.
Winkelman fut le premier a reconnoitre que ce genre de monu-
ments n'était pas particulier aux Etrusques, la fausse dénomi-
nation qu'on leur avait donnée, venait, disait-il, de ce qu'on avait
suivi (sans examen) les idées de Buonarotti, et Gori, qui avaient
les premiers parlé de ces vases. Ces antiquaires Tuscans avaient
facilement adopté une opinion qui leur paraissait donner plus
d'illustration à leur pays.”
viii INTRODUCTION.
In the next section (VI.) he says:—
“On croyait au dix-septième siècle, comme nous l'avons vu,
que ces vases étaient particuliers à l'Etrurie:—cépendant, on en
découvrit dans la Campanie, dans la Pouille, même à Rome sur
l'Aventin et dans la Sicile:” And subsequently he enumerates
Athens, Megara, Milo, and Aulis. To which may be added
Stabia, from which locality I have a specimen in my possession.
The Globe and Traveller newspaper of October 29th, 1823, states
that some painted vases had been then recently found in a private
garden near Odessa.
After suggesting various denominations given by Lauzé, M.
Visconti, and M. Quatremer, M. Millin proposes to call them,
generally, “Painted Vases,” adding the name of the places
where they were found. “Ainsi, on doit dire, ‘Vase peint Si-
cilien,’ ‘Campanien,' ‘Athénien,’” &c. But I believe antiquaries
know them now by the more general name of “Fictilia antiqua;”
those found in the lower part of Italy formerly (and indeed where
vast numbers have been found) being distinguished, at present, as
Basilicata Vases, which term is used in a short account of a
terra-cotta figure in the Archaeologia of Soc. Antiq., Vol. XXXII.
p. 442. - .
Dr. Wm. Smith, in his Dictionary of Greek and Roman An-
tiquities, in verbo “Fictile,” says:—
“We are told of a place called the Potteries (Figlinae) in Gaul.
Numa instituted a corporation of potters in Rome (Plin. H. N.
XXXV. 46). His words are—“Numa rex septimum Collegium
figulorum instituit.' Mention has already been made of Egypt,
INTRODUCTION. ix
and there are frequent allusions to the art in the ancient writings
of the Jews. We also read of its production at Tralles, Pergamres,
Cnidus, Chios, Sicyon, Corinth, Cumae, Adria, Modena, and Nola,
from which city the exports of earthenware were considerable,
and where some of the most exquisite specimens are still dis-
covered.”
In section IX. M. Millin enumerates the things usually found
in the vases; amongst which the most extraordinary seem to be,
eggs, a sort of white wax, pomegranates, apples, pigs (cochons),
things of a very perishable nature; besides spearheads and objects
in bronze, precious stones, and pastes, in imitation of them.
The productions of Samos are well known, and form almost a
class of themselves; they are of a uniform bright red, varnished,
and the figures and objects upon them embossed or stamped, and
usually called Samian ware. M. Millingen begins the intro-
duction to his Peintures Antiques et Inédites de Vases Grecs
(Rome, 1813): “Les vases de terre appelés généralement, mais
improprement, Etrusques, forment une des branches les plus in-
téressantes et les plus instructives de l'antiquité figurée.”
Mr. Dennis however, in his elaborate work on the “Cities
and Cemeteries of Etruria,” has shown how rich that district is in
the production of these vases—it is the very hot-bed of the
fictilia antiqua–they seem to grow there like truffles under-
ground; at Vulci alone, he states in 1828, (till which time the
place was unknown,) there were found, in the short space of four
months, more than two thousand objects of Etrurian antiquity.
Having shown, from the best and universally admitted au-
b
X INTRODUCTION.
thorities, the places where these beautiful specimens of ancient
art, or, as they may be well called, pictorial records of former
times, are found, the next most interesting inquiry will be—as to
the times when they were made.
This is a question of much greater difficulty than the other;
the former being a fact within our own knowledge; viz. the act
of finding; while the latter can only be ascertained by reasoning
and deduction, founded almost entirely from the subjects painted
upon them, or their external appearance.
The circumstance of finding them in tombs, with a human
skeleton entire, affords an evidence of their having been placed
there before the times when bodies were burnt, or at least when
burning was an exception to the general practice; some have been
found with calcined human bones in them ;—so that there are
evidences of times when they did, and when they did not burn
their dead:—and of epochs when they did both. It is not my
intention to lay down any theory upon this subject on my own
authority. I have acquired my own knowledge from studying the
labours of more learned and more industrious antiquaries, and
propose only to place before my reader the results of their
inquiries in a more familiar shape, and enable those who have
not leisure to go more deeply into these questions to understand
and enjoy a popular view of them—so as to avoid forming any
inaccurate or erroneous conclusion.
INTRODUCTION. xi
WHEN WERE THEY MADE 2
SECT. II.—We must approach this division of our subject with
great care and circumspection ; the former question, “Where
were they found 7” is easy enough to answer; the fact of finding
being the distinct and positive act of the finder, of which,
assuming that we have the direct testimony of a credible
person, there can be no doubt; but to determine a period
of time so remote, with no other evidence to guide us than
that of external appearances, cannot but be a matter of extreme
difficulty.
The localities in which these vases are actually found do
not always aid us in our inquiry, as the identity even of a city
or town itself cannot be established with any degree of chrono-
logical accuracy; even the subjects painted upon them are not
conclusive as to the time of their fabrication, though they cer-
tainly prove one fact, viz., that the vase must have been made
subsequent to the scene represented. But such scene or event
itself is not so easily determined; there are, indeed, a certain
set of historical names in antiquity which are almost universally,
as a matter of course, identified with the scene represented. I
have seen at least a dozen groups called “Achilles putting on
his armour,” which designation might equally well apply to any
other warrior, or group of warriors, putting on theirs. There
are no less than five different interpretations of the subject
represented on the square terra-cotta urn engraved in Part II.,
Plate lxxxvi. of the present work, and noticed in Mr. Dennis's
b 2
xii INTRODUCTION,
second volume, p. 174, on Volterra. It is said to be Jason, by
Lanzi; Cadmus, by Inghirami; Echetlus, by Passeri and Winkel-
man; Charon, by Dr. Braun; and an unknown hero, by Zoega.
The peculiarity of the manufacture or style of workmanship
seems to afford a very rational foundation for a guess, as it is
most probable that the rudest vases were made first; and those
more highly finished produced last. This, therefore, is a very
reasonable criterion, and most consistent with the obvious and
constant advancement of arts and civilization; and this prin-
ciple it is which seems to have guided M. Millin in his distri-
bution of the periods in which the wares are manufactured.
The same idea has, it seems, guided M. Millingen—who has
summed up the result of his researches as follows, acknow-
ledging, fairly and openly, the difficulty of the task he had
undertaken. See the Introduction to his “Peintures Antiques et
Inédites, &c., Vases Grecs. Rome, 1813,” page viii.
“On sait l'extrème difficulté qu'il y a de fixer l'époque des
monumens anciens avec quelque degré de précision, soit en les
considérant d'après le style de l'Art; soit d'après les principes de
la palaeographie, lorsqu'ils présentent des caractères. Mais en
combinant ce qu'ont rapporté les auteurs anciens avec les monu-
mens de toute espèce, surtout des médailles, et les inscriptions, il
semble qu'on peut etablir trois époques principales.
“La première commençant vers l'année 700, et finissant vers
l'année 450 avant notre ére. On pourrait y assigner tous les
vases d’ancien style.
“La seconde commençant à l'année 450; temps oil ont fleuri
INTRODUCTION. xiii
Polygnote et Phidias, est celle où l'art a atteint son plus haut
dégré de perfection elle finirait (quant à l'Italie et à la Sicile)
vers la seconde guerre Punique. (B.c. 218.)
* La troisième époque commencerait au temps de cette guerre
désastrueuse, et se prolongerait jusqu'à la guerre sociale qui ruina
de fond, en comble l'Italie, et y détruisit entièrement la civilisa-
tion, et toutes les institutions que les Grecs y avaient apportées.
Ce fut probablement alors que cessa la fabrication des vases
peints."—Introduction, p. viii.
As to the vases themselves, M. Millingen arranges them thus :
* Dans l'origine les vases étaient de terre sans aucune couleur ;
dans la suite on les peignit en noir ; et plus tard, lorsque les
arts, dont l'objet est de tout embellir, prirent naissance dans la
| Grèce, on les orna de figures." He goes on : " Les plus anciens
vases peints sont d'une couleur jaune semblables à du buis et ornés
de figures rougeâtres pour la plus part d'animaux ;" and again,
* Les vases avec des figures noires sur un fond jaune ou blanc
furent fabriqués plus tard ; les figures y portent toujours le ca-
9
ractère d'une haute antiquité ;" and further, * Les vases de la
dernière époque sont avec des figures, jaunes ou rouges, sur un
fond noir ce sont ceux que l'on trouve ordinairement.''—Intro-
duction, pp. iv. v.
Here M. Millingen clearly hints at a class of pottery which,
though well authenticated, cannot be called painted vases, viz., a
class anterior to those having black figures on yellow or red
grounds, and which he describes in these terms, * Dans l'origine
les vases étaient de terre sans aucune couleur."
xiv INTRODUCTION.
We are indebted, however, to M. Burgon, of the British
Museum, for a description of a class of pottery of a very re-
mote date—probably those which M. Millingen alludes to in
the above quotation—in a very useful and interesting paper by
him, published in the Transactions of the Royal Society of
Literature, (Second Series, Vol. II. p. 258,) entitled, “An Attempt
to point out the Vases of Greece Proper, which belong to the
Heroic and Homeric Ages.”
He sets out with stating, in the true spirit of philosophical
feeling,-as well aware that a mere bold and positive assumption
of certainty, (a fault often perceivable in discussions on archaeo-
logical questions,) does not always tend to satisfy inquirers, that
“We can adduce nothing but probabilities, which will appear
stronger or weaker as the reader approaches the subject with or
without preparation, or, again, as he reads with an unprejudiced or
with a prejudiced mind. The utmost we can propose to ourselves
is to show a high degree of probability; and this, in the absence of
