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THE
ANTIQUITIES
O F
HERCULANEUM
Tranflated from the ITALIA N,
By THOMAS MARTY N,
and
JOHN LETTICE,
Bachelors of Divinity, and Fellows of Sidney College,
Cambridge.
Containing the P I C T U R E S.
LONDON,
Punted for S. LEACROFT, at the Globe, ChariNG-Cross.
m DCC iXXIII,
vl •
THE
SUBSCRIBERS NAMES.
A.
H E Right Reverend the Lord Bifhop of St. Afaph<
Sir Anthony Thomas Abdy, of Albyns in Effex.
Lady Abdy.
Thomas Apperley Efquire.
Reverend George Afhby, B. D* Prefident of St. John’s College, Cam*» bridge.
John Aubrey Efquire.
B.
Reverend Nicholas Bacon, Redtor of Coddenham and Barham in Suffolk. Reverend Mr. Bagfhaw, of Bromley in Kent.
Mr. William Gregg Barnfton.
William Bayntun Efquire, of Gray’s Inn.
Reverend Richard Beadon, Public Orator of the Univerfity of Cambridge.
Reverend Mr. Bennet, of Emmanuel College, Cambridge.
Reverend Samuel Berdmore, M. A.
Herman Berens Efquire, of New-Broad«Street. *•
Reverend Mr, Beresford, Fellow of St. John’s College, Cambridge.
[A] 2
Sir
Sir Robert Bernard, Baronet.
Nathanael Bifhop Efquire, of Dodtor’s Commons.
Reverend Samuel Blackall, Fellow of Emmanuel College,
Thomas Boddington Efquire, of Clapton.
James William BoilTier Efquire.
Richard Bofunquet Efquire, Mincing-Lane.
Matthew Boulton Efquire, of Birmingham.
Shadrack Brife Efquire, of Clare in Suffolk.
Mr. Frederick Browning, Fellow of King’s College, Cambridge.
John Browning Efquire, Marter in Chancery.
Reverend Dr. Burrough, Prebendary of Peterborough, and Vicar of Wifbech.
c.
The Right Honourable the Earl of Carlifle.
The Right Honourable Lady Clive.
The Right Reverend the Lord Bifhop of Clogher.
The Right Honourable the Lord Vifcount Cullen.
Brigadier General Caillaud.
Mr. Calvert, Fellow of Trinity Hall, Cambridge.
Pv.everend Mr. Graham Chappell.
John Chafe Efquire, Great-Ruffel*Street, Bloomfbury. Nathanael Chauncey Efquire.
John Chettoe Efquire.
Gervoife Clarke Efquire.
Matthew Clarke, M. D.
Reverend Mr. Cleaver, of Lincoln College, Oxford.
George Clive Efquire.
Charles Nalfon Cole Efquire.
Henry Colrton, M. A. Fellow of Sidney College, Cambridge.
Reverend
Reverend William Cooke, B. D. Fellow of Emmanuel College.
Jofeph Copley Efquire, of Southampton.
Reverend Mr. Cowper, late Fellow of Bennet College, Cambridge». Jofeph Cradock Efquire, of Gumbley in Leicefterfhir^,
Claude Crefpigny, LL, D. of Camberwell.
Daniel Crefpin Efquire.
John Crewe Efquire, Member of Parliament for Chefhire.
Richard Crofts Efquire, Member of Parliament for the Univerfity of Cambridge.
D.
Philip Dennis Efquire, of the Inner Temple.
Reverend Mr. Difney, of St. Peter’s College, Cambridge. Reverend Dr. Domvile, of Ireland.
Mr. William Duelbury, of Derby.
The Chapter of Durham.
E.
Robert Edgar Efquire, of Ipfwich.
Reverend William Ellifton, D. D. Malier of Sidney College, Cambridge. Reverend Edward Evanfon, Redtor of Tewkefbury, Gloucefterfhire.
F.
Richard Fairfield'Efquire.
Reverend Richard Farmer, B. D. Fellow of Emmanuel College, and of the Society of Antiquaries.
Reverend James Favel, M. A. Redlor of Auchonbury in Huntingdonlhire. Richard Firmin Efquire, Catherine Hall, Cambridge.
Bernard
Bernard Foord Elquire.
Reverend Henry Foord, Redtor of Foxholes and Heflerton, in Yorkfhire. Brigg Fountayne Efquire, of Narford in Norfolk.
Reverend John Freeman, M. A. of Sidney College.
James Fremeaux Efquire, of Clapton, 2 fets.
Mr. John Peter Fremeaux, of Clapton.
G.
The Right Honourable the Earl of Gainfborough.
David Garrick Efquire.
.Reverend Laurence Gibbs, of Sidney College.
Reverend Mr. Glafsbrook, Vicar of Raunds, Northamptonfhire.
Dr. Glynn, of Cambridge.
Reverend John Gooch, D. D. P-rebendary of Ely.
Reverend John Gordon, D. D. Archdeacon of Lincoln.
Reverend Mr. Gregory, Fellow of Trinity Hall.
Steddy Grinfield, LL. B. of Trinity Hall.
FT.
Right Honourable Lord Vifcount Hinchingbrook.
Sir Thomas Hatton, Baronet.
Edward Haiftwell Efquire.
‘Mrs. Henley, of Docking in Norfolk.
Reverend Francis Henfon, B. D. Fellow of Sidney College.
Reverend John Hey, B. D. Senior Fellow of Sidney College.
Thomas Hollis Efquire, F. R. and A. S. S.
John Hoole Efquire.
John Howard Efquire, of Cardington, Bedford in ire.
B-everend Henry Hubbard, B. D. Senior Fellow of Emmanuel College.
Reverend
Reverend Chriftopher Hunter, M. A. Fellow of Sidney College. Reverend Julius Hutchinfon, M. A. late Fellow Commoner, of Sidney College.
I.
William Janften Efquire.
George Jennings Efquire, ofNewfells, Herts, Member of Parliament for St. Germans.-Reverend John Clement Ives, M. A.
K.
Thomas Kerrich Efquire, of Harlefton in Norfolk.
Edward King Efquire, of Lincoln’s Inn.
Mr. King, of Hull.
Reverend Mr. Kipling, of Emmanuel College.
Reverend Mr. Knight, Redtor of Stanwick, Northamptonfhire.
Mr. Kriting, of Konigfberg in Pruflia.
L.
The Right Reverend the Lord Bifhop of Lincoln.
William De Laet Efquire, Potterills near Hatfield, Herts.
Chriftopher L’Anglois Efquire.
John L’Anglois Efquire.
Major General Laurence.
Benjamin Lethieullier Efquire, Member of Parliament for Andover, Reverend Michael Lort, B. D. Fellow of Trinity College, Cambridge, and of the Royal and Antiquary Societies.
Reverend John Love, M. A. Fellow of Caius College, Cambridge.
Libraries,
Libraries, in Cambridge:
r( t
Caius College.
Corpus Chrifti College.
Chrift’s College.
Emmanuel College.
Jefus College.
St. John’s College.
Pembroke Hall.
Sidney College.
Trinity College.
Trinity Hall.
M.
Lord Vifcount Maynard.
Sir William Maynard, Baronet, late Member of Parliament for Eflex. Reverend Mr. Maddock, Redlor of Great Catworth, Huntingdonlhire. Thomas March Efquire, B. A. Fellow Commoner of Sidney College. James Marriott, LL. D. His Majefty’s Advocate General, and Mafter of Trinity Hall, Cambridge.
James Martin Efquire, 2 fets.
Jofeph Martin Efquire, Member of Parliament for Gatton.
Thomas Martin Efquire.
Claudius Martyn, B. A. Fellow Commoner of Sidney College.
John Martyn, F. R. S. late of Chelfea.
Lieutenant Colonel Edward Matthew, of Mitcham, Surrey.
Thomas Maunfell Efquire.
George Mercer Efquire.
Robert Morris Efquire.
N. His
N.
His Grace the Duke of Northumberland.
Thomas Nevile, M. A. Fellow of Jefus College, Cambridge. Mr. Francis Newbery, late Fellow Commoner of Sidney College. Andrew Newton Efquire.
O.
The Right Honourable the Earl of Orford.
Reverend Edward Oliver, B. D. Fellow of Sidney College.
P.
The Right Honourable the Earl of Portfmouth.
Reverend William Palgrave, LL. B.
Reverend Mr. Peirfon.
Thomas Pennant Efquire.
Reverend Mr. Pickering, Mackworth, Derbyshire.
Mr. Jofeph Pickford.
Charles Pigott Efquire, of Peplow.
Reverend Mr. Pitts, Great Brickhill, Bucks.
Samuel Pole Efquire, Fellow Commoner of Sidney College-Reverend Dr. Powell, Archdeacon of Colchefter, and Matter of St. John’s College, Cambridge.
Jofeph Pyke, of Cambridge, Efquire.
R.
Mrs. Ravaud.
Reverend William Reeve, M. A. 3 fet?c » — ■ Reynolds Efquire.
Vol. I.	[B]
William
William Henry Ricketts Efquire, of Hinton, Hants.
Sir George Robinfon, Baronet, of Stretton in Leicefterfhire.
Thomas Ruggles Efquire, of the Inner Temple.
' S.
The Right Honourable the Earl of Sandwich.
The Right Honourable Lord Scarfdale.
The Right Honourable the Earl of Shelburne.
The Right Honourable Earl Spencer.
Reverend Dr. Sandby, Malier of Magdalen College, Cambridge.
Luke Scrafton Efquire.
Charles Scrafe Efquire, of Lincoln’s Inn.
William Shrive Efquire, of Clare in Suffolk.
Sir George Smith, Baronet, of Queen’s College, Cambridge.,
John Smith Efquire, of St. Stephen’s near St. Albans.
John Smith Efquire, of Sydling in Dorfetfhire.
Thomas Smith Efquire, of the Inner Temple.
Henry Kynafton Southoufe Efquire.
Reverend Mr. Spurgeon.
Edward Valentine Stead Efquire, Fellow Commoner of Sidney College. John Strange Efquire, F. R. and A. S. S. 2 fets.
Richard Sutton Efquire.
Reverend James Swann, B. A. late of Sidney College.
T.
The Right Honourable Lord Trevor.
Benjamin Tate Efquire.
R verend James Tatterfliall, M. A. Redtor of St. Paul’s Covent Garden, r 'J of Streaiham in Surry.
/
Reverend
I. J
Reverend John Tatterihall, M. A. late of Gatton in Surry.
Mr. Taylor, of Trinity Hall.
Reverend Edward Thomas, M. A. F. R. and A. S. S.
James Tompfon Efquire, of Peterborough.
Richard Townley Efquire, of Belfield in Lancalhire.
Honourable George Townfhend.
Sir Clement Trafford, of Dunton Hall in Lincolnfhire.
Reverend Mr. Tyfon, Fellow of Bennet College, Cambridge, and of the Society of Antiquaries.
V.
Henry Vanfittart Efquire.
a
W.
Mrs. Wale, of Shelford near Cambridge.
Reverend Barton Wallop, M. A.
John Warde Efquire.
Warren Efquire, Fellow Commoner of Emmanuel College. William Watfon Junior, M. D.
