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probably a bunch of grapes, held out in the missing right hand of the god.

Aphrodite of Cnidos. From the Vatican replica of the statue of Aphrodite entering the bath, by Praxiteles. The statue, which was given by Praxiteles to the city of Cnidos, is identified from coins. Another replica of the subject, from Munich, is in the middle gangway.

The sculptures in the corner of the room are connected with the group of Niobe and her children, which once stood in the Temple of Apollo at Rome. Whether the group was the work of Praxiteles or Scopas was a matter of controversy even in the days of Pliny. The best known examples of the types of the group are now in the Uffizi Museum at Florence. The casts here shown are (1) Niobe and her youngest daughter, from the Uffizi; (2) a replica of the head of Niobe, in the collection of the Earl of Yarborough at Brocklesby Park; (3) a torso of one of the daughters of Niobe, in the Chiaramonti Museum of the Vatican.

The reliefs in this corner of the room are from the tomb of GjölBaschi, in Lycia. The wall of the enclosure (or temenos) of the tomb was covered with reliefs of a pictorial character. The scenes represented on the slabs here shown are (1) an attack on a citypresumably Troy; (2) the slaying of the suitors of Penelope, by Odysseus and Telemachus. The reliefs are probably of the middle of the 5th cent. B.C.

Proceeding along the south gangway we pass (on the left) the Aphrodite of Capua and the Aphrodite of Arles and (on the right) the Aphrodite of Melos, otherwise known as the Venus of Milo. The statue was found in the island of Melos (French Milo) in 1820, and is now in the Louvre. The restoration and date are equally matters of controversy, but the statue seems to be 4th-3rd cent. B.C.

The large sarcophagus with combats of Greeks and Amazons is now in the Museum at Vienna. It was brought to Germany from the Levant after the battle of Lepanto (1571).

On the left of the gangway is the Apoxyomenos, or athlete scraping off oil with a strigil. Found in Trastevere, Rome, in 1849, and formerly regarded as a work of Lysippus. The recent discovery of a contemporary copy of the portrait of Agias, by Lysippus (see cast of the head), has thrown doubt on the correctness of this attribution.

The bust of Athene, or Pallas, is from the colossal statue in the Louvre, known, from its place of discovery, as the Pallas of Velletri. It is an unidentified type, probably of the latter half of the 5th cent. B.C.

The Belvedere Apollo was found (perhaps near Antium) before 1500 A.D. It stands in the cortile of the Belvedere at the Vatican. Correctly restored, it is probable that the god held a bow in the stretched-out left hand and a branch of laurel in the right. [The view current in recent years that Apollo held an ægis in the left

hand cannot be maintained.] The date of the original, from which the Vatican statue is a modified copy, is still uncertain.

A finely draped portrait statue of a Roman lady, from Herculaneum, is now in the Museum at Dresden. The type of draped figure appears to go back to the 4th cent. B.C.

The triangular tripod base, commonly known as the Altar of the Twelve Gods (in the Louvre), gives figures (considerably restored) of the twelve gods, grouped in pairs, viz., Zeus and Hera, Poseidon and Demeter, Apollo and Artemis, Hephaestos and Athene, Ares and Aphrodite, Hermes and Hestia.

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The bronze figure of the Praying Boy,' one of the chief ornaments of the Museum at Berlin, is probably after a fourth century type.

The chair (no. 2709) is from the chair of the priest of Dionysos of Eleutherae in the theatre of Dionysos at Athens.

The following casts are from some of the best known works of ancient art. The Ludovisi Ares' is seated in an easy pose, with a figure of Eros on the ground between his legs perhaps after a work of Scopas. The Borghese Gladiator' (Louvre) is a figure of an armed heroic warrior, probably in combat with a horseman. Signed with the name of Agasias of Ephesus (2nd cent. B.C.). The group of Laocoon and his sons was found on the Esquiline Hill at Rome in 1506, and is now in the Vatican. A work of the Rhodian School, about 100 B.C.

On the wall is a long frieze of the marriage procession of Poseidon (Neptune) and Amphitrite (Munich). It has been lately identified as forming, with other reliefs in the Louvre, the sculptured decoration of an altar which stood before a temple of Neptune erected by Cn. Domitius Ahenobarbus in commemoration of a naval victory gained at Brindisi in 42 B.C.

The colossal relief on the wall is a scene from the frieze of the great altar of Zeus at Pergamon, erected by Eumenes II. about 180-170 B.C. The subjects are taken from the war of the Gods and Giants. In this group Athene, crowned by Victory, slays a young Giant, for whom intercession is made by his mother Earth, half issuing from the ground. The Pergamene school of sculpture was noted for its treatment of rough and barbarous types, with shaggy hair, and strong action.

The figures in front of the relief, namely, two Persians, a dead Amazon, and an old Gaul, are also from works of the Pergamene school. They are reproductions of figures in a series of votive groups dedicated by Attalus I. of Pergamon on the Athenian Acropolis (about 200 B.C.) in commemoration of a victory over the Galatians, or Gauls. The dying Gaul (or so-called Dying Gladiator) on the opposite side is a work of the same school.

We return to the east end of the central gangway, and observe :A replica of the Cnidian Aphrodite of Praxiteles in the Munich Glyptothek, already mentioned above.