an equal degree of probability on the contrary side, should be
satisfactory.” (P. 261.)
He made practical and personal researches at Athens, in the
Isle of Melos, at Mycenae, in Argolis, and in the neighbourhood
of Smyrna; and his opinions, delivered with so much diffidence,
are entitled to consideration and respect. “It has been stated,”
says he, “that the characteristic and most usual ornaments, of
the earliest specimens, which have been discovered of this style
of pottery, are numerous parallel lines, bands, zigzags, spirals,
concentric circles,” &c., &c. (P. 262.)
INTRODUCTION. XV
Representations of men, animals, and other objects, as altars,
vegetables, are exceedingly early. (P. 262.)
He names, particularly, those which have a black starlike orna-
ment proceeding upwards from the foot of the vase; these he
considers as forming a second class in the very remote division,
a sort of transition step, and thinks that they may be placed at
600 years before Christ. (P. 278.)
They may be, he says, appropriately classed as follows (Pp.
282, 283):
1. “Meanders; certain ornaments; certain borders; certain
symbolical representations; as well as real objects.” B.C. 1100
to 900.
2. “Combinations of any of the above with floral representa-
tions, birds, and animals, real as well as imaginary or mythologi-
cal.” B.C. 1000 to 800.
3. “Combinations of any of the above, with the human figure
or groups, and with the occasional introduction of letters.” B.C.
900 to 700.
There is, however, another class of pottery considered of very
early production, which consists generally of vases of small
size, entirely black, sometimes black quite through the whole
substance of the clay; roughly ornamented with lines or pro-
jections, not unlike those made upon the pastry of modern days.
They are much heavier than any other class, and have been
sometimes called “the heavy black.”
The inscriptions on vases, like the two other criteria as to
date, are of little use, for they are often totally illegible, and, if
xvi INTRODUCTION.
legible, not intelligible, being, as Mr. Dennis seems aware, either
ancient Etruscan or Etruscan Greek, both of which are very
difficult to decipher; or the more perfect language of classical
Greece, which is intelligible. But these inscriptions imply a
later time, for Millingen himself admits that palaeography is not
in all cases entirely to be relied upon.
Putting all these considerations together, and availing myself
of the labours of these distinguished archaeologists, I have en-
deavoured to arrange the result of their labours in something
like a tabular form, taking three classes chronologically; the
periods will inevitably run into one another, for it is impos-
sible to give a distinct termination, or definite commencement,
to any particular style of manufacture.
It will add much to the interest of these inquiries to note
down the names of celebrated persons who flourished during
these respective periods, for, though they might not inhabit
specifically the same countries, we derive pleasure from the re-
flection that this was in Homer's time; that, in the time of
Phidias, and so forth; thus connecting the recollection of men,
as well as of things.
INTRODUCTION.
xvii
TABLE OF PERIODS.
II.
B.C. 750
to 220
DESCRIPTION OF WASE.
Some of the heavy black.
Heroic, those with no colour, or with
stripes, plain lines, or rough figures.
A second class of these, with animals,
symbols, and stars rising from the foot
of the vase.
The figures are black on the clay; in
several specimens the clay is nearly white,
and much more compact.
Black figures on the clay, which is
sometimes called pink or red; the co-
lour, however, seems to me to vary
only as the specimens may have passed
through more or less heat, or according
to the nature of the clay of which it
is composed. The subjects on these
are more highly finished than those of
the former period, and many of them
Greek.
Some fine specimens are also found
in Sicily.
Men who existed at
the time, B.C.
King Solomon died,
976.
Elisha died. 836.
Hesiod flourished.
Lycurgus flourished,
873.
Isaiah 757.
Rome founded 754.
Sardanapalus, king of
Assyria 710.
Pythagoras . 716.
Hezekiah 726.
Pisistratus . 669.
Miltiades 664.
Fall of Nineveh 606.
Sappho . 611.
Solon 594.
Socrates born . 468.
Phidias dies 432.
Praxiteles 363.
Darius.
C
xviii
INTRODUCTION.
Date of
time of DESCRIPTION of VASE.
making.
III. Red figures on black grounds; here
.C. 25 º
*: ...” the figures have evidently been drawn
first with the styles, and then a black
pigment worked in between them.
They are considered, (as Mr. Dennis
observes,) with very few exceptions, as
purely Greek, and are found in Magna
Graecia, now called Basilicata, and
Greece Proper. The fleshy parts of
the females are often painted white.
They are all of exquisite beauty, with
a fine polish or varnish, particularly
those of Nola, the appearance of which
is remarkably brilliant.
Men who existed at
the time, B.C.
Philip V.
Diogenes . . 155.
Cato dies . . 149.
Cicero born . 106.
Social war ended 88.
INTRODUCTION. xix
WHAT WHERE THEY MADE FOR 2
SECT. III.-Having thus briefly stated the places where these
vases have been found, so as to correct the mistaken notion of
their being only met with in Etruria; and having also given
some account of the periods when they were made, or used, from
such authority as is universally admitted to be the best, it remains
only to give a correct answer to this last inquiry; namely,
What were they made for 7
It is impossible, in this short Essay, to notice in detail all M.
Millin has said as to the subjects depicted on some 400 or 500
vases, which he examined; it would only be an useless repetition,
as they are already described by him, and so minutely analyzed,
and which may be seen in the Introduction to his splendid book.
It is sufficient to state, in more general terms, the ordinary
character of these representations; from which their uses may be
inferred, either from the nature of the subjects painted, or the
forms of the vases themselves. From the former, it seems that
M. Millingen would consider them as dedicated to deities, or
memorials of the events they represent, which he thus enu-
merates:—Introduction, p. v.
“Sect. W. Mais la division la plus naturelle est celle qui nait
des sujets que présentent les peintures, on peut en former
sept grandes classes.
c 2
XX
INTRODUCTION .
66 l .
Les sujets qui ont rapport aux divinités à leurs guerres
avec les géans ; à leurs amours,—aux sacrifices qui leur
sont offerts, &c., &c.
* 2. Ceux rélatifs aux temps héroïques ; cette classe, la plus
66 3.
66 5.
66 6.
nombreuse, comme la plus intéressante, embrasse tous les
faits mythologiques." Such as the history of Cadmus,
Hercules, Theseus ; the wars of Thebes, of the Amazons,
the Argonauts, and the Trojan wars.
Les sujets Dionysiaques ; Bacchus, les Satyres, les Silènes,
les Nymphes ; et autres personnages de sa suite," &c., &c.
And as these feasts were the most celebrated, and popular,
the artists naturally wished to multiply representations of
them. -
Sujets de la vie civile- tels que des mariages, des scènes
amoureuses, des répas, des sacrifices, des chasses, des danses
militaires, des guerriers qui partent pour la guerre, ou qui
reviennent vainqueurs dans leurs pays ; des scènes d'hospita-
lité, de Théatre, &c., &c.
Ceux qui ont rapport aux cérémonies funèbres.
Les sujets relatifs aux gymnases ; des Ephebes occupés de
divers exercices ; qui s' entretiennent entr'eux, ou avec le
gymnase.
Les sujets qui ont rapport aux mystères et qui présentent
des cérémonies préparatoires aux initiations."
These short extracts sufficiently shew that many of their uses
may be inferred from the character of the paintings. I am,
INTRODUCTION. xxi
*
however, satisfied that some must have been made only to hold
flowers or perfumes; or as mere ornaments to stand on the tables
of the rich, or the toilets of the ladies. And many, it is probable,
were manufactured, as in the present day, to serve as toys for
children. I have a small Basilicata vase, of the common urn
shape, (called Oxybaphon by Mr. Dennis,) only four inches
high ; one can scarcely suppose this was made for any other
purpose.
They were also made, as prizes to be given to the Athletae,
and winners at chariot and horse races.
Taking their respective shapes to indicate their uses, Mr.
Dennis has given us outlines of many destined to domestic
purposes; and ascribing to each its name; classing them accord-
ingly, thus:–
Class 1. Vases for holding wine, oil, or water, are called amphora,
pelice, stamnos.
2. Vases for carrying water, hydria, calpis.
3. Vases for miring wine and water, crater, celebe, oxybaphon.
4. Vases for pouring wine, &c., oenochöe, olpe, prochous.
Vases for drinking, cantharus, cyathus, carchesion, holeion,
5
scyphus, cylix lepaste, phiale, ceras, rhyton.
6. Vases for ointments, or perfumes, lecythus, alabastron,
ascos, bombylios, aryballos, cotyliscos.
xxii INTRODUCTION.
Wherever they are applicable, I have, in the following pages,
adopted these names, and, though they amount to twenty-seven
denominations, I have some specimens in my collection, to the
shapes of which none of these names can possibly apply.
In accordance, then, with these short sketches of the history
of the Fictile vases of antiquity,+the Fictilia Antiqua of the
modern archaeologists, I propose to illustrate chronologically the
several periods of their formation and use, by drawings of
specimens, from my own collection; which, though not large,
furnishes me with the means of so doing in reference to each
epoch above mentioned, exhibiting, as it were, in a regular series,
the progress of the arts in this peculiar class; and which may
fairly be said to shew the very earliest efforts of the painter's
skill; for paintings they all, in fact, are; and some (I speak not of
those in my own possession) exhibit a beauty of composition,
and spirit of design, which has never since been surpassed; and
when we consider that these animated productions have been
created with two colours only, viz., black and red, we may well
marvel at their excellence. .
We may fairly ask, Would any of the great masters of the
middle ages, who had the whole range of colours, and all their
compounds, at command—would they, with these scanty means,
have done as much 7
I have in my possession a small vase of the bottle shape, (Mr.
Dennis's Aryballos,) very much injured by time, having only two
figures upon it, a nymph addressing herself to a fawn; where the
INTRODUCTION. XXIII
expression of her anxiety in telling her tale, and his intense
interest in listening to it, are quite unrivalled—more than one
artist has stolen the attitudes of these figures;–they have all the
rudeness of early execution; with the honest fervour of incipient
art. Each plate, as we proceed, will be accompanied with such
notes and illustrations as my acquaintance with the subject and
specimen may be able to furnish.
JOHN DISNEY.
THE HYDE, July, 1849.
Pl, XUV