Jofiah Wedgwood Efquire, of Burflem, Staffordlhire.
Benjamin Weft Efquire.
Reverend Mr. Whately, Nonfuch Park near Epfom.
James White Efquire, Lincoln’s Inn.
Mr. White, of Queen’s College, Cambridge.
Thomas Wilcox Efquire.
Sir William Wifeman, Baronet.
Stephen Wright Efquire, Scotland Yard.
Edward Wynne Efquire, Middle Temple.
Reverend Mr. Wynne, Redtor of Gumbley, Leicefterfliirc.
Sir Watkin Williams Wynne, Baronet.
THE
THE EDITOR Sf'1 PREFACE.
IT is now the nineteenth-year£2] lince the king took a refo-lution of {pending fome time at PorticiHe knew that fome people, who had formerly dug thereabout, had difcover-ed fomething of antiquities-: he ordered the work to be continued, as the dilcoveries might at once adorn the nation, and ffirnulate its genius. A theatre, a temple, fome houfes, a great number of moveables of every kind, ftatues,. pictures, inferip-
[1]} They flilethemfelves GU Accademki^ the Academicians.
£2] This volume was publilhcd in 1757.
Vol. I.	b	lions,.
tions- and coins, being round between rortici ana Ketina, bred
7	'	O	/
a fufpicion that here might be the ancient city of Herculaneum; the overthrow of which, writers mention among the events of the reign of Titus. It was imagined one city could not afford fuch plentiful difcoveries: they prompted therefore a fearch after the ancient Pompeii, The event was not unfuccefsful, and fuggefted hopes of even finding Stabiae; but the difcoveries there did not anfwer.
The prodigious multitude of thofe remains of antiquity (Rome itfelf is not in poffefiion of more), of which an hundredth part would be fufficient to excite admiration, are depo-fited in fome galleries of the royal palace at Portici.
This treafure, of which the public has been advertifed by a catalogue [3], is now opened and given to the world in copperplates. This publication begins with the pi&ures. Tliefe, being the envy of the moll illuflrious mufeums, were with the greater impatience expected by the curiofity of the learned : The negligence of others in preferving thofe few pieces which from time to time were firfl difcovered, renders this part of the work more interefting than it might have been otherwife. A much deeper knowledge of ancient painting will be acquired from this work, than from any former lights thrown upon the fubject. We may here trace all the different flyles of painting left us upon record. Each volume will exhibit fomething of all the different manners of the paintings hitherto found; and
[[3] Printed in 1755. This is referred to in the notes upon each plate; and the reader will find it tranflated and abridged in the cnfuing preface.
the
the fame plan will be obferved with regard to future dif-coveries.
The defign of the fhort explications which accompany the plates, is to awaken the refledlion of thofe readers who are difpofed to examine thefe matters themfelves. The notes will prevent any trouble to fuch as fhall be contented with our thoughts.
b 2
THE
THE TRANSLATORS PREFACE.
IT is now more than five years fince the propofals for this work were firfl: publifhed. The tranfiators flattered themfelves that they were engaged in an undertaking, which, if it added not much to their own reputation, might at leaft prove acceptable to the public. The original work, befides its being in a language not univerfally read, was not then to be obtained, but either as a mark of royal favour, or at an enormous expenfe: and even had that n^t been the cafe, yet furely it was no abfurd fuppofi-tion, that in an age fo liberal as the prefent, a competent number among perfons of rank and fortune might be found, who would be glad to fee this celebrated worli in an English drefs ; and at the fame time have an opportunity of encouraging Englifh artifts. The event, however, has not juftified the fuppofitlon; for the tranfiators find themfelves much more obliged to their friends, than to thofe from whom alone they had expected fupport in fo expenfhe an undertaking. But if they might not receive the favours of the great; little did they imagine, that fuch humble members as they are of the republic of letters, could attradl the refentment of crowned heads; litte indeed did they exped, that the ferenity of the Court of the Two Sicilies and Jerufalem could be difturbed by any publication of theirs, wl ich meddled not with politics, morality, or religion : yet, in thefe fu.ppofitions they find themfelves as much miftaken as in the firfl; for their royal adverfary, after attempting to flifle the work, from an imagination as falfe as it-was ridiculous, that fo refpedable a body as the Univerfity of Cambridge itfelf was engaged in the publication; was publicly pleafed, when nothing could be done that way, to order, that the book which was not to be commonly purchafed before, for fear it might become of fmallvalue if it loft its rarity, fhould be fold at a price greatly below the prime coft; in order, it may be prefumed, to fuperfede the tranflation, and diftrefs the tranfiators by undcrfelling them1.
The ftudy of aniquities (fays the lively and induftrious Caylus), is an affair of Rate at Naples* and 1 fhoult be afraid, in giving fome of thefe precious remains to the public, left £
Notwith-
Notwithftanding thefe difcouragements, the tranflation and engravings are at length finifhed ; in a manner, it is hoped, that will not prove dif-pleafing to the fubfcribers, or difgraceful to the Britifh artifts. If it fhould be obferved, that all the vignettes which adorn the original, are not engraved in the Englifh work, the tranflators prefume they may plead in ar-reft of judgement, that in juftice to their fubfcribers they were unwilling to delay the publication any longer ; and in juftice to themfelves were neceftitated not to increafe their expenfe fo much as the engraving fo con-fiderable a number of vignettes muft have done b: in truth, they are of very fmall importance, and if the fubfcribers expe&ei them, their lofs is made up by the addition of things of more confequence, for which the tranflators never engaged.
A better fource of complaint the fubfcribers pfcrhaps may find in the immoderate length and parade of the notes. The original, however, is faithfully rendered ; the tranflators not thinking thenfelves at liberty to mutilate it, or obliged to make themfelves accountable for all that is faid there: the authors have made their own apology c.
The public will doubtlefs expedt from us, though ve did not article for it, fome account of the deftrudlion and difcovery of Herculaneum., We fhall endeavour to give them what fatisfadlion we can upon this, and fome other points.
And here we fhall not begin ab ovo, and inform our readers who Hercules wasnor tell the whole ftory of his coming irto Italy and building the city of Herculaneum. Whoever has an. inclination to go fo far back, may find thefe points difcuffed at large in the Italian writersd.
The firft author who makes mention of Hercukneum is Dionyfus of Halican:ajfuse. He it is who tells us, that it was built by Hercules, when he was detained in Italy for want of his fleet, which he had left in Spain., Its moft ancient inhabitants, of whom we have any certain account, were the Ofci: after them the Cumae ans, Tufcansand Samnites, pofiefled it in
fhould render the accefs to the cabinet at Portici more difficult than it is already : but, fince that is impoffible, we have no terms to keep, and muff; make the moft of what we can get at. Recueil d''Antiquites, vol. iii. p. 143.
b Two of thefe are engraved, one at the beginning, and another at the end of this volume : thefe may ferve as a fpecimen of the reft. The head-piece to the preface-is a modern view of Vefuvius, the crater, and the ftreams cf lava defending from tie mountain. c See note f3J plate viil.
d Venuti, par. i. cap. i, ii, iii. Bayarcli, Prodrcmo dcllc Antichita d'E.cdano, p. 20, &c. e Antiq. lib. i.	I	^
their
11JW1L iwiiju* —	------- ------ ----------------/	7 0 J-----------------   «'
and 93 years after that, it was taken again, in the focial war, by the pro-conful Didhis: from that time it was inhabited by a colony of Romans, and was a Municipium
Herculaneum was fituated between N?ples and Pompeii, near the fea, on the banks of the Sarno, and at the foot of Vefuviush; between the fpot where now Hands the royal palace of Portici, and the village of Re-fma. If this traft of country be fo pleafant now, after fo many repeated eruptions of Vefuvius, we may well fuppofe it to have been much more fo when the great Romans retired to it, either from triumphs or bufinefs; and ornamented it with their villasWe need not wonder, therefore, if fo finall a city as Herculaneum was k, fhould contain a theatre, temples, and other magnificent buildings, adorned with a great profufion of paintings and fculptures, many of them certainly in a good tafte, among a much larger number of bad ones.
That the newly difcovered city is really the ancient Herculaneum cannot be doubted : the infcriptions that have been found, the fituation cor-refponding fo well with that in which ancient authors1 have placed it, and a variety of proofs which have arifen in the courfe of the difcoveries, put it beyond a doubt,
All the’ world Imows that Herculaneum was overwhelmed by a violent eruption of Mount Vefuvius, on the ift of November, in the year of Chrift 79, and the fiijft of the reign of Titus. Before this, Pompeii had been entirely, and Herculaneum in great part, deflroyed by a terrible earthquake, which happened 16 years before, on the 5th of February, and lallcd fe/eral daysm.
f Strabo, lib. v. Livy, lib. iv. cap. xix. See Venuti, p. i. ch. iii. and Obfervat'mu fur les dntiquites d' Her.ulaneum, par MM. Cochin et Bellicard, pref. p, 17, See.
s Remeßi Infaipt. claff. vii. n. 15. Dionyf. lib. i. Grutcr, 400, 29, 6, See. h Ur be s, ad nare, lays, Floras Bell. Samnit. i. 16. Formiae, Cumae, Futeoli, Neap oils, Herculaneum, Ponpeii. Seneca, Spuae/1. nat. lib. vi. cap. i. Si xxvi. gives it the fame fituation. See aifo Ovid, Meta?n. xv. 711. Pliny, epijl. vi. 16.
* Cicero fpeaksaf that which the tabii had there: and Seneca tells us of another belonging to Caius Caefar:
l- Hie Teneris fedes, Lacedaemone gratior illi;
“ die locus Herculeo nomine clarus erat.”	Martial.
k Some ancientauthors fpeak of Herculaneum and Pompeii as very confiderable. Pliny gives us their fituaion, by which it appears they could not be of any great extent j for Vefuvius ihut them upon one fide, and the fea on the other. Caylus, voU ii. p. 119.
1 Dionyf us, Strao, Paterculus, Dio, Seneca.
™ Seneca, nat. qaejl.vi. 1, 26.
That
inat eruption oi veiuvius, m wmcn nercuianeum was loir, is ine nric upon record, and fome have fuppofed that the mountain never threw out its fires before the firft year of Titus : the truth fecms to be,, that Vefuvius-had been fubjedt to eruptions from the moft ancient times, but that its fury had fubflded for many years preceding the reign of Titus. Strabo n fays, that Vefuvius is fertile, except its top, which is quite barren, and of the colour of afhes; that ftones are found there of the fame colour,, which feem to have been broken, and burnt at different times0. In digging near Vefuvius, about a mile from the fea, the workmen met with, feveral ftrata, laying horizontally one over another, like fo many pavements : continuing to dig deeper, they found infcriptions mentioning the city of Pompeii; below this they dug above 70 feet, till they came to water; and all the way found different ftrata of earth, mixed with vitri-fiecl and calcined ftones. If we fuppofe then, that the infcriptions relating to Pompeii, were buried in that eruption which happened in the reign of Titus, the ftrata of burnt earth below them, muft have been formed by preceding eruptions R.