The Satyr (or Faun'), in the Museum of the Capitol. This

famous statue is probably a copy of the Satyr of Praxiteles in the Street of Tripods at Athens, regarded as one of his most famous works.

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The Apollino,' or statue of a young Apollo, in the Uffizi at Florence, is probably a work of Praxiteles or one of his pupils.

The Apollo Sauroctonos of the Vatican represents Apollo as a youth idly trying to pierce a lizard with an arrow held in his hand. This also was a work of Praxiteles, preserved to us in many copies.

The bronze praying youth from Virunum (now at Vienna) was dedicated by two freedmen, whose names are engraved on his thigh. It is probably a Graeco-Roman copy, of the beginning of our era, from a Greek statue of a young athletic victor.

The running figure of Hypnos (Sleep) from Madrid is of the same type as the bronze head in the Bronze Room (cf. p. 182), and has been employed to give the correct pose of that work.

The boy drawing a thorn from his foot (in bronze) is reproduced from a famous statue in the Museum of the Conservatori at Rome. A more realistic rendering of the same subject in marble may be seen in the Third Graeco-Roman Room.

The Venus dei Medici, in the Uffizi at Florence, is a statue which enjoyed extraordinary celebrity from the seventeenth century to the middle of the nineteenth century. It is one of a large number of replicas of an unidentified original.

The pedestal with glass shade supports a considerable number of interesting casts of bronzes and other works.

Near the end of the central gangway are several typical archaistic figures, in which the peculiarities of archaic work are reproduced and accentuated by accomplished artists of much later date.

At the west end of the gallery are examples of sculpture of the Roman Empire.

Augustus, in armour. A fine statue from Prima Porta, Rome. The head should be compared with that from Meroë in the Bronze Room (Plate XXII.). The Prima Porta head represents a somewhat more advanced age than does that of Meroë.

The large sarcophagus (2715) was formerly known as that of Alexander Severus. On the front is the scene of the discovery of Achilles among the daughters of Lycomedes, and on the other three sides are reliefs relating to the story of Achilles. On the lid are two recumbent figures of the third century A.D. The sarcophagus was found in the sixteenth century in the Monte del Grano, near Rome, and was long reported by tradition to have contained the Portland Vase. The accuracy of the story has lately been questioned.

On the walls at the corner of the room are examples of Roman Imperial sculpture from the Arch of Trajan at Beneventum (erected 114 A.D.). The exhibited reliefs consist of:

A. Panel from the attic member of the arch: Olympian deities about to welcome Trajan.

B. A part of the frieze that surmounted the arch, showing Trajan's Dacian triumph.

C, D. Panels from the pylons at the sides of the arch: Attendants burning incense; Victories sacrificing bulls.

E. Trajan presenting to Roma and Mars Roman children destined to inhabit the new provinces.

[We return, through the Graeco-Roman Basement, by the staircase to the Third Graeco-Roman Room, and pass through it to the Second Graeco-Roman Room.]

SECOND GRAECO-ROMAN ROOM.

SUBJECT: GRAECO-ROMAN SCULPTURES (continued).

In this room, turning to the left on entering from the Third Room, we find :

1608. A square terminal figure of the bearded Dionysos, in the archaistic manner.

250. Copy of the bronze Discobolos of Myron, an Athenian

Fig. 47. The Discobolos of Myron, with the head correctly restored (after Michaelis).

artist of the first half of the fifth century B.C. A young athlete is represented in the act of hurling the disk. He has swung it back, and is about to throw it to the furthest possible distance before him. We have an interesting opinion upon this statue by the ancient critic, Quintilian. He remarks that the laboured complexity of the statue is extreme, but anyone who should blame it on this ground would do so under a misapprehension of its purpose, inasmuch as the merit of the work lies in its novelty and difficulty. The position of the head as restored is not correct. It ought to be as in fig. 47, representing a combination of the torso of the present figure with the head of the copy in the Lancelotti Palace at Rome. (Compare the reduced copy in the Gallery of Casts.)

1666, 1667. Two very similar figures of a young Pan. Both are by the same sculptor, Marcus Cossutius Cerdo, freedman of Marcus Cossutius, who has inscribed his name on the tree stumps.

MAAPKOZ
ΚΟΣΣΟΥ
ΤΙΟΣ

MAAP KOY
ATENEY
ΘΕΡΟΣ
ΚΕΡΔΩΝ
ΕΠΟΙΕΙ

Μάρκος Κοσσούτιος Μαάρκου ἀπελεύθερος Κέρδων ἐποίει.

The letters are of the first century A.D., and the style of the sculpture is that of the so-called School of Pasiteles, an artist working at the close of the Roman Republic. The inscription shows that the sculptors of such works as the present might have been of servile condition.

1676. Statuette in green basalt of Cupid riding on a dolphin. The complete group probably contained a figure of Aphrodite, supporting herself by a rudder, of which a part remains. The figure appears to have formed part of a fountain, as a bronze tube passed through the rudder.

1574. The Towneley Venus, a half-draped ideal figure, found at Ostia.

1603. A head of Hermes (?), a youthful ideal male head, somewhat severely treated. From the Chinnery collection.

[We pass by the opposite door to the First Graeco-Roman Room.]

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