23]
PLATE XCVI.
THE HEAVY BLACK.
This plate contains three vases.
Two of them, of the very ancient black, were peculiar to Chiusi;
one, a cantharus found at Chiusi, and formerly belonging to
Count Caylus. The other, a ribbed scyphus, which I bought at
Florence, having two bulls' heads very rudely carved by way of
handles. The third, is of a very peculiar shape, and of clay-black
all through its substance; and much lighter in its texture than
the black of Chiusi ; it is probably the same sort of pottery as the
black vase, engraved in the Transactions of the Royal Society of
Literature (Vol. II.), in M. Bugon's plate, marked E. Mr.
Dennis has no vase of this form in his list of shapes and names.
In speaking of Chiusi, and the museum there, Mr. Dennis says:—
“The pottery in this museum is deserving of particular
attention. It is not of the beautiful painted description so
abundantly found at Vulci, though such vases are by no means
rare at Chiusi. It is chiefly of coarse black unbaked ware, of
uncouth forms, grotesque decorations, rude workmanship, and no
artistic beauty; yet of extraordinary interest, as illustrative of
Etruscan art in its earliest and purest stages, ere it had been
subjected to Hellenic influences.”—Vol. II. p. 347.
There are many of these Chiusian vases in the British Museum,
embossed with figures and other ornaments; they are all of the
very earliest time.
PL XCVIII