But however this may be, we are certain from hiftory, that there was-a moft terrible eruption of Vefuvius, which d'efolated Campania,, in the firft year of Titus. Although the defeription which the younger Pliny has given of it, in a letter to Tacitus the hiftorkmi, is well known, yet we fhall hardly be excufed if vve do not give the fubfhnce of it. Pliny the elder, uncle of the letter-writer, and well known among the learned as a natural hiftorian, had the command of a fleet which was ftationed at Mifenum : on the 23d of Auguft, about one o’clock, he,, being informed that a cloud appeared of unufual fize and fhape, immediately repaired to a higher point of view, from whence he could difeern the cloud advancing in height, in the form of a pine-treer.. It femetimes appeared bright.
n Lib. v. See Philofoph^Vranfatl. vsk xli. /». 23s.
" See alfo Diodorus Siculus^ lib., iv. Valerius Flacmsj Argonaut, iv. and Situs It aliens > whofe words are :
“ Sic ubi vi caeca tandem devi&us ad aftra-“ Evomuit paftos per faecla Vefuvius ignes,
“ Et pclago, et terris fufa eft vulcania peltis.”
See Bannier, Memoires de Literature, tom. xv.
p Bianchini Hijloria JJniverfale Provata, &c. Roma 1699- Pvilof. Tranfai, vol. xli. p. 238. The ingenious Sir IVllliam Hamilton, K. B. the Britifh Envoy Extraordin 'y at Naples, has proved, not only that V.efuv.us, but all Italy, was originally formed by vo:anos.
** Epi/i. lib. vi. 16.
1 Sir IV. Hamilton, in his account of the late eruption of* 1767, fäys, tfat the fmaak took
and
allies, mixed with it. He commanded a galley to be prepared, and embarked with a defign to relieve the people of Retina, and many others; for the fhore was interfperfed with a variety of pleafant villages. He failed to places which were abandoned by other people, and boldly held his courfe in the face of danger, fo compofed, as to remark diftindtly the appearance and progrefs of this dreadful calamity. He now found that the allies beat into the lliips much hotter, and in greater quantities; and, as he drew nearer, pumice Hones, with black flints, burnt and torn up by the flames, fell upon them ; and now the hafty ebb of the fea, and ruins tumbling from the mountain, hindered their nearer approach to the fhore. He would not, however, turn back, but made the bell: of his way to his friend Pomponianus, who then lay at Stabiae. In the mean time, flames iflued from various parts of Mount Vefu'vius, and fpreading wide, and towering to a great height, made a vaft blaze; the glare and horror of which were ftill increafcd by the gloominefs of the night. Pliny now retired to take his reft; but the court beyond which was his apartment, by this time was fo filled with cinders and pumice-ftones, that had he continued any longer in his room, the paflage from it would have been flopped up. Being awakened therefore, he quitted his own apartment, and returned to that of Pomponianus. They confulted together, whether it would be more advifeable to keep under the (belter of that roof, or retire into the fields ; for the houfe tottered to-and-fro as if it had been flhaken from the foundation by the frequent earthquakes. On the other hand, they dreaded the ftones; which, although, by being burnt into cinders, they had no great weight, yet fell in large quantities. Eut, after considering the different hazards which they ran, the advice of going out prevailed. They covered their heads with pillows, bound with napkins; this was their only defence againft the fnower of ftones. And now, when it, was day everywhere elfe, they were furrounded with darknefs, blacker and more di final than night, which however was fometimos difperfed by feveral Halbes and eruptions from the mountain. They agreed to go farther in upon the fhore, and to look out from the neighbouring land to examine whether they, might venture to fea ; but the fea continued raging
the exa£f fliape of a huge pine tree. Philof. Tranß voh lviii. and fo it naturally does in rifim frorri a furnace, when the air is ftill.
VOL. I.
and
c
ana lempeuuous. i nen u was mat run/, ucmg u.i a <_uipuicm amt afthmatic habit, was ftifled by the fulphureous and grofs air5.
Dh Cactus1 relates, that this eruption was accompanied by violent earthquakes, and tremendous noifes j that the afhes, flames, and fiery ftones, filled the air, earth, and Tea, to the deftrudtion of men, herds, and fields, and all the birds and fifhes; that the fun was as it were eclipfed, and the day turned into night; that Rome was covered with fhowers of afhes, which extended even to,Africa,, Syria, and Egypt; that Herculaneum and Pompeii were deftroyed; and, in fhort, that the fcene was fo dreadful, and the confufion of the inhabitants fo great, thofe who were at fea running to land, thofe who were at land to fea; thofe who were in houfes making for the fields, thofe who were in the fields for houfes *r that people thought either that chaos was returned again, or that the uni-verfal conflagration of the earth was commencing u.
Dreadful as this calamity was, it appears that the. cities were not buried fo fuddenly, but that the inhabitants had time to fave themfelves, and the moft valuable of their effectsw ; very few bones having been hitherto found, and very little money, plate, or any other moveables of great value x.
Since the cataftrophe of Herculaneum and Pompeii, there have been twenty-feven eruptions of the mountain *; fo that it is not wonderful if the former of thefe cities lhould be difcovered now more than feventy feet, under the furface z.
*	Lord Orrery's, tranflation..
‘ Hiß. Rom. lib. lxvi.
0 Martial, delcribing this cataftrophe, fays r
“ Cundlajacent flammis et trifti. merfa favillaj “ Nec fuperi vellent hoc licuiffe fibi.”
w If they were overwhelmed by a torrent of lava, that would be fome time in approaching them. Pompeii is chiefly covered with afhes..
*	Pbilofophical Tranfafitons, vol. xlvii. JVinckelman, part ii.
y See an account of thefe eruptions down to 1737, in the Pbilofophical TranfaRions, vol.xWt p. -238, &c. Of this daft there is a hiftory by Nicola di. Martino, and another by Ciccio Serrao befioes two accounts in the place referred to. For the ftate of Vefuvius in 1749, 1750, and the fubfequent eruption in Odober 175.1, fee M. Bcllicard, p. X.. In the lviiith volume of the Pbilofophical Tranfattions there is a very curious hiftory of the late eruption in 1767, by. the Hon. Sir IV. Hamilton. See alfo vol. lix. p. 18. There are other accounts in Recupitus d'e Incmdiis Montis Vefuvii, Des Embrafements du Mont Vefuve, MemoireSs de Literature, tom. xv. Naudeus, Paragallo, Pellegrini, Celeno, Parrino, &c.
*	The depth varies in different places from.about 60 to 80 feet j, and in fome places more.
The
The matter under which Herculaneum lies buried is different: in fome places they find lava; in others a kind of hard cement like mortar. The Java being liquid, all thofe parts of the city through which it dire&ed its courfe, are as exadtly filled with it, as if melted lead had been poured into them. The cement, compofed of earth and theafhesof Vefuvius mixed with water, not only filled the ftreets and other open places, but even penetrated into the interior parts of all the buildings, without doing them any confiderable damage*.
The firft difcoveries were made in the year 1689; when, on opening the earth at the foot of Vefuvius, the workmen obferved regular ftrata of earth and vitrified ftone : this difpofed the owner of the ground to continue the digging,• and, at the depth of twenty-one feet, he found fome coals, iron keys of doors, and two infcriptions, from which it appeared that the ancient city of Pompeii formerly flood thereb.
In the year 1711 c, the Duke di Belbofi, defigning to build himfelf a villa on the fea-fhore near Portici, had a mind to cover fome of the ground rooms with plafter. He knew that fome of the inhabitants of Relina, in digging for a well, had found fragments of antique Grecian marble, and therefore ordered the workmen to continue digging as deep as the water would permit, in order to get a fufficient quantity of this marble for his plafter. Scarce had they begun their operations, when they found fome beautiful ftatues, among which was one of Plercules, in marble, and another thought to be Cleopatra : proceeding farther, they met with feveral columns of coloured alabafter, belonging to a temple of a round form, adorned on the outfide with twenty-four columns, the greateft part of which were of the yellow antique : the infide of the temple had the fame number of columns, between which were ftatues of Grecian marble, and it was paved with the yellow antique; the ftatues were lent to Vienna by the Duke di Belbofi, as a prefent to Prince Eugene of Savoy. There was alfo an infcription found, and a great quantity of A frican marble, out of which fome tables were made. After this, all farther fearch was difcontinued, for fear of getting into a difpute with the
minifters of ftated.
. *
* Ve'iuti, chap. iv.
b Aft-moires de Literature, tom. xv. Ijioria Univerfale di Bianchini. Venuii, p* ii. c. i.
c Belli card fays, T 7,06.
d f'enuti, p. ii. ch. i. The Duke, it feems, met with fome things of great value: the
c 2	In
In December, 1738, his Sicilian Mijefty being at Portici, and lome fragments of marble having been found in the well which the Duke di Belbofi had funk, the King gave orders that the bottom of it fhould be diligently fearchcd \ whereupon the workmen, entering by the hole which the Duke had made, found fragments of two equeftrian ftatues of brafs, bigger than the life, a little above the level of the water, at the depth of feventy feet below the prefent furface.
Purfuing their fearch farther, they found two ftatues of marble, larger alfo than the life: after this, they now and' then found fome pilafters- of brick, well formed, plaftered over, and painted with various colours ; and among them another ftatue, entire, and handing upright. An inlcription1 on the fragment of an architrave now led them to fearch for the theatre' which Dio mentions to have been deftroyed: accordingly, proceeding w little farther, they found fome circular ftepsT which proved to be the feats-of a theatre. Afterwards another infeription was found, on-which appeared the name of the architect ei and the broken parts-of two large equeftrian ftatuesr gilt, one of which was'beaten quite flat: alfo fome pieces-of a car, with a wheel entire, all of brafs, gilt the heads of the' men' were not found, and one of the trunks was made into two large medallions-of the king and queen. The earth being cleared from the outfide of the theatre, it appeared to be built of bricky with pilafters at equal diftances, having marble cornices, and' plaftered with mortar of various colours ; in fome parts red, in others black. At laft the inner flairs were difeovered,. which led to their correfponding noomitoria7 and to the feats where- the fpedlators fat. Having uncovered the feats in the theatre, they were found to be eighteen in number; among which were fome not fo high as the others, in a ftrait line f, which ferved as fteps, and led to the corre-fpGnding 1wmiteria, and the infide ftair-cafe of the building.. At the top of the feats appeared a level fpace, running round the building,, which was the praecinSlio; and above that,, other fteps leading to a fecond. This prascindiio being partly cleared from the loofe earth, gave room to judge that the theatre, with its orebeßra and caveay might be about fifty feet
principal were two columns of oriental alabafter, which were fold for 50,000 ducats. Philo/. T'ranfafl. vol. xli. p. 490.
c Publius Numifius.
f That is, at proper dißances; each feat, which would be about 18 inches high, was cut into two fteps, nine inches high, and of fufficient breadth.
diameter.
diameter. It was all covered on the inlide with African, Grecian, and Egyptian red and yellow antique, veined agate, and other curious marbles ; which were carried away to adorn a garden belonging to the royal palace at Portici. There were feveral flatues found in this theatre s.
It is much to be lamented that fo perfect and curious a piece of antiquity as this theatre, fhould have been opened only by piece-meal. If the earth in which it was buried had been entirely removed, we fhould have been able to make an exaCt judgement of its form and d!menfionsh.