233
PLATE XCVII.
PLAIN UNPAINTED WAR.E.
The three vases in this plate are specimens of the next stage
of the manufactured pottery of M. Burgon, which, without being
painted, have only bands, or parallel stripes; and would range
from B. c. 800–500, the time of Porsena.
The jug, or olpe, is very interesting, on account of its great
simplicity and obvious adaptation to domestic uses. I obtained
it, when at Pisa, of P. Lasinio, custode of the Campo Santo ; it
was found at Grossetto, in 1800, by him. Mr. Dennis calls
Grossetto the capital of the Tuscan Maremma; it stands on the
edge of the Lacus Prilis, now Castiglione, close to the coast, and
directly opposite to the Isle of Elba, formerly Ilva.
The jug is quite perfect, and has the neck simply coloured
with the usual dark maroon red, and parallel stripes of the same
at the top and bottom of the body of the vessel; it is six inches
and a half high to the edge of the lips, eight inches and a half to
the top of the handle.
The little mug, somewhat in the shape of a dice-box, was
found at the same time and place, and sold to me by Lasinio.
The very pretty and perfect bottle, or bombylios, is from
another part of Etruria, but certainly of the same archaic
character.
Pl. XCVII] .
EPstrº, ſº W5 Mewman, 54.

235
PLATE XCVIII.
EAR LY PAINTED V ASES.
This plate contains two very curious and interesting specimens
of those vases which M. Burgon places in the period B. c. 1000
—800, which have “floral representations, birds, and animals.”
The tall bottle, or alabastron, is a perfect type of this class; it
has a row of birds, above a row of quadrupeds; and stumps of
trees, and flowers intermixed with them.
And the other specimen, a very beautiful and curious amphora,
forms one of the next, or, as he calls it, second class of this series.
Saying, that the starlike ornament, at the foot of the vase, is
common to the later vases of this primitive class, and the earlier
specimens of the second.
I am fortunate here in being able to bring together the two
classes of vases of this remote period, so as to give a complete
illustration of his idea; where, after speaking of Mr. Dodwell's
great vase, which has flowers, birds, and animals upon it, he
observes: “ The transition style is, moreover, marked by the star-
like ornament springing from the foot, which is a peculiarity
decidedly common to both classes.”—P. 281. And this starlike
ornament is found upon the specimen before us.

Pl, XC1}, .
E. Pºstraca/iſh, ſº Mºwman&

237
PLATES XCIX.——C.
THE HORSE.
This archaic vase, an amphora, is twelve inches and a half high
—was found at Vulci by Signor Campanari, of whom I bought
it; and from whom I had the following certificate, still in my
possession.
“ Io Sottoscritto dichiaro che il vaso a due manichi di mediocre
grandizza rappresentante un uomo a cavallo con due parole in
caratteri Etruschi che sono probabilmente il nome del cavallo;
e forse anche del Cavaliere, fu trovato nei miei Scavi di Vulcia
nel 1836, e dame venduto al Sig. John Disney. In fide.
“Londra, 30 Gennajo, 1838. “ C. CAMPANARI.”
The figures are on the pink ground; the horse's mane and tail
are white; and his neck is of the Etruscan purple; and so is the
principal part of the figure of the rider, who appears to have a
spear in his hand. On the neck of the vase is the head of a
man, larger, but similar to that of the rider. There are letters
behind the head of the man on the horse, which appear to be
NEYPOKY, probably, his name.
There are also ten letters, reaching from below the horse's mouth,
240
Greek, and if it is to be read from left to right, beginning at the
top, they look like KITNEKTXOX. If they are Etruscan, as
Campanari says, this reading is out of the question, and must be
left to those who are better acquainted with the Tuscan character.
The latter part of the word is the plainest, and may be KTXOX
—nates—and allude to the patch upon the haunch of the horse,
and suggest his name.
Pl: Ull.

Pl. Cl.
EP's/ºccº /º/, /3 Mºwman &

24l
PLATES C.I.—CII.
THE PATERA VASE.
This beautiful archaic vase, an oenochoe, was found at Vulci,
and bought of Campinari; it is of the early class, and has the star
at the bottom, above which is a row of animals, three of which are
natural, two leopards and a lion; and three chimerical, viz., two
winged sphinxes, and a winged griffin ; an animal thus described
by Facciolate.
“GRYPs, a griffin, yebº, animal quadrupes, et pennatum omni
ex parte leo, alis tantum et facie aquilae simile equis vehementer
infestum;” in verbo gryps et gryphus, agreeing in every minute
particular with the figure before us.
One of the sphinxes is standing up, which is not common.
There is one in the cemetery at Veii, engraved in Mr.
Dennis's second vol., p. 51, which greatly resembles this, and is
standing up on all four legs; and near it is a leopard, or panther,
sitting on his haunches, and the face of the sphinx red. On the
vase before us, the other sphinx is crouching, as usual, and the
faces of both sphinxes are painted white.
Above this row, a broad open border of ivy, or vine.
Again, above this border, is the principal subject of the vase;
and which I have great difficulty to decypher.
In the centre is a tazza, over which is, what a very experienced
friend of mine calls a wreath of ivy; on each side of the tazza is a
C 2
242
man, one of whom appears as if he had struck it, so as to drive it
towards the opposite figure; who seems preparing to band it back
again. They are, both of them, masked; and have white aprons
round their waists.
Behind him who is to your left hand, (as you look at the vase,)
is a figure with wings rising at his hips, probably tied on, as the
tails were to equine satyrs, and wearing boots of a very peculiar
form; behind the figure, to your right, is a man running towards
the centre of the vase, but looking behind him; holding up his
hands and arms as if he were hailing some one not included in
the scene; beyond each of these two figures (who also appear to
have masks on) is a lion running from them.
These complete the group; and the best conjecture I can
make is, that the whole represents the performance of some
mystic ceremony, or a scene got up by mimi.
A figure, with the wings placed as these are, I never saw on
any other vase; the boots are not uncommon.
The specimen itself is of very high antiquity, and quite
characteristic of the earliest painted vases of Etruria.
P| C1V.
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243
PLATES C.III.-CIV.
THE JUDG MENT OF PARIS.
This is a vase of the oenochoe form, and of the class of those
having the star on the lower point, with six figures, between two
very beautiful borders; all the objects being black, painted on the
yellow colour of the clay.
There are three male, and three female figures. Mr. Birch
and M. Burgon call this scene “The Judgment of Paris.”
The principal figure, a woman, whose face and arms are painted
white, being Venus; to whom the apple has just been given by
Paris, who is declaring his judgment. The other two goddesses,
Juno and Minerva, are standing by ; one of them, Juno, seems
turning away her head in anger and indignation at being dis-
appointed of the prize, and feeling a sense of an injury which she
never forgave; recorded by Virgil as the cause of all the miseries
of the Trojan war.
“Manet alta mente repostum,
Judicium Paridis spretaeque injuria formae.”
AEmeid I. 30.
The other is Minerva, promising the military glory, which was to
be his reward had he given her the apple.
All these female figures, however, are dressed; which Ovid
244.
states, expressly, was not the fact, but the reverse; in Helen's
letter to Paris.
“In altae vallibus Idae
Tres tibi se nudas exhibuere Deae;
Unaque cum regnum, belli daret altera laudem,
Tyndaridos conjux, tertia dixit, eris.”
Epist. xvii. lib. 115.
Who the two personages are who stand outermost in the
picture I cannot tell.
There are also those sprigs which are usually called vines; and
the figure who appears to be addressing Juno has a vine bush in
his hand; the scene is said to have taken place in the valleys
about Mount Ida, where the vine was certainly very plentiful.
In a very elaborate account of Paris, by Dr. Smith's contributor,
in his Greek and Roman Biography and Mythology, there is the
story of the golden apple; and the three goddesses, under the
names Hera, Athena, Aphrodite. He says: “ Zeus ordered
Hermes to take the goddesses to Mount Garganes, a portion of
Ida, to the beautiful shepherd Paris, who was there tending his
flocks, and who was to decide the dispute.” But he says nothing
as to the dresses of the ladies; so that the representation on this
vase is correct, as no naked figures were put upon the Archaic
vases anterior to the time of Praxiteles.
The vase itself is considerably injured by time, and the several
pigments, both white and red, are, in consequence, not so clear as
they are represented in the coloured plate.
Pl. CVI.

Pl, CV.
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245
PLATES C.W.--CVI.
ACHILLES RECEIVING HIS ARMOUR FROM HIS
MOTHER, THETIS.
This vase, a lecythus, was bought for me by my friend
Mr. Christie, without any instruction from me; as being, in
his estimation, a fine and genuine specimen of the Sicilian
class. It has been much broken, and put together again very
cleverly.
The subject is the story of Achilles receiving the armour
which his mother had had made for him by Vulcan; a story
known to every schoolboy.
There seem to have been several of the name of Achilles.
M. Noel, in his “ Dictionnaire de la Fable,” enumerates no less
than six.
Of the Homeric hero, who is treated as the original, as will
appear from Dr. Smith's book, M. Noel gives this account:
“Chiron, son gouverneur, lui donna le nom d'Achille, qu’ avait
porté le sien, et parceque ce nom peut signifier, qui m'a pas
tété; on débita qu'il l'avait nourri de cervelles de lion, de tigre,”
&c., &c.
This is a curious mode of making a man brave or courageous,
as we may suppose that was the object of his kind tutor. We
often see at a modern table a dish of calves’ brain; and some
246
people are fond of the brains of rabbits or singing birds; but I
have not observed any particular effect of the first on our
intellects, or that the latter had increased our powers of running
faster, or singing better.
A most elaborate account of the personal history of Achilles,
the hero of the Iliad, is to be found in Dr. Smith’s “Dictionary
of Greek and Roman Biography and Mythology,” where he has
divided his article into two principal parts—the “Homeric story,”
and the “Later Traditions.”
In the former of these divisions, the story of his receiving his
arms from his mother, Thetis, is told in the usual way.
In the later traditions, I find the following notice with respect
to the change of his name. Having stated that Thetis left the care
of her son to Chiron, “who educated him and instructed him in the
arts of riding, hunting, and playing the phorminx, and also changed
his original name, Ligyron, i. e. the ‘Whining,’ into Achilles.”
“Chiron fed his pupil with the hearts of lions and marrow of
bears,”—in verbo, Achilles.
Here his diet was somewhat changed. It is well that our good
King Richard “Coeur de Lion ” did not live in those days
Both the authors above quoted relate the story of his retreat to
the court of Lycomedes, which is thus told by M. Noel.
“ Ulysse s'y rendit, déguisé en marchand, et présenta aux
dames de la cour des bijoux et des armes. Achille se trahit lui-
même, en préférant les armes aux bijoux. Ulysse l’emmena aux
siège de Troie, et c’est alors que Thétis lui donna cette armure
impénétrable, ouvrage de Vulcain.”
24,7
What passed at the court of Lycomedes is represented in bas-
relief on the sarcophagus, engraved in Plate XLII. of this work.
It is to be observed that Thetis is offering him two spears, so
that he will be armed, as Virgil has armed the hero of the
AEneid:—
“ . Ipse uno graditur comitatus Achate,
Bina manu late crispans hostilia ferro.”
Lib. I. 316.
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P| CVIII.

Pl, CVll.
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249
PLATES CWII. —CVIII.
DIONYSUS, OR BACCHUS.
This vase, of the oenochoe shape, was given me by the late
Lord Western, and brought by him from Naples. It has much
the appearance of the Nola ware, and a great degree of polish ;
but not sufficient for me to decide that it is actually Nolan.
The subject represented is Dionysus, or Bacchus of the
Romans, receiving from two fawns the cup called rhyton, with
wine in it. The mode of drinking with this cup is explained by
Dr. Smith, p. 824, verbo PTTON. The rhyton had a small
opening at the bottom, which the person who drank put into his
mouth, and allowed the wine to run in ; this appears on many
ancient vases and paintings; but frequently terminated in the
head of a dog, fox, bull, stag, eagle, or cock; for a good account of
these, see Dennis, Vol. II. p. 94 (n. 4). The two fawns have the
horse's tail tied on ; and they appear to be attendant on their
patron in a vineyard; the lines and dots, as here represented,
being always taken for vines.
These equine satyrs, as Mr. Payne Knight (Inquiry, &c., Art.
112) calls them, seem peculiarly connected with Bacchus; and
tails were often tied on to render the figure of a man more
grotesque.
D 2
250
The Dionysia or orgies of Bacchus are described at length by
Dr. Smith, in verbo. Millingen has a plate of a vase representing
Hercules with four fawns, having horses' tails, as parts of their .
own persons. Pl. XXXV., Vases Grecs.
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25l.
PLATES CIX. —CX.
THE GOOSE WASE.
This archaic vase was one of those which I bought of Campinari
in 1838.
It is seven inches and a quarter high, and of the form called
amphora. There are represented upon it five geese; four of
which are flying, and, as you look at them, from the right hand of
the observer, to the left; the fifth is standing with his wings erect,
looking the same way. The figures are black, upon the clay, and
sketched out with the stylus ; found at Vulci.
The Etruscans were the inventors, we may almost say, of
augury—the Romans certainly learned that system from them,
but with some difference, as appears from Dr. Smith's Dictionary,
“Augur.” He says: “The Romans themselves, as Müller admits,
distinguished between their own rites of augury, and the Etruscan
divination.”
The Etruscans seem to have some reason for respecting geese;
and might have observed them in their auspices, for Mr. Dennis
found them represented on two tombs, of which, he says, “they
were the guardians; first, in the Grotta delle Bighe, and then in
the Grotta delle Inscrizioni, both at Tarquinii.”—Vol. I. pp.
327–343. And at Chiusi, in the Museo Paolozzi, he found a
very ancient vase, which he calls the “Anubis Vase—black ware of
Chiusi,” and gives a woodcut of it, Vol. II. p. 352. He describes
252
all the human figures, six on the vase, but takes no notice of two
geese. These birds would not be so repeated, if they had not
allusion to some mysteries, or ceremonies, peculiar to the Tuscans.
The flight of wild geese everybody knows is extremely peculiar,
the flocks always moving in some regular form, and very likely to
have attracted the notice of augurs.
Thus, I am disposed to think this represents a flight of these
birds as appearing on an observation of the augurs, and from the
great antiquity of the vase itself.
These geese can have no reference to the story of the geese
which saved the capitol of Rome when assailed by Brennus, the
Gaul, an event which happened about 390 years before Christ,
and of which Dr. Arnold, in his History of Rome (Vol. I. chap.
xxiv.), gives a very full account;—because this vase is believed to
be of an earlier date.
Ö 253
PLATES CIX—CX.
THE EVIL EYE.
This vase, an amphora, has three figures upon it, a sphinx,
winged and walking; a lion, standing with his tail erect; and a
pegasus cantering, separated from each other by a vine twig. On
the shoulder of the vase, the “Evil Eye" is repeated four times.
What connection this can have with the main subject, I cannot
tell. As to the eye itself, it is usually considered to be a spell,
having a malignant and injurious influence on human life and
actions, and is found on many others. On a vase, engraved in
Millingen’s “Ancient Unedited Monuments,” Plate XIX., is a
figure of a warrior, whom he suggests may be Theseus; on the lower
part of the shield which he carries, this evil eye is represented.
There seems to be one also on the shield of a warrior, in Plate
XLIX. of Millingen’s “Peintures des Vases Grecs;” and see
also a “Treatise on the Superstition of the Evil Eye ’’ in the
Archaeologio, Vol. XIX. p. 70, by M. Millingen himself.
It was a superstition amongst the Romans and Greeks to
believe that certain persons could injure others by looking at
them; this was called “Fascinum,” or “fascinatio,” fascination
or enchantment, and was supposed to injure children and even
254
cattle; of which Virgil makes Menalcas, one of his shepherds,
complain.
“Nescio, quis teneros oculus mihi fascinat agnos.”
Ec. iii. 103.
The Chinese have to this day a great horror of the evil eye; and,
even amongst our own peasantry, there are those who still believe
that certain snakes can fascinate birds by looking at them ; so that
they are thus rendered incapable of quitting the spot where they
may be at the time, and thence become an easy prey to their
destroyer.
This supposed power of injury, by the eye, was not confined
to serpents only;-the opinions formerly entertained of the
properties of the toad were eminently absurd. People fancied
“it was highly poisonous, and this not only from its bite; its
breath and even its glance were fraught with mischief, or death.”—
Bell's British Reptiles, 112.
This absurd fear still obtains credit amongst the Jews now living
at Jerusalem, for Mr. Curzon, in his “Visit to the Monasteries in
the Levant,” in 1833, 1834, when noticing the rich display of
ornaments made by the Spanish Jews there, says of one of them
whom he visited, “The Rabbi's little son was so covered with
charms in gold cases to keep off the evil eye, that he jingled like a
chime of bells when he walked along.”—P. 189.
But it seems that this eye is not in every instance taken to be
as injurious or “evil.” Mr. Dennis says (Vol. II. p. 182), “The
deity illustrated by a woodcut at the head of his Chapter XLI.,
255
has an eye in either wing, a symbol, it may be, of all-searching
power, added to that of ubiquitous energy.”
To this he adds a note (9), giving several instances where the
eye is not considered as hurtful; for instance by Micali, as symbol
of celerity and foresight; Inghirami, of circumspection, and other
attributes, as represented on several vases enumerated in that
In Ote.
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257
PLATES CXI.—CXII.
BACCHANTE WITH A BUNCH OF GRAPES.
On this vase, an oenochoe, are three figures, two Bacchantes,
and a winged genius.
As to the Bacchantes, according to M. Noel, they were women
who celebrated the mysteries of Bacchus; and the first who
were so called were the women who followed Bacchus in his
conquest of India; carrying in their hands a thyrsis, or a short
lance, covered with ivy or vine leaves.
A thyrsis of this sort is in the right hand of the principal
figure, who holds in the other hand a bunch of grapes; the
female on her right hand is an attendant, and seems leading her
mistress on to join in some bacchic dance or jovial ceremony
connected with the rites of the bacchanalians. On a vase en-
graved (Pl. XLV.) in M. Millingen’s “Vases Grecs,” there is a
square object, exactly like that represented in this vase, imme-
diately over the right hand of the attendant, and which he
considers is a window. For, after having discussed the subject on
his vase, he says (p. 69), “On aperçoit encore une fenêtre,
indice que la scène se passe près d'une habitation;” so it may be
here.
The third figure is a winged genius, with his left hand resting
E 2
258
on an altar. The scene may, indeed, be supposed to pass in the
inside of a mansion, or temple, for he is presenting the bacchante,
or possibly priestess of Bacchus, with fruit, in a bowl or patera.
The genius himself has an amulet on his right arm, a band of
pearls on the left thigh, and sandals tied on his feet.
In Mr. Kirk’s “Outline of some of Sir William Hamilton's
Vases " (London, 1804, Pl. 2) is a female represented with wings,
in the act of flying, with an amulet on her left arm, and bands of
pearls on her left thigh ; she also is carrying a bowl, or patera, and
a mirror. The account given of Hamilton's figure is as follows:—
“There cannot, therefore, be any doubt that this figure is
intended to represent one of the genii belonging to Apollo; and
the string of pearls round his thigh denotes this to be a genius
that presides over augury.”
The only attribute here, which strictly applies to the figure
before us, is the wreath, or string of pearls, on the thigh; but the
author makes sad confusion as to the sex of his “genius; ” she
(evidently a woman) has also pearls on the calf of the left leg.
This sort of genius might as well attend on Bacchus as Apollo;
especially as the whole character of these beings was a matter of
imagination and fancy.