In the neighbourhood of the theatre, the workmen opened a flreet near 20 feet wide, with a colonnade on each fide covering the foot way. One of the colonnades led to two temples, leparated from each other by a crofs flreet \ One of thefe is fuppofed to have been dedicated to Bacchus: the other was certainly facred to Hercules. The latter confifls of one great room, the roof of which having been beaten in, it is filled with earth ; the walls are painted in compartments, in chiaro-ofcuro, red and yellow ; in the middle of the compartments are painted feveral pictures reprefent-ing the combats of wild beafts, t!gers furrounded with vines, heads of Medufa- arid Faunus, a winged Mercury with a boy, fuppofed to be Bacchus; landfcapes, fictitious and real animals, architecture, facrifices,-houfes and other buildings in perfpe&ive. Here was alfo found the picture of Thefeus with the Minotaur, and another which is called the finding of Telephus.. As foon as this difeovery was made,- the pictures, with the ftucco they were painted on, were detached from the wall, and carried to-Portici- Many of them have been fince engraved, and given to the pub--lic in The Antiquities of Herculaneum k.
Adjoining to thefe temples they found an oblong fquare, which formed a- kind' of forum, and was adorned'throughout with fluccoed columns:-in the middle of it was a bath j and at the feveral angles a term of marble, upon.every one of which flood a buft of bronze of Grecian ’ work-manfhip- A fmall fountain was placed before each term. Between the
E Venuti, p.i. ch. ii, iii, iv. v. vi. Cochin and BeUicardi p. 9. where there is a plan of the theatre: and PhilofophicalTranfatliom, vol. xlvii.
h The expenfe, however, of removing to a diftance fo much rubbifh would be confidcr-able; which is not the cafe when it is done by piece-meal: as the part firft cleared ferves to receive the materials from the next..
1 Bellicard, p. 15.
k See Venutij p. W.-ch. vii, viii.-
colrimns
columns which adorned the bath, were alternately placed a Itatue of bronze,.< and a bull of the fame metal1.
The firft opening which gave birth to thefe difcoveries, happening to be in the middle of the theatre; they went into the ftreets from the doors of this building, one of which led into the city. Here they opened feveral houfcs, fome of them having marks of great magnificence : they all ob-ferved the fame method of building, having fmall corridores in front, paved with mofaic, painted red, and adorned with figures; from hence there is a rtrait flair-cafe, not very wide, leading to the floor above. All the wood-work is as black as a coal, and for the mofl part gloffy and entire; but falls to pieces on being touched: the grain of the wood is flill vifible. The walls are well preferved, and the corners of the flones (harp and unbroken. The water which has ftrained through from above, has rufted all the iron. The windows are not very large : in fome of them remained fragments of what had been ufed for glazing, which looked like fine alabafler. In one of thefe houfes they found a kitchen, up flairs, with a great quantity of brazen and earthen veffels in it, as difhes, trivets, &c. Here were alfo eggs, almonds,, and nuts; the two laft had preferved their natural colour, but, upon being opened, the kernels were found to be charred: in a contiguous ruin a brafs ink-pot was found, which flill retained the black colour of the ink, fo as to be able to flain any thing; iron locks, keys, latches, bolts, door-rings, hingesm, fpears, intaglios, and medals, the greater part of which were of Nero, with the temple of Janus on the reverfe : fome mofaic pavements in imitation of fcrolls, but of ordinary workmanfhip. In another place were the ruins of a bath, paved with little fquares, in which were feveral forts of veffels and lavers of brafs. A cellar, fourteen yards long, and eight broad, with a door into it of white marble. In the middle of one of the fades was found another door, leading into another room about the fame length, but almoft fquare. Round the fides of both thefe rooms, which were paved with marble, ran a kind of flep about half a yard high, covered with thin flios of marble ; which feemed at firft fight intended for a feat, having a hand-fome cornice round the edge; but on a nearer examination, there appeared
1 Pbilof. Tranf vol. xlviii.
m YVe may expert from Herculaneum mofl: of the utenfils of the Romans; but in great treafuies fmall pieces are often neglefled ; and, without being led by a principle of charity, we cfte.n leave gleanings for the poor. Cay'.us, v. p. 239.
on
on the top feveral round pieces of marble, very fine, which being removed, were found to have ferved as- covers, or floppies, to large earthen veflels, inclofed with mortar, and buried in the earth, having their mouths j-ufl: within the feat. On one fide there was an oblong fquare in the wall, like a large window, full of earth, which at firft fight appeared to have been the mouth of an oven, the inner wall being black; but at laft it appeared to be only a kind of cupboard, or buffetn, fix feet eight inches-deep, within which was found, in good order, a number of fteps made of marble of various colours; feemingly intended to hold fmall veflels, or bottles of cryftal; with famples of the beft wines. All this was ruined, the marble taken, away and put to other ufes, and the wine veflels broken °; This is not the only inftance of the mifehief which the ignorance and. careleffnefs of the workmen has occafioned. Infcriptions upon the archi--traves of buildings they broke in pieces and threw into bafleets, to try the-genius of the Academicians in putting them, together again : pictures» they cut out, without remarking their fituation, or the borders of gro-tefques,. maflts,,figures, and animals,- which furrounded them; and many of them they cut in pieces and threw away, without examination ; thus deftroying by the moft unpardpnable negligence that, which time, earthquakes,- and the ravages of the volcano, had fpared. But what elfe could be expedted from galley-flaves,- under the conduct of ignorant fuperin--tendants ? for to fuch, for fome time at leaft, was this ineftimable mine, committed
The number of workmen employed by the King has never been great;.-and where the lava is very hard, their progrefs has been but flow ; but the foil which they have ufually dug through, feems to be cinders, which have acquired the confidence of a foft done. The paffages which they make are not above fix feet high, and four wide; and when they have taken, out what they choofe from any room, or other place which has been opened, they throw in the earth again; by which means little can be. feen together, and the general form of their houfes and other buildings-does not appear. When the workmen find a wall, they clear a paffage along the fide of it; when they come to a corner, they turn with it; and when they get to a door or wfindow, they make their way into it; but
"Two fuch buffets appear in plates viii and ix.
0 Venuti, ii. ch. jx.andx.
p V-enuti, pref. Philof. Tranf voL xli.. V/luckchnan^ part iik-
when
when they have done this, the rooms are often found to be filled with the lava, which flicks clofe to the fides of the walls; and the labour of getting through this is fo great, that as foon as they ceafe to find any thing worth' their fearch, they fill up the place again, and begin to dig elfe-where, by which means no place is ever quite cleared*3. It is evident that the ancients had been digging before, by the marks of tools which have been obferved; by the date in which the earth in fome places has been found ; and by bulls and flatues having been taken away r.
The expectations of the learned have been much directed towards the difcovery of fome of the loft works of fome celebrated ancient writers; but it is much to be feared their hopes will be difappointed. A library, however, has been found, furnifhed with prefies, inlaid with different forts of wood, and ornamented with a cornice. Many of the volumes which thefe prefies contained, were fo far perifhed that it was impoffible to remove them; 337, however, all written in fmall Greek capitals, were taken away: there was alfo found a large roll,-containing eighteen volumes, written in Latin ; it was thirteen inches in length, was wrapped about with the bark of a tree, and covered at each end with a piece of wood; but this was fo damp and heavy that it could not be got out. The Greek volumes, which are in much better condition, are however all black, and extremely brittle; for which reafon it is infinite labour to unroll them. The method which father Antonio has taken for this purpofe is the following: he made a machine, with which, by means o. gummed threads which flick to the back of the roll, where there is no writing, he begins by degrees to pull; at the fame time, with an engraver’s tool, loofening one leaf from another, which is the mofl difficult part of all; and then he puts a lining to the back. The experiment was made upon one of thofe rolls which were the vvorfl preferved : it fucceeded, and was found to be a treatife upon mufic, by Philodemus. The operation is extremely tedious; for a whole year was confumed about half this roll, which is one of the fmallefl. And fome of them are fo voluminous, that if they were unrolled they would extend to above fourfeore feet in length. A fecond volume having been unfolded, it proves to be a treatife on rhetoric, by the fame author*.
q Belli card, p. 9. Philof. Tranf. vol. xlvii.
r Philof. Tranf. vol. xlviii and xlix.
4 Philof Tranf. vol. xlviii. xlix. 1. IFmckclman, part iv. fett. ii.
All
/ill me remains or nercuianeum may De looked upon as cunonties : for, befides their authenticity, they exhibit to us a great variety of common moveables, which would not have been preferved but by fome fuch accident as this; and were too common and inconfiderable to be recorded and tranfmitted down to us by ancient writers. Such are the tops of wells, of which a confiderable number has been found; rnofl of them of marble, and elegantly wrought : they are low, being fcarcely more than a foot and half in height, and the opening is little more than eight inches in diameter. No pullies were ufed in them, as is evident by the marks of the rope againft the infide of the marble A great variety of chirurgical inftruments, excellently worked and finely preferved: they are many of them made of bronze, as were mod of the kitchen utenfils, and common vefiels; but thefe are filvered on the infide. Elegant lamps, of a great variety of formsu. Paper of filk, cotton, or linen w. They have even found a loaf of bread, with the form fo well preferved, that the baker’s name was difcernible upon it; but this, with all forts of corn, pulfe, &c. was charred, and would fcarcely bear the touch \
The greateft and mod valuable part of this fubterranean treafure con-fifts of flatues and picturesy. The ftatues, both of marble and bronze, are many of them very fine, and generally allowed to be in a much better tafle than the pictures. Herculaneum has furnifhed feveral figures of white marble as large or larger than the life; the draperies in a good tafle, and well executed ; but the heads of the greater part are not in a very great ilile : one of the beft is an equeflrian fiatue of M. Nonius Balbus; it now flands before the King’s palace at Portici, and is juflly admired for its beauty and fimplicity. Among the flatues of bronze, there have alfo appeared fome of confiderable fize ; one particularly, much larger than the life, fuppofed to be a Jupiter, of great beauty and fine character : in general, thefe are in a good manner, though not of the firffc rank. Many ■of the flatues, which are of a fmaller fize, about a foot and half in height, have confiderable merit; efpecially a naked Venus refembling that which
* Caylus, vol. iv. p. 173. pi. lviii. n. 1, 2.
u Caylus, ibid. p. 168. pi. lvi. n. 5. p. 289. ph lxxxviii. n. 3. vol. V. p. 292.
w Pbilof Tranf vol. 1.
* Pbilof. Tranf. vol. xlvii.	JVinckelmari s Account of Herculaneum,	£sV. part. iv. feR. i.p. 57.
Englifh edition.
1 JVinckelmari) part. iv. fefl. i. p. 37, tsV.
Vol. I.
d
is
IS Well KllUWll lUJUCl uic name ui tue v cuus ui	anwuuwi	wvuwjwv*
from the waift downwards, and a Bacchus, in a great manner ; with a ■ moft elegant contour2. Moft of the marble ftatues have been much bro* ken, and thofe of bronze beat flat by the weight of earth, or afhes, which overwhelmed them ; thofe which would admit of it, have been repaired by modern ftatuaries3.