Pl. CXII] .
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259
PLATES CXIII.–CXIV.
MERCURY.
This vase, a celebe, was brought from Naples by a relation of
mine, about the year 1799 or 1801. It is in good preservation,
though not brilliant; the handles are formed by upright columns;
and it shows both modes of painting; viz., black upon a pink
ground, and pink upon a black ground. I have given the subject
on each side, and, in order to make out the several actions, I
shall first notice the suggestions of my friend, Mr. Christie, on
a Sicilian vase in the possession of Mr. Hope, in his “Disquisition
on Greek Vases;” which he says “exhibits a female repre-
sentative of the Deity, or Mind, ascending a quadriga, preceded
by Camillus, or Mercury, and accompanied by a male and female
figure ; the former with the hand open, and extended in an argu-
mentative attitude; the latter (the female), with the arm uplifted,
and the fingers bent inward, as if persuading or inviting her
companion. These figures I conceive to be the A670; and IIa,02,
or Argument and Persuasion, which powers are here personated
under the different sexes.”—P. 69. Such is his explanation of
Mr. Hope's vase.
In the same work, Christie has given us an engraving of a vase
(p. 87, et seq.), where a youth is in the act of pleading, with the
word reiða inscribed near him ; the figure appears to be female
rather than male; and is stretching forth her hand as expressive of
speaking, and addressing another female.
260
This IIeið was a goddess, and noticed by M. Noel as Pitho—
“Nom Grec de la persuasion. Cette Déesse était regardée
comme la fille de Venus,” &c.
IIaido, Peitho, Persuasion, as a goddess, was the handmaid of
Aphrodité, and it seems had a temple at Corinth.-Liddell’s
Greek and English Dictionary.
“Camillus, or Cadmillus,” says M. Noel, “nom de Mercure
considéré comme divinité d'un ordre inférieur.”
These several authorities, and the reference of Christie to the
vase of Mr. Hope, have induced me to think they furnish an
explanation of both the pictures on the vase before us : first,
The compartment containing the two figures represents IIsidº
addressing the man, with energy and emphasis, on some interesting
subject, to whom he is attending with great devotion; resting his
hand on his staff, and evidently saying, as Addison might have it:
“IIaidº, thou reasonest well; it must be so.” !!—The extension
of his finger indicates this. Logos, in this inactive personification,
may represent philosophy. Christie, in the book before quoted
(p. 68), translates rattoi zai A6, a “by persuasion and reason.” The
three persons in the larger compartment are IIsidº and Aºyos,
again, with Camillus; his hat hanging on his back, and receiving
refreshments from the goddess, before he sets out to carry her
commands into execution, and teach the world eloquence, the
sciences, and arts of all kinds.
Here AOTOX stands looking on, his hand closed round his staff,
observing what passes between the goddess and her messenger,
listening in silence.
261
Such is the best interpretation I can suggest on this very
beautiful and interesting relic.
Horace addresses Mercury, as the messenger of the Gods, and
sent forth for the very same purpose:
Mercuri, facunde nepos Atlantis,
Quiferos cultus hominum recentum
Voce formästi catus, et decorae
More palaestrae :
Te canam, magni Jovis et Deorum
Nuntium
HOR. Od. I. 10.
And as having actually carried out the directions, and executed
the commission which Pitho is here represented as giving.
In Dr. Smith’s “Dictionary of Grecian and Roman Biography
and Mythology” we find a very elaborate account of Mercury
under the name of Hermes, and of his very multifarious employ-
ments, as well as of his attributes. “The principal attributes,”
says he, “ of Hermes are, first, a travelling hat, with a broad brim,
which, in later times, was adorned with two little wings.” The
second, the staff, “according to the Homeric hymn and Apollo-
dorus he received it from Apollo; and it appears we must dis-
tinguish two staves, which were afterwards united into one: first,
the ordinary herald's staff, and secondly, a magic staff, such as
other divinities also possessed.”
With these two passages the drawing on this vase perfectly
agrees. The broad-brimmed hat, without wings, and the double
staff.
| | | | \\ |
+
Ľ.
E
+
Ľ.
E.
+
| ||T.
E
+
Ľ.
E
+
L.

- Pl. CXV.
E. Hºº & Newman &

263
PLATES CXV.–CXVI.
PENELOPE.
This vase was one of the earliest admitted into the collection,
and I believe formed part of it as long ago as 1760, or there-
abouts. It is in form a calpis, having three handles, and from
Nola, with the usual bright polish. The scene represented is a
lady dressing; and, upon the authority of Dr. Adam, in the
following passage, viz., “When riches and luxury increased,
dress became with many the chief object of attention; hence a
woman's toilette and ornaments were called MUNDUs MULIEBRIs—
her world.”—Roman Antiquities, p. 368. We may so consider it.
It is quite obvious that these three personages are—a lady at
her toilette, attended by her two lady's-maids, or waiting-women.
She herself has a looking-glass in her hand, which at that time
was a piece of polished metal; several of which are now in the
museums of individuals.
The dress she has on seems to be the “tunica,” such as the
woman is represented to have on in Dr. Smith's Dictionary: verbo
Peplum. The wooden cut there is from one of Sir W. Hamilton's
vases. The lady, the subject of our present attention, has also
an outer garment called the palla (see Dr. Adam, p. 358); and
which she is about to put on ; and the girdle or “zona,” which
one of her attendants is holding, while she is giving orders to
the other. That this girdle was so worn is stated by Dr. Adam
F
264.
(p. 363) thus: “The tunic was worn by women as well as men,
but that of the former always came down to their feet and covered
their arms. They also used girdles both before and after
marriage.”
The chair is here a very conspicuous object, and has furnished
a pattern for modern drawing-rooms.
In Mr. Kirk’s “Outlines of the Hamilton Vases * (Pl. XIII.)
are three female figures; one, sitting in a chair, precisely like the
one before us, the figure behind the sitting lady holds the same sort
of mirror, and the other has an article of dress. This is said to
represent Penelope dressing, as is shown by the fillet.
Pl. CXVIII.
-


Pl. CXVll.
E. Hºwz, & /3 Menzanº

265
PLATES CXVII.—CXVIII.
THE LION AND STAG.
This exquisite little amphora, of the Nola class, was bought for
me at Florence by the elder Lasinio, on commission.
On one side of the vase is the figure of a priest, with the mappa,
or napkin, in his hand, and over him on the neck of the vase is
a stag galloping; it has the highest polish of Nola manufacture.
The mappa was a cloth or napkin, which was held by the
magistrate who presided at the games, and by dropping it gave
the signal for starting or commencing. Fasciolate quoting Sue-
tonius, Cicero, and others, says, it was a “white cloth, which the
magistrate, who presided at the public games, used to drop as a
signal for beginning the chariot races.”—Suetonius in Ner., c. 22.
The stag may be taken as the emblem of swiftness, and bears
some distant allusion to the race.
As to stags, I find M. Noel says, “Cerf, symbole d'une longue
vie. Sur les anciennes médailles—le cerfest le type d'Ephèse
et des autres villes ou Diane était spécialement honorée.
I do not find anything upon this vase which indicates a
reference to Diana.
On the other side are the two figures so often repeated, and
which, as relates to Plates CXIII. and CXIV., are called A6)0; and
IIaiá." ; but what relation they can have with the lion, which is
above them on this vase, I cannot tell.
F 2
Pl. CXX

Pl. CXIX.
º
º
E. Mºsºrº Zaº, º Aº º

267
PLATES CXIX. —CXX.
PRIESTS OF BACCHUS.
This vase, or oxybaphon, one of the Basilicata class, in the first
Plate (CXIX.), represents two figures draped, wearing a long
garment folded close round them, the same in each, ornamented
with a spotted border, having a laurel crown, and a staff in his
hand; one has a sprig of some plant, probably a vine, and thus
denote that they are priests of Bacchus. There is in Millingen's
“Peinture des Vases Grecs,” page 9, a long note (4) on the subject
of dresses, such as these before us; closed and without sleeves ;
which, amongst them these are, I am not able to decide; but it is
evident that they are alike in these two figures, and therefore I
may suggest that it is the characteristic dress of a class.
On the other side of the vase is a figure of the young Bacchus
with his thyrsis, a belt of pearls over his left shoulder, and
a bracelet on his right arm. A faun is attending him with a
wreath in one hand, and a thyrsis in the other; the thyrsis in both
cases has the well-known ribbon hanging from it.
The faun has a belt of pearls over his right shoulder, and a
wreath of pearls on his left thigh. They have sandals on.
M. Millingen has two plates, Plate VII., explained in page 18,
and Plate XXI., in each of which is a figure, having a “bande.
268
lette,” as he calls it, on the left thigh, and a belt across the body,
and in both instances he calls him Bacchus. *
The sea-wave border runs all round the vase under the pictures;
and there is a very handsome honeysuckle under each handle.

Pl. CXX1.
- ºwcz, Zºë Newman &

269
PLATES CXXI.-CXXII.
CYPPUS.
This vase is, like the former, of the form called by Mr. Dennis
oxybaphon; very common, perhaps the commonest form of all,
amongst vases of the Basilicata class. It is very elegant in its
outline, and well calculated to display the subjects which are
exhibited upon them. On the principal front of this specimen is
the usual scene, a faun attending upon a nymph. Here he is
offering her fruits and refreshments in a patera, in his left hand.
The thing which he has in his right hand I, for some time,
imagined to be a basket; having seen myself baskets of that form
used by the peasants in Italy. But, on looking over the en-
gravings from vases in M. Millingen’s great book, I find he always
calls them vases, Plate XVI., where it occurs twice. We may
therefore presume that here it is a vessel of wine, for the use of
himself and his companion. The square figure, called a window, is
here found over the shoulder of the faun; what the circle with dots
may mean I have not discovered. The female has on her head a
cap decorated with pearls, and a necklace of the same ; her
garment is the close vestment without sleeves, and she has a
double bracelet on the right arm ; her countenance is full of the
expression of modesty and dignity. On the other side of the
270
vase are two persons; one, a male, has the pedum, or staff of a
traveller, and a female is addressing him with energy; between
the two is a cyppus and a flower, or, as some have it, a cake used
in sacrifice.
From these objects, I am not disposed to call these A670; and
IIsido, as they might have been had they not been here, for the
two figures themselves have a strong resemblance to the two in
our former Plate, CXIV.
The lower part of the vase has the square scroll-border.

27]
PLATE CXXIII.
FAUN US AND THE NYMPH.
This truly interesting vase, an aryballos, is of a decided Etruscan
character; there are only two figures upon it, a faun and a
nymph, both sitting, and in earnest conversation; the female
figure is entirely human. The faun has long pointed ears, and
the horse's tail; in all other respects, he has the human form
also. +
Of these imaginary personages, the fauns, M. Noel says they
are “Dieux Rustiques inconnus aux Grecs, fils ou descendants de
Faunus, qui habitaient les campagnes et les forêts.”
They were, however, known to the Etruscans, as Mr. Dennis
found them at Tarquinii, and mentions one tomb particularly,
where, he says, “Over the door is the usual pair of panthers, and
in each angle of the pediment is a recumbent faun, with brute
ears, and human legs, terminating in goat's hoofs.”—Vol. I. 343.
The faun before us has the brute ears, but human feet; and
this archaic vase of Etruria shows that they were known there.
They were depicted with great variety of deformities. M. Noel
shows this, and the difference between them and satyrs, thus:
“Les poèts leur donnent des cornes de chèvre, et de bouc; et la
figure du bouc, de la ceinture en bas; mais des traits moins
G
272
hideux, une figure plus gaie que celle des satyres, et moins de
brutalité dans leurs amours.”
Faunus and Sylvanus are sometimes supposed to be the same
with Pan, who was said to be the inventor of the flute, and is
usually distinguished from Faunus, by having in his hand the
syrinx, or musical instrument of unequal reeds tied together,
familiarly called Pan's pipes to this day.—See a woodcut of him
in Dr. Smith's Dictionary: “Syrinx.”
The faun is often represented as a man of great personal
beauty, especially on vases of the Basilicata class; as may be seen
on some of those in this work. Horace gives him a character
for most persevering gallantry in one of his odes, addressing
him thus:–
“Faune, nympharum fugientum amator,
Per meos fines et aprica rura,
Lenis incedas.”
Od. III. xviii.
Rendered by Creech in the same spirit.
“Faunus that flying nymphs pursues,
And courts as oft as they refuse.”
The composition on this vase is extremely beautiful, and quite
supports this notion, for we may read the scene as illustrative of
his gallantry.
We may suppose that he has steadily pursued this young
nymph (who for a time had flown from him and resisted his
273
solicitations); that at last they sit down, and she is with great
energy and decorum remonstrating with him, and giving her
reasons why she does not admit of his addresses.
To this he is listening with most intense interest, with something
of displeasure in his countenance; the attitude of both is admirable;
no one can look at these two figures with any attention, but must
see how anxious she is to impress her discourse upon him; his
very hands, hanging down in listless nothingness, show the care
with which he considers what she says. The whole will fall in
with the interpretation I have suggested.
This picture has always excited my most ardent admiration. I
have seldom seen anything parallel to it on these very early
specimens.