The houfes are found to be decorated, both within and without, with paintings. The grounds are feldom bright, but generally of fome dark colour, black, yellow, green, or dufky redb. The ftucco is very thick, and bears being cut from the walls very wellc. The pictures are done in panels, with grotefque ornaments round them; not as was at firft fup-poled in frefco, but in dißemperd.
This is in fome degree a new difeovery : it was indeed plain, both from Vitruviuse and Plinyf, that the ancients painted upon walls, boards, &c. g; and that they were acquainted with the art of painting not only in frefco, but in difletnper^. But it had been generally fuppofed, that their paintings upon walls were executed in the former of thefe manners; whereas the far greater part, if not all thofe which have been found in Herculaneum, are certainly in dißemper; that is, the colours are not mixed up with water» and incorporated with the wall itfelf, by laying them on while the ftucco is wet; but with fize, or fome other glutinous matter1, and laid on fuperficially. This is plain, becaufe where the colours have by any accident been rubbed off, the wall appears white; and fome co-lours are folind in thefe pieces which cannot be ufed in frefco painting11.
The critiques which we have had upon thefe ancient paintings, by travellers of different nations, who have feen them, are not only various, but even diametrically oppofite to each other. The rapturous admirations of the Italians, and fome of our own countrymen, would perfuade us*
z See more of the ftatues in Winckelman, p. 41.
a Bdlicard, />. 9, 10, 46. Pbilof Tranf. vol. xlvii. See alfo JVindelman, p. 41.
b Caylus, vol.i. pi 149. Pbilof. Tranf. vol. xlvi.
*	Venuti, p. ii. c. viii.
i IVmckelman, p. 37.
e- Book vii. chap. iii.
f Book xxxiii. chapter the laft. B. xxxv. ch. vii.
*	Pltny^xxxv. li and 7.
*“ See Vafa'rPs Lives of the Painters, in the Introduction,.
*	Pliny, xxviii. 17. xiii. 11. xxxv. 6k Vitruvius, vii. 10.
k Pliny y xxxiii. chap, the laft. xxxv. 7. Le Anti chit a di Er col am y vol. i„. p.. 274, 27:5.
that
that fome of them were in the manner of Raphael; that they exceeded all the performances of the moderns1; that they are finifhed to the highefl: pitch; for excellence and fine tafle are beyond any thing.that was ever feen; that they are coloured to perfedlion ; that the perfpedtive is exadt, and the chiaro ofcuro well underflood m. Whilfl, on the other hand, fome, carried away with the prejudices of modern artifls, fcruple not to afiert, in terms not the’mofl decent, that the greatefl part of them are but a very few degrees better than what you will fee upon an alehoufe wall; that not above twenty of them are tolerable ; that even the befl, if they were modern performances, would hardly be thought worthy of a place in a garret; that their antiquity alone has recommended them to their admirers, and atoned in their eyes for all their blemifhes and defedls n.
The editors of the Italian work0 exprefs themfelves very angrily concerning thefe hafly criticifms : they tell us, that it was their original intention merely to have fet before the public, engravings faithfully done from accurate drawings, with a fhort account of the prefervation and colouring of the pictures ; fufficient, however, to enable every one to form a judgement of them for himfelf: but that the haflinefs and vanity of fome, who, deflitute of tafle, and without having ever feen the original pictures, yet undertook to write about them ; in order to make an advantage, by giving the firfl account of curiofities which had now interefled all Europe ; obliged them to fay fomething, if it were only to undeceive thofe who placed a confidence in fome trifling pamphlets, remarkable rather for the aflurance with which they abounded, and the hafle with which they were written, than for any knowledge or attention.
As to the colouring of the pictures, they tell us, that not only all the colours which are known to modern artifls, together with all the middle tints and fhades, are to be found in them; but that there are others, which are even unknown to us. The deßgn, lay they, is not only generally corredl in all; but in fome there appears an accuracy, to which even the befl modern mailers have not attained, without confiderable difficulty.
In general, if we except fome few, we may difcover in them the touches of a mailer, great fpirit, and profound fludy,
1 Venuti, ii. c. viii, m Philof. Tranf. vol. xli. n Pbilof. Tranf. vol. xlvii.
* Lt Antkhita cT Ercolano, voU i. p. 273, &c.
d %
With
With regard to thole pictures in particular which are engraved in the-firft volume, the large figures (they tell us) have a greatnefs of manners-together with a freedom and delicacy of pencil, that atones for all their other defe&s. Thus in the Telephusr, not only the heads of the figures are all good, but the defign is alfo mod excellent; and in particular the animals are extremely well executed. In the Thefeusi there is much to admire; the minotaur efpecially is defigned and painted with wonderful intelligence. If there be fome things which one would wifh to have corrected in the Chironr, it has however many beauties: the Achilles is the mod beautiful and delicate figure imaginable ; that fublimity of manner whichever didinguifhes the antique, renders this figure inimitable. The head of the Dido5 is, in the opinion of the connoifleurs, a mod maderly performance. The two Nymphs with Fauns1 are wonderfully driking, and equal the bed works of Caracci; to which-they bear a refemblance in dile and delicacy. The four fmall pieces of Centaurs", and the eight little figures w, all on black back-grounds, are perfect in their kind: and nothing can be fuller of grace and elegance than the little boys at different: lports or employments*.
It is not pofllble lo form a judgement of the paintings which have beera? found at Herculaneum without having feen them,- or at lead knowing what confidence may be placed in the defigners and engravers y. We may,, however, venture to deer between the blind enthufiafm of the Italians» and the contemptuous ridicule of fome foreigners. If the ancients indeed pofleffed ever fo great a. degree of merit, it may be prefumed that the art had lod much of its former fplendor when thefe pieces were executed; and that the artids who were employed at Herculaneum, were of an inferior rank, is plain from their excelling chiefly in little-fubjeels, as orna-* ments, animals, &c. zj a fure fign of a mediocrity of genius. Thefe paintings were all executed upon the fpot, and. therefore probably not don®.:
*	Engraved in vol..\. plate vi>
*	Plate v.
*	Plate viii.
*	Plate xiii.
*	Plates xv. and xvi.
° Plate xxv, &c.
w Plate xvii, &c.
*	Plate xxix, &c.
y See Philof. Tranf. vol. xlvii-
*	Le Antichita di Er colano, vol. u p. 277.
by
By the beft hands \ Herculaneum was not a very great city, and might pofiibly have no artifts of confiderable note refident in it; fuch are rarely to be found in provincial places: or, if this fliould be difputed, it muft however be allowed, that the pieces which have been moll; admired, having been intended only as embellifhments to the walls of the theatre and other public edifices, were therefore probably neither executed by artifts of the firft name, nor finilhed with any great degree of perfedlion. Accordingly, the beft judges have pronounced, that there is generally in thefe pieces an ignorance of defign, a coldnefs or deficiency of genius in the compofition, a feeblenefs and want of tone in the colouring, and that the chiaro-ofcuro, is ill underftoodb. The beft are thofe of animals and ftill life; they are executed with tafte and freedom; though even thefe are unfinifhed, have not always that relief that might be wilhed, and are often faulty in the drawing0. There are alfo fome fingle female figures, of a fmall fize, on a uniform dark ground, which are touched with great fpirit and tafte, and are even in a good ftile of colouring d. The children too, though they have not all the grace which fome modern painters have given them,, are in general not ill drawn. The architedlure is all abfurd and difproportioned ; there is fuch a mixture of the Grecian and the-Gothic, fo interwoven with grotefqucs, that thefe pieces are as ridiculous for falfe tafte as the Chinefe defignse. They are put into a kind of per--fpedtive, but it is evidently fuch an one as betrays an utter ignorance of rules; the lines of vifion by no means tend to one point;, feveral diftant horizons muft be taken in their views or landfcapes, and the lights and fhadows are thrown on any fide of the objects indifferently there is an; attempt towards keeping, but it is plainly not governed by the rules of aftf. In fhort, what, thefe painters have done after nature, is much fu--perior to their defigns after the works of human inventions..
It was a piece of good fortune, which could hardly have been expected,, that thefe paintings (hould have been buried in th^ earth-during many.
* Caylus, vol. iii. p. 109. b Cochin, p. 50, he. See alfo p. 36, 37. ■
' Cochin, p. 40. Animals are more eafy than figures and expreffions of' fentiment. Afc-~ cordingly in Herculaneum, the animals and houfehold utenfils are greatly fuperior to fubje£ts-> of hi (lory and fable. Caylus, v. p. 201‘.
d Cochin, p. 42. Winckelman, p. 38. Several of1 thefe are engraved in’this volume. c Cochin, p. 43.
r Le Antichita di Ercolcmo, vol. i. p*.-27.7. nott 85. c Cochin, p. 44,
ages
ages, without lofmg the frelhnefs of their colours; this however was the cafe. But it was found that fome of them, as foon as they were expofed to the air, immediately loll the brilliancy of their colouring h. In order to prevent this, they are covered with a tranfparent varnilh h
It is fcarcely neceffary to inform our readers, that the paintings, toge-' ther with all the other curiofities which this ancient city has afforded, afe depolited in the royal palace at Portici, near Naples k.
The public will not be difpleafed to have an account of fome recent difeoveries which have been made of Pompeii, as they are communicated to us by the favour of an ingenious Englifh traveller, who was upon the fpot in Odtober 1769.
“ They are now laying open Pompeii to view. The work is carried on “ in fo flovenly a manner, that they are frequently forced to remove the “ fame rubbifh more than once; which is tire more to be lamented, as the “ allowance from the King of Naples is but fmall. They have ddcovered “ the foldiers barracks; which are handfome, having a ro v or pillars on “ the oppofite fide of the way, poffibly a part of a piazza. The rooms “ are fmall, and nearly fqu3re. In one of them was iound a machine re-“ fembling'our flocks, with feverai leg-bones in fv :m; from whence it “ has been concluded, that the room was a prifor, and thefe the bones “ of fome unhappy prifoners, who could not efcape tue dreadful eruption. “ Thefe flocks are now in the Mufeum at Portici, This part of the town “ is fo much below the reft, that fome have fuppofed it to be part of the “ firft town ; for the town I am now fpeaking of was built on the lava “ that demoliftied the old one1. I went into feverai of the hoiifes, which, “from the frefco paintings on the walls, and the mofaic pavements, T “ lhould fuppofe had been the refidence of people of fortune ; but I found “ all the rooms fmall, aukward, and ill difpofed; and the inner ones ge-
h See Antichlta dLErcolano, vol. i. p. 276. The ancient pi&ures which have been found in and about Rome are retouched. The Italians have made a trade of imitating them, and have fold their copies to foreigners as pieces found either about Rome or Naples. Guerra, a Venetian painter at Rome, is accufed of being the principal agent in this impofition; to which many, particularly Englifh and Germans, have been made great dupes; and which for fome time kept Rome in fufpenfe, and alarmed the King of the Two Sicilies, who, poffeffing fo rich a treafure of'antiques as to have no reafon to fear a rival, was yet jealous of them. Cayltts, iv. p. 219. V/'mckelman, p. 39.
1 Venuti, ii. c. viii.
v See Philofophical Tranfaflions, vol. 1. p. 619. IVmcke'man, part iv. feil. ii. p. 117.
1 Cendamine makes the fame obfervation.
“ nerally
V neraiiy llglllULl UUUl mu ^ALLUJCU	ATJ.C4i.ajr	Vi	vL	v	IIUI	tiuwv^
*< feet fquare; others-about fixteen by eight; but none of any fize accord-“ ing to modern fafhion. I went into feveral of their bathing rooms; “ where I found their baths, and {loves for heating the water, and con-“ trivances for conveying it to their baths, very entire. I obferved the “ cielings of their rooms were in general arched, as- were likewife their “ ftair-cafes. Their houfes were of brick, fluccoed ; and fo were their “ rooms. There are confiderable remains of a temple, and fome of an
amphitheatre. Clofe to the temple, I meafured a flreet twelve feet “ wide, with a narrow raifed way for foot pafiengers. Now 1 fhould con-“ elude this to have been one of the bell llreets, as the temple which “ Hood in it is of confiderable fize, and handfomely ornamented; confe-“ quently, in all probability, was a good.deal frequented. They are now “ at work in clearing away the lava, &c. from the gate of the city. It « confifts of three arches,, one for carriages and horfes, and the other two “ for foot pafiengers. It is handfome, and very entire. The flreet, juft
within the -gate, is fixteen feet wide ; without, eighteen ; and is paved “ like other Roman ways, with broad flat hones, clofely joined together : « I could not obferve that they were at all worn. There was a raifed “ foot-way on each fide. The hreet that runs by the theatre at Hercu-“ laneum is only twelve feet widef’
A tranflation of the whole catalogue, publifhed by Bayardi, of all the antiquities which have been found in thefe fubterranean cities, would be very tedious and bulky ; we have therefore endeavoured to confult the eafe as well as the fatisfa&ion of our readers, by giving them an abhradl from-all the more important articles, and a general account of the reh,.
THE PICTURES.
r. Two goats, looking on each other: the back-ground black.
2.	A long yellow ribband, twihed about in fuch a manner as to referable a ferpent: the back-ground yellow.
3.	A tiger; on a black ground™..
m It may be obferved once for all, that the animals which are called in this work tigers, are in reality leopards, as is plain from their fgots. The fkin of the tiger is fafeiuted, and it was an animal little known to the ancients.
4.	A-
4« A white flag, and a black goat; on a red back-ground.
5.	A parrot, on a palm-branch.
6.	A hoopoe ; on a black back-ground.
7.	A landfcape.
8.	A trophy.
9.	A woman with wings, a long tail, and bird’s claws; and a red background. See«. 330, and 335.
10.	A mafk.
11.	A man ; on a black back-ground.
12.	A large water bird, flying to attack a goat; the back-ground red.
13.	Another mafk, like«. 10.
14.	A peacock; on a white back-ground; with a yellow frame: over the bird’s head is a branch of olive.
15.	Four pieces included in one frame; reprefenting a peacock, a partridge, and two dolphins.
16.	A medallion, with a head covered with a turban.
17.	A white eagle on a globe of blue, with two goats laying down: the back-ground red, with a blue border, feparated from the ground by a white one. A fpear leans upon the border.
18.	A whimfical piece; confiding of mafks, two buds of Egyptian figures, goats running, a fragment of a column with its capital approaching neared to the Corinthian order, &c. the back-ground of a dark lead colour.
19.	Hymen, naked before, but with a piece of blue drapery thrown behind him; he holds a long torch horizontally with both hands, and dands on the capital of a pillar, which is yellow : he has bracelets, and a kind of ring about each ancle. The back-ground is white.
20.	A companion to «. 18.
21.	A dag and a goat purfued by a dog, and meeting a tiger. This is engraved in vol. ii. plate lx. «. 2.
22.	A rude figure in chiarofcuro, on a red back-ground. From the middle downwards it reprefents a term; in the right hand is a fpear, in the left a plate with flowers. From the rudenefs of the figure, the colouring, &c. this piece feems to have a claim to much higher antiquity than any of the pictures which have been found in Herculaneum.
23.	A chariot of war, loaded with military implements; and drawn by griffons. It is engraved in vol. ii. plate lix. «. 2.
24, 25. Tw®
24,	25- Two large pictures, containing a variety of fubjeds: as mafks, a ftag running, white flowers, fefloons of leaves and flowers, a white griffon laying down, grotefques, birds, and two figures of women.
26.	A large water bird flying, and carrying fome fea plant in his claws; the back-ground red.
27.	An altar, on which is placed a crown of gold, ornamented with pearls; a long fpear, which reaches acrofs the whole pidure, refls againft the altar; from which alfo hangs apiece of white drapery: before it is a large peacock ; it flands on a yellow ground : the back-ground of the picture is black.
28.	A large cock, of a yellowifh colour, white underneath, the tail greenifh. The pidure is imperfed : the back-ground white.
29.	A white goat running : the back-ground purple.
30.	31. Two griffons in green chiarofcuro ; on a green back-ground.
32.	A large tiger purfuing a huge goat; of a reddifli yellow.
33.	Leaflefs trunks of trees, and a goat walking : the back-ground is white; and the goat of a greenifh chiarofcuro.
34.	A large peacock, a fwallow, and a fmall white bird, with ornaments. .
35.	A white fea-ferpent, all over fcaly, with a horn on his head, and a three-forked tail: the back-ground is red.
36.	A large bird refembling a pelican, with its bill under the wing.
37.	A large peacock.
38.	A foldier on horfe-back, with a fpear: the back-ground black.
39.	A flag running ; in a black back-ground.
40.	A white eagle, on a blue globe; in a red back-ground.
41.	Two fphinxes.
42.	A bearded mafk, with wings at the ears, hung by a firing; in a red back-ground.
43.	Another, with long hair, covered'with a fort of hood, and a garland of leaves and flowers : the back-ground is white.
44.	A goat laying down : the back-ground black.
45.	Isa pidture formed of feven different pieces, found in various places: the three firfl are goats; in" white back-grounds : the fourth is an eagle engaging with a ferpent, both red, as is alfo the back-ground : the fifth is -a mafk, and a thyrfe; the fixth and feventh are goats; the ground of thefe three is white,
Vol. I,
o
. 4^* A figure in red chiarofcuro, with wings expanded. Two tigers are looking at the figure. This was part of the frieze of a temple.
47.	A flag purfued by a dog; behind is a goat : the back-ground black,
48.	A winged boy letting a dog loofe to run at a bear, who is eating an apple : the back-ground black.
49.	Architecture, vol. i. plate xli.
50.	A winged boy lifting up a kid by his feet, whilft another kid is looking at him. In the diftance is a goat, which being purfued by a dog, runs againft another boy : the back-ground is lead colour, with a broad white border above, adorned with grotefques in purple and green ; and over that a green border: below is a green band with a yellow frame, with variety of grotefques.
51.	A winged boy, naked before, with purple drapery thrown behind him : he has a fpear in his hand, and feems hung to a purple cord which drops from a kind of umbrella : the back-ground is yellow. This piece is divided into feveral compartments ; containing, befides the boy, a mafk, a bird attacking a dolphin, two fphinxes with wings expanded, fuftaining' two pyramids, &c.
52.	A tiger, with a band of leaves and flowers round his body, and in his left paw a thyrfe, which refts on his (houlder : the back-ground is. black,
53.	This piece is in three compartments; the back-ground red : in the firft and third is a goat ; in the fecond a lion ; all red.
54.	A long feftoon of flowers and fruits, tied underneath with a large green firing : in the middle of the feftoon is a mafk: the back-ground yellow, terminating to the right with red.
55.	A portico, under which are two fhepherds, one fitting, the other .(landing: farther in are two other men; there is a third in that part of the portico which is towards the right, and a fourth in the middle of the ground ; which is all green,
56.	A peacock, with an apple in its mouth : the back-ground white, bordered with green.
57.	A winged vidlory driving a two-wheeled carriage, drawn by two horfes; in a red back-ground. The manner is rude, and the piece undoubtedly very old.
58.	A cock; and in the fore-ground an altar, with a caduceus reding againft it.
59- A
59* A picture in two compartments : in the firft a youth is driving a chariot, and ladling the horfes : the back-ground is green; the figures white. In the fecond is an eagle, fupported by a golden lyre, placed between two white griffons, which are laying down oppofite each other on a green pedeftal : the back-ground of this piece is red.
60, 61, 62. Three pieces of mofaic: the firft and third reprefent a triton ; and the colours of the ftones are lead, purple, white, green, and yellow : the back-ground is lead colour. The fecond is formed of blue, red, white, and yellowifh ftones, reprefenting a bäcchus with a thyrfe in his hands, and a tiger at his feet: the back-ground of this is blue.
63.	A large medallion, with a buft of Hercules armed with his club, and crowned with oak : the back-ground is green; and the border is formed by a branch of oak in a blue back-ground.
64.	Vertumnus : the back-ground purple.
65.	A landfcape.
66.	Architecture. Engraved in vol. i. plate xxxix.
67.	Architecture.
68.	Two goats looking at each other; in a white back ground.
69.	An eagle with wings expanded; rudely painted in a white background.
70.	A kid among leaflefs trees; the figure red, and the back-ground white.
71.	A griffon drawing a chariot, on which rides a butter-fly : the background black.
72.	See the laft plate of vol. i.
73.	Architecture, with animals. Engraved in vol. i. plate xliii. n. 2.
74.	Architecture: vol. i. plate xliii. n. 1.
75.	A griffon rampant; yellow; in a white back-ground.
76.	Two birds, in a landfcape: back-ground red, furrounded with green.
77.	Two black dolphins; in a red back-ground, furrounded with a double frieze of green.
78.	A very large goofe, filling up almoft the whole back-groundj which is green. There is befides, a fmall goofe at the right hand corner; and at the top a thrufh, two pomgranates, and three figs.
79. A large pedeftal with two heads on it; öne on a carpet of a dark yellow; behind the other rifes a column. To the right hand of this is
e 2	another
another pedeflai, lower than the former, fupporting a third head with long .difhevelled hair:* behind is a coffer, fhut, with a flick laying acrofs it.
80.	See vol. i. plate xi.
81.	Arcbite&ure, of two ftories, in the Corinthian order: there is alfo a man armed with a lance, on horfe-back; and a woman on foot: at the corners of the building are griffons : the back-ground is black.
82.	Two flying horfes; on a white back-ground.
83.	Two water birds flying, and fupporting a firing with their beaks and feet: the back-ground black.
84.	Two large water birds, looking at each other; on a red background.
85.	A white fphinx bearded, on a white pedeflal; in a red back-ground,
86.	A flying-horfe ; on a white back-ground.
87.	88. Two white water birds, on grotefques of the fame colour; in a red back-ground.
89. A winged genius from hunting, holding a hare in his right, and a bow in his left hand : the back-ground white..
90*. Two leaflefs trees, and an altar, againfl which refls a great fhield: a pegafus looking aloft is making towards the fhield, and is on the point of flepping upon it with his left foot: the back-ground is red.
91.	This piece is divided into two parts: in the firfl is a great mafk; in the fecond a large crown, from the middle of which rifes a woman.
92.	A grotefque.
93.	A bacchant.
94.	See vol. ii. plate xliv. n. 3.
95.	This pidture is in two compartments: in the firfl is a table, fup-ported by two harpies; the other is like n. 18. in every refpedt, except that it has two peacocks inflead of goats.