275
PLATE CXXIV.
THE WOLF.
This aryballos is probably older than those which are usually
called Basilicata; the human figure is winged, and holds a box in
his left hand; and seems soothing, or coaxing, the animal before
him with the other, as if he were going to feed it with something
out of it.
The animal is clearly a wolf, sitting on his haunches, his fore
paws in an attitude soliciting as it were to be fed; and the feet
of the genius are pressing down the hinder paws of the animal,
as it were to check his impatience. The genius is crowned with
a wreath, and is sitting on a rock, indistinctly drawn, with the
flower of a lotus near it.
I cannot give a better interpretation to this group, than one
which has been suggested to me by a very competent friend;
namely—
That the whole is allegorical;-the wolf is the wolf of the
Capitol, who brought up Romulus and Remus, and here repre-
sents the early state of Rome. She is soliciting and receiving
encouragement and support from the hands of the genius of
Victory, typical of the future conquests of the infant city, and its
martial founder.
276
“Inde lupae fulvo nutricis tegmine lactus
Romulus excipiet gentem, et Mavortia condet
Moenia; Romanosque suo de nomine dRet.”
VIRG. AR'm. I. 280.
The vase itself is more like those of the early times, soon after
the building of Rome, thus described by Virgil, in connection
with the feeling of pride which Romulus had in his supposed
origin. I should place the date of this specimen between 200
and 300 years anterior to the Christian era.


277
PLATE CXXV.
THE GOAT SACRIFICE.
From the position and action of the figures here introduced,
it is evident that this is an early representation of the first origin
of Tragedy; which was far from a sorrowful performance. Here
we have a woman dancing, preceded by a faun playing on cym-
bals; the goat is here also, and an amphora near a rude altar
burning. The very elaborate dissertation on the Greek Tragoedia,
signed by R. W.
quite supports this interpretation of the subject above alluded to,
n, in Dr. Smith’s “Roman Antiquities,”
especially in the following passages.
Having cited one opinion as to the origin of the word Tragedy,
he says:—
“According to another opinion, indeed, the word Tragedy was
first coined from the goat that was the prize of it; which prize
was first constituted in Thespis's time,”—quoting Bentley, Phalaris,
p. 249. But this derivation he does not seem entirely to adopt,
though it certainly is not very forced, but rather obvious. How-
ever, in another passage, my conjectures receive rather more direct
support, stating that the Tragoedia were invented at an early
period. He observes that the dramatic tragedy “was a derivative,
through many changes, of the old satyrical recºyºta, i. e. of songs
sung with mimetic dancing by the goat-like satyrs; or, as others
278
would say, round the altar, on which lay the burnt sacrifice of a
goat.” º
See also Dr. Smith, “Dyonisia,” signed L. S., where we find:
“The procession probably went to the Lenaeon, where a goat
(re&yoc, hence the chorus, and tragedy, which arose out of it, were
called recºyizé." Yogo, and recºyºto) was sacrificed, and a chorus,
standing round the altar, sang a dithyrambic ode to the god.”
Dr. Adams, “Tragedy: ” the song sung at the time a goat was
sacrificed; and therefore called the goat's song, reáyo; and 38%.
Whichever way the learned in these matters may choose to
differ, or agree, it is clear that this curious vase represents the
sacrifice of a goat, and that in very early times. .
This vase is as old as 400 years before Christ. In November
1826, I saw at Florence, in the gallery of the Uffize, a vase of the
same uncommon brown colour, with bright yellow figures; in
shape, an aryballos, but larger.
That is the only one, besides this, which I ever saw.

279
PLATE CXXVI.
A CRATER (VOLTERRA).
This vase is one of a peculiar class, purely local, and found
only at Wolterra, where I purchased it in October 1829.
“Nearly fifteen miles inland, and on the right bank of the
same river, (viz. the Coecina,) stood the ancient city of Vola-
terrae, now Volterra. Its Etruscan name, as it appears on nume-
rous coins, was Velathir. Even if we had not the express
authority of Dion. Hal. (III. 51) for assigning to Volterra a place
amongst the twelve principal cities of ancient Etruria, the extent
of its remains, its massive walls, vast sepulchral chambers, and
numerous objects of Etruscan art, would alone suffice to show its
antique splendour and importance, and claim for it that rank.”—
(Cramer's Anc. Italy, I. 184.)
M. Millin, in his “ Peintures de Vases Antiques,” says, in a
note to page 24, this sort of vase is not peculiar to Volterra ;
but I am not satisfied what he means by this sort of vase.
The colour of these vases is not black but a blue, very much
resembling the colour which is so common on out-of-doors works,
and iron railing, called lead colour, and they have a good varnish
upon them ; several, indeed, as brilliant as those of Nola.
Mr. Dennis (Vol. II. pp. 203, 204) says: “Of the early styles
of Etruscan pottery—the Egyptian and Archaic Greek—with
H
280
black figures on the yellow ground of the clay, Volterra yields no
9
examples;” and again, “Yet there is an ancient ware of great
beauty almost peculiar to Volterra. It is of black clay, sometimes
plain, sometimes with figures in relief; but, in simple elegance of
form, and brilliancy of varnish, it is not surpassed by any ancient
pottery of any other site in Etruria.” -
The vase before us, in shape, is exactly that which Mr. Dennis
calls CRATER ; the handles being placed upon a swelling line at
the lower part of the cup. The colour is the blue-black or lead
colour, has a good varnish, and round the body of the bell is a
double row of small ivy leaves, and three fine lines are cut in the
clay while soft. The outer edge of the lip is embossed with the
egg-border—never found in the Basilicatas. The handles are
turned inwards, and ribbed like the branch of a vine-twig, and a
knob of clay left at the top of each.
These handles rise, at each point, out of a female head with
long flowing hair, divided near the forehead and combed back.
The stem is grooved perpendicularly, and the foot, at its base,
is bordered with small knobs. It had recently been found in a
tomb when I got it.
There is a large collection of this class of vase at Florence, in
the Grand Duke's Museum, and some with very beautiful emboss-
ments on them.
A handle is shown enlarged, below the vase, in the Plate.

281
PLATE CXXVII.
AN AMPHORA (VOLTERRA).
The height of this vase is 94 inches, the diameter at the mouth
7 inches, that at the foot is 3} inches.
The colour is like the last, and the shape (which is not found
amongst Mr. Dennis's outlines) comes nearest to the amphora,
and seems taken from the flower of the thistle, with the lines
curved outward; very elegant and uncommon.
The handles are placed upon the shoulder, and resting also
against the neck; they are composed, each, of a snake coiled
twice in a circle, with the head looking upwards; the sutures of
the skull are very carefully marked; and the neck, immediately
behind the head, very thin, bearing some resemblance to the
Dryinus OEneus of Cuvier; the tail turns quite across to the same
side as the head, and then returns in the opposite direction in
five or six undulations. The foot has no ornament, or knobs, but
has several well-turned mouldings. Bought of Cinci at Volterra,
October 1829. This is one of shapes marked in Fran. Inghi-
rami's book, Tom. V. Pl. I, Fig. 18. —See letter-press, p. 492.
The handle, enlarged, is shown at the bottom of the Plate.
The group is made up with two small jugs, of the same colour
and character as the principal vase, and from Volterra.