96.	A naked boy.
97.	Like n. 95. in every refpedl.
98.	A great cumbent figure, with a lyre in his right hand: the background is red ; and the manner rude.
99.	A great number of leaflefs trees, among which are a goat and a buck purfued by a wolf.
100.	A yellow cloth, tied at the four corners, and a mafk upon it.
101. A
101.	A horned fatyr, white, and (landing upright on a pedeflal; he has his left hand on his head, and in his right he holds a (kin and a crook : the back-ground is red.
102.	A vafe, from whence come two fefloons; under which are two goats : the back-ground black.
103.	A picture in two parts : in one is a woman’s head, Sec.; the other refembles n.. 18.
104.	Another in two parts, like n. 95,
105.	See ml. i. plate xl.
106.	A (landing figure.
107.	A Venus fitting oaa bed, Cupid behind : the back-ground black*
108.	A Venus embraced by Mars ; on each fide two flying Cupids : the. back-ground blue.
109.	An equeftrian (latue on a large arch, under which is a young centaur: the back-ground black.
110.	A yellow eagle ; in a white back-ground.
hi. A fea-monfter, green and a young man, whofe colour is carnation ; terminating in a green dolphin : the back-ground black.
112, 113. Two hermaphrodites: engraved in ml. ii. plate xxxiv..
114.	Thefeus and the minotaur: engraved in ml. i. plate v„.
115.	A latyr inftrudting a youth, who has two tibiae: engraved' ml. i. plate ix.
1.16..	A boy pulling down a (lag :. the colour of the firfl is carnation ■, the fecond is of the natural colour: the back-ground purple.
117.	Two boys, one holding a lyre, the other two tibiae: the background white.
118.	A boy dragging a goat by the horns : the back-ground purple.
119.	Hercules when a child (Irangling the ferpents :. engraved ml. u plate vii.
120.	The judgement of Paris : engraved in ml. ii. plate x.
121.	A peach-tree, and a pear-tree j in a black back-ground.
122.	Stags and dogs : the back-ground black.
123.	Telephus fuckled by the hind : engraved ml. i. plate vi\.
124.	A tiger : the back-ground white.
125.	Companion to n. 100.
126.	A peacock:. the back-ground white.
3.27. A
127* A large vafe, with a mafk on it, fupported by a tripod; a trident, about which twines a ferpent, refts againft the vafe.
128.	A red goat; on a back-ground of gold colour.
129.	A white flag, before which is an altar of the fame colour. A vafe Hands on the altar. The back-ground red.
• 150. Companion to n. 124.
13 1. Another to n. 128.
132.	A full length figure of a woman : engraved in vol. ii. plate xxxi.
133.	A fmall bird, white; and a box half open, a long fpear refts againft it; and another fmall bird is perched on it.
134.	A tiger holding a thyrfe in his mouth : behind him rifes a column, with a flatue of Bacchus on the top: the back-ground is black.
135.	A mafic of an old man, crowned with leaves: the back-ground deep red.
136.	Architecture: engraved vol. i. plate xlii. n. r.
137.	A temple on a rock, with a porch before it; in which are four perfons : in the diftance are hills with buildings: the back-ground is blue.
138.	A full length female figure: engraved in vol. ii. plate xxxi. n. 2.
139.	Architecture: engraved in vol. i. plate x liv.
140.	A kind of portico,' the whole of which is filled up by a woman, cloathed in white, and fitting by the fide of a priefiefs: the back-ground is purple.
141.	A male and a female centaur.
142.	Agrotefque: engraved in plate xiii.
143.	A large piece of Architecture, of the corinthian order: the background white.
144.	A bird.
145.	Two kids; in a black back-ground.
146.	A companion to n. 142 : engraved in plate xiii. on the right hand.
147.	A fort of portico, on which ftands an old man crowned with leaves, by a veffel filled with fruit: the back-ground white.
148.	A portico, and under it a youth crowned with leaves.
149.	A winged boy, naked before, with a veil caft over his fhoulders behind ; and two tibiae of a particular ftruCture in his right hand: the back-ground red.
150—156. Winged boys, or Cupids.
J57* A
157* A figure of a young man {landing upon two fleps, crowned with leaves of reeds; with his left hand and arm he fupports a reed, and with his right is pouring water from an urn. Behind, and on the fides, rifes a colonnade. The figure is defigned to reprefent a river.
158.	A man mafked, and a woman playing on a lyre; both crowned, with ivy : the back-ground is white, bordered with green.
159.	A man in a long robe of red and green, crowned with olive.
160.	A prieftefs, in a red robe, with a yellow veil hanging down behind; under which is a green mantle, reaching to her middle {he is carrying a difh with a cenfer on it-
161.	Companion to n. 18.
162.	A man in red : the back-ground white.
- 163. A winged boy, holding in one hand ajar, in the other a ftaff: the back-ground red, bordered with white.
164.	A boy;, in a black back-ground, furrounded with red.
165.	A bacchant, in a red outer garment, with one of purple under it> fhe has a thyrfe in her left hand, and with her right holds a box upon her head: the back-ground is white.
166.	Another bacchant in white, crowded with vine-leaves,, with heir veil blown behind her above her head; upon which, {he holds^a tympanum : the back-ground is black.
167.	Bacchus in a tiger’s fkin, crowned with.vine, and along thyrfe in.' his hand : the back-ground white.
168.	A winged man, with a fpear in his hand r the back-ground yellow.
169.	Two fragments; one containing a bull of a young man, in yellow,, and a woman’s head with ear-rings ; the other a young man’s head, crowned with laurel,, much decayed : the back-ground of both white.
170.	A bacchant playing on a cymbal: the back-ground white.
171.	A female figure with the wings of a butterfly, v. N° 314..
. 1.72.. Leda carefling the fwan : engraved in vol. iii. plate x..
173.	A naked fawn;, in a red back-ground.
174.	A prieftefs, crowned with leaves; in a red back-ground..
1 75. A naked fawn, crowned with leaves.
176.	A prieftefs in white, crowned with ivy, {landing on the capital of a pillar; in a red back-ground.
177.	A woman, in white and purple drapery, crowned with leaves: the-back-ground white.
1.78. Ionia
178.	Ionic architecture, with figures; in a white back-ground.'
, 179. A fowl pecking at a bunch of grapes.
180. This is nearly the fame with n. 18. and is engraved at the bottom of plate vii. in vol. i.
18 r. A picture in two parts, reprefenting grotefques; the lower piece is the fame with n. 103.
182.	Engraved in vol. ii. plate xxxviii.
183.	A man with bow and arrows, (hooting at fome white birds, which have rifen out of a lake; in which are other birds of the fame kind. A man crowned with leaves, naked from the waift upwards, and below cloathed in green, is fitting on the ground.
184.	A man of a gigantic (lature, refting on a very long fpear ; a figure which is fcarcely vifible, being much decayed, lying on a bed; and a woman (landing cloathed in a long robe of green.
185.	Mercury taking hold of a woman, who has a child in her arms. It is the birth of Areas.
186.	A woman in white, on the capital of a column.
187.	A large rainbow, within which fits Jupiter crowned with oak; over his left lhoulder is a white mantle; in his right hand he has a large thunderbolt, held down ; and in his left a fpear: at his right fhoulder is a winged Cupid pointing to the fpear. The eagle emerges from the bow on the right hand.
188.	Engraved in vol. ii. plate xxxv. n. 1.
189.	Alpheus and Arethufa.
190.	Engraved in vol. ii. plate xxxv. n. 2.
191.	Figures on a large cornice, cut off from the top of the Thefeus.
192.	Two goats grazing ; the ground terminates in a hill, on which is a (hepherd’s crook inverted.
193.	Engraved in vol. ii. plate xxxvi. nm 3.
194.	A red and white frieze, acrofs a red back-ground; from whence arifes the bud of a woman, whofe head is crowned with leaves.
195.	The fame with n. 142, except that the lower figure is like n. 146.
196.	Four boys playing with four lions: the back-ground black.
197.	A facrifice; engraved in vol. ii. plate lix. n. 1.
198.	A woman in white drapery, with a bafket of fruit in her left hand; from whence hangs a feftoon alfo of fruits, which (he holds with her right hand: the back-ground is white.
199. A
199.	A bacchant in red drapery, with a white mantle flying behind her: fhe is crowned with vine leaves, holds a thyrfe in her left, and a (hell partly open in her right hand; fhe has a large feftoon of vine acrofs her: the back-ground is black.
200.	A large fragment of a portico, with a female figure in green and red drapery, almoft' vanifhed: the architecture is yellow, and the background white.
: - 201. An Egyptian facrifice, engraved in vol. ii. plate lx. n. 1.
202. A portico, in a black back-ground. There appears from behind a wall a female figure in white drapery, with a veflel in each hand: over her head-drefs fhe has a crown.
- 203. The fame with n. 178.
204.	Two boys running a race on goats, engraved in vol. ii. plate x\iv. 71. 2.
205.	A flag and a goat, between which is a dog, who feems going to run at one of them : trees are interpofed between them : the back-ground is black.
206.	A woman in chiaro ofeuro; in a green back-ground, bordered with red.
207.	A landfcape; engraved in vol. i. plate xii. n. 2.
208.	A bacchant, on a fmall pillar; in a yellow back-ground.
209.	A landfcape; engraved in vol. ii. plate xxii. n. 2.
210.	A Flora, with a garland of flowers: the back-ground red.
211.	A red back-ground, terminated on the fides by two large yellow pedeflals, with a green foliage between them : the pedeflals thcmfelves are alfo adorned with foliage in chiaro ofeuro. In the middle of the background there is a green oblong, upon which is a kind of lattice work, and over that a large vafe with handles; behind which is a fatyr, refling on the brim. Between this and each of the pedeflals is a long and (lender lamp-ftand, with a crown in the middle, and another on the top, where is placed an eagle : a green branch, arifing from the middle crown, is entwined about each lamp-ftand.
212.	Three leaflefs trees, with a lion purfuing two wild goats: the back-ground red.
2.13. Engraved in vol. i. plate xiv.
214. Architecture, with figures.
21 y This is nearly the fame with n* 8 1.
*	*'<; L. I.	f
9. 16. A
210. A female figure; engraved in vol. 1. plate xm.
21 y. Two fmall birds, each perched on a rofic : the back-ground black.
21 8. A fwan ; in a black back-ground.
219.	A frieze, round a back-ground j engraved at the bottom of plate vi. in vol. i.
220.	Engraved in vol. iii. plate xiv.
221.	A large water bird, on a purple ground : the back-ground white.
222.	Apollo with a fpear, a woman, and a boy with a fpear, all naked : the back-ground is black.
223.	The ftory of Narciflus.
224.	A young man, with a long fpear ending like a fceptre, upon a large round ornament like a wheel; within which is a lion’s head; the background is white.
225.	Architecture, with figures; engraved in vol. iii. plate xv.
226.	A female figure crowned with herbs, holding in one hand a horn, in the other a ftaff; the drapery is green and white; the back-ground purple.
227.	A picture divided into eight equal parts, in each of which is a winged boy, naked, except a veil flying behind; the back-ground is black.
228.	Figures; engraved in vol. ii. plate xxi.
229.	Another like the preceding.
230.	Figures ; engraved in vol. ii. plate xxvii.
231.	A bearded head, on a feftoon ; alfo a cymbal, and a (harp pointed flick : over the head is a white grotefque, in a purple ground.
232.	Engraved in vol. i. plate x. n. 4.
233.	A Cupid on a chariot, drawn by two lions : the back-ground black.
234.	A child riding on a leopard : engraved in vol. ii. plate xxxi. n. 4.
235.	A child in a chariot, drawn by fwans ; engraved in vol. i. plate x. n. 3.
236.	A woman with a fawn : engraved in the fifteenth plate of vol. i.
237.	A fubjeft of the fame fort: engraved in plate xvi. vol. i.
238.	Two half-length figures in rounds, much decayed ; one of a woman crowned with leaves, the other of a boy with a thyrfe in his hand.
239.	Like the foregoing; with a fatyr in one round, and a girl in the other.
240. Ano-
240.	Another like the foregoing ; with hurts of fawns.
241.	Another like the foregoing; with a fawn and fatyr.
242.	Another like the preceding ones; with the hurt of a woman and two boys.
243.	Apollo in red drapery, crowned with laurel; the bow is in his hand, and the quiver refts againft a column, under which is Apollo him-felf. A woman is fitting with the left hand on her knee, holding a branch, and the right refted on the feat: (he has an appearance of forrow.
244.	Two figures, one with a writing table -and ftyle: engraved in vol. iii. plate xlvi. n. 1.
245.	A flying Hebe : engraved in vol. ii. plate xxxix.
246.	A flying fame in red drapery, with a wreath of oak in one hand, and a trumpet in the other; the back-ground is blue.
247.	A bacchant crowned with ivy; in her right-hand is a long thyrfe, in her left a cymbal. There is alfo a fawn horned, with a crook in his right, and a pitcher in his left hand.
248.	Another in the fame manner.
249.	Figures: engraved in vol. ii. plate xxii. ti% 1.
250.	Figures in the fame manner: engraved in vol. ii. plate xxv.
251.	Another in the fame ftile : engraved in vol. ii. plate xxiv. n. 1.
252. Another: engraved in plate xx. 11. 1. of the fame volume.
253. Another: engraved in plate xii. n. i-. of vol. i.
254.	Another: engraved in vol. ii. plate xxiii.
255.	Another: engraved in plate xxvi. vol. ii. Thefe lart feven repre-fent ceremonies ufed in the facrifices to Bacchus.
256.	A vafe: engraved in vol. i. plate x. n. 2.
257.	Bacchus looking on Ariadne afleep : engraved in vol. ii. plate xvi.
258.	Mercury delivering Bacchus toSilenus : engraved in vol. ii. plate xii.
259.	A Cyclops, &c. engraved in vol. i. plate x.
260.	Almoft the fame with n. 182. this is engraved in vol. ii. plate xxxvi.
261.	Bacchus with Ariadne, and a woman playing on the lyre: behind is another woman fcarcely diftinguifhable : the back-ground is white.
262.	Apollo crowned with laurel, rerting againft a rock, with a long branch in his hand; there is alfo his lyre, and his quiver rerting againft a
263.	A bacchant, with a long thyrfe in one hand, and a tympanum in the other: the back-ground black.
f 2	264. Like
264- Like n. 97.
265, 266. Birds: engraved in vol. ii. platenlix. n. 2, 3.
267.	A tiger; in a white back-ground.
268.	Another; the back-ground black.
269.	A winged fphinx: the back-ground black.
270.	Architecture : engraved in vol. i. plate xlii.
271.	A centaur pouring liquor out of a pitcher into a large veflel, which frauds upon an altar; he holds alio a veflel in his other hand: the background is black.
272.	A peacock ; in a white back-ground.
273.	A bird ; in a black back-ground.
274.	275. Landfcapes.
276.	Two bacchants dancing : the back-ground blue.
277.	A picture in .three compartments; in each of the fide ones is a water bird, and in the middle a peacock : the back-ground is white.
278 — 289. Landfcapes.
290.	A fmall loaf of bread, two plumbs, and a kind of flew-pan open, with victuals in it, lying on a dark ground : the back-ground is white.
291.	An oblong table of agreen colour, upon which is placed aTufcan vafe with handles, and a large olive-branch, about which is entwined a red cloth : the back-ground is white.
292.	A picture divided into two equal compartments, and containing four mafks with bufhy heads of hair: the back-ground is purple, bordered at bottom with red.
293.	A marble table, on which are five figs and three peaches, with their leaves : the back-ground is black, bordered with red.
204. A bunch of grapes, with a bird pecking at it.
295 — 299. Pieces of fruit.
300.	Fifh: engraved in vol. i. plate x\v\\. n. 2.
301.	Red earthen veflels, &c. the back-ground black.
302.	Three fifh: engraved at the bottom of plate v. in vol. i.
303.	Two large peaches, in a white ground.
304. A parrot drawing a chariot, and guided by a grafs-hopper. The ground is green ; and the back-ground is black : this is engraved in vol. i. plate xlvii.
305.	Two mullets: the ground as in the laft.
306. A
306.	A bafket on one fide, with figs falling out of it: a purp... border furroundsit, made like an architrave, with a white frieze.
307.	The infide of a houfe j on a large window feat are two mid lets*
308.	A pried in white drapery, crowned with olive, with a pitcher in one hand, and a difh in the other : the back-ground is a building, and is of a purple colour : engraved in vol. iii. plate x\v\. n. 2.
309.	Fowls; two bafkets with cheefe, one of them over-turned ; and a fhepherd’s dafF.
310.	Figs, and a hare eating.
311.	A tiger, eating out of a veflel which he has thrown down:, the back-ground red.
312.	Fifh : engraved at the bottom of plate v. in vol. i.
313.	Two veflfels, and two dates, on a green ground : the back-ground is white.
314.	A Pfyche, or girl with butterfly’s wings ; fhe is crowned with ivy, holds a cymbal in one hand, and in the other, which fhe reds againd her fide, a ribband : the drapery is purple and white y the back-ground is red.
315.	A bud'of a horned fawn 'T he is naked before, has a green mantle thrown -over bis fhoulders,. the bottom of which is held up by his right hand, and is filled with leaves.
316.	Architecture.
317.	A large done, from whence rifes a pi la der. There is alfo a maflt crowned with vine leaves, a diepherd’s dafF, a bafket, athyrfe, and a little thicket, or wood.
318.	A bacchant, in red and white drapery;, in one hand fhe holds &> cymbal, in the other a fidrum : the back-ground is white.
319.	A bacchant on a pillar, in red drapery, with a white veil thrown over her fhoulders; fhe is crowned with vine leaves,, and has a difh in one hand: the back-ground is white..
3.20. A fhepherd’ on a pededal, with his dafF in one hand, and his pipe.-in the other ; he has a garland on his head : the back-ground is white..
321.	A woman in purple drapery; fhe has on her head a veflel of a blue co’.uur, which fhe holds with her left hand: the back-ground is yellow.
322.	A Pegafus, white ; on a black ground.
323.	A man danding upright; and another figure with a tiara-on his head, and a feeptre in his hand :. the bapk-ground is bkttk.
3^4 — 327. Birds.	1	'
328. A
32ö. A malk, in a red ground.
329.	A roe-buck laying down : the back-ground is black.
330.	A woman in the form of a harpye, with the wings, feet, and tail of a bird; the has two flutes in her hands: the back-ground is white.
331.	A bufl: of a woman : engraved in vol. i. plate x\\v. n. 4.
332.	Two rounds, in one of which is the figure of a man, in the other of a woman : the back-ground is yellow.
333.	A young man crowned with ivy, and winged; he is naked before, but has a blue mantle thrown over his fhoulders; in his right hand he holds a center, and in his left a bucket : the back-ground is red.
334.	A young man flying; the fkin of a goat is thrown over his (hould-ers : the back-ground is yellow.
335.	A harpy j in a yellow ground.
336.	A young man naked, with a mantle thrown behind him ; he has a lyre in his left hand : the back-ground is yellow.
337.	338« Two tritons: engraved in plate xliv. n. 2, 3. vol. i.
339.	A flying vidtory; engraved in vol. ii. plate xl.
340.	Two tritons : the back-ground yellow.
341.	A winged boy playing with a goat: the back-ground black.
342 — 344. Medufas.
345.	The head of a fatyr.
346.	Two mafks, on a red ground, in two compartments.
347.	.A winged youth, flying, and holding a dith : the back-ground red.
348.	Another ; naked before, but holding a veil over his thoulders : the back-ground yellow.
349.	A young woman, winged, flying, and crowned; the has a necklace and bracelets; her feet have fandals, and in her hand fhe carries a ceftus ; the back-ground is red.
350.	A woman, holding in her hand a bafin and a flaff: the background green.
351.	The famewith 337 and 338.
352.	A young man winged, with a flaff in his right hand, and flying drapery of a blue colour in his left.
353.	Another.
354.	355. Engraved at the bottom of plate viii. in vol. i.; the back-t grounds of all thefe are red.
356. A flying youth, with a reed in one hand : the back-ground yellow.
357- A
357* A woman in green drapery, with a red mantle; fhe is crowned with ivy, and ftands by a pillar : the back-ground is purple,
358.	Two goats at the fide of a hill, in a purple ground.
359.	A woman in blue drapery, playing on a pair of crotall: the background is blue, with a yellow border.
360.	Two winged girls, in twro feparate compartments;- one of them has fruit in her robe j the other has two flutes in one hand, and holds up her robe with the other: the back ground is red.
361.	A piece of Ionic architecture j in a green back-ground,, bordered with red. There is alfo a woman reading.
3.62. A woman fitting- Engraved, in. vol. ii- plate xxxi. n. 2,
363. A Silenus, fitting on a rock, and retting againfl it; he holds a thyrfus in one hand i with the other he reaches out a veflcl to a woman, who is pouring wine into it from a larger veflel.
3.64. Ionic architecture : the back-ground red.
365.	A.large br-anchiof the orange tree,, with leaves and three fruity there is a bird on it refembling a crow : the back-ground is white.
366.	Bacchus crowned with ivy ; in one hand a long thyrfus, in the other a horn, from whence he pours- fome liquor on a figure lying upon-the ground- See vol. iii. plate xxxviii.
367.	A griffon; on a black back-groundl
368.	A tiger; on.a red back-ground.
369.	This is engraved in vol. i. plate ii. The two female figures behind are in white drapery; by this, and by their head-drefs, they ihould feem to be veftals the large female figure at the back of all the reft is ia green drapery, and has long fair hair.
370.	Chiron and Achilles. Engraved m.voL i. plate viii.
371.	372. Grapes, and a tiger playing with them: the back-ground black.
373.	A man with a goat. Engraved in.W. ii. plate xxxvii.
374.	A fea-piece, with two fea monfters one is a triton, the other has a horfe’s head and the tail of a fifh. There are alfo three dolphins: the back ground is white, with a border of blue.
375.	A mafk, faftened by three firings to the extremity of the ground,, which is red.
376 A water bird flying : .the back-groundblack..
377. A centaur. Engraved in vol, ii, plate xviii- i.
37®- A
37S. A goat: the back-ground white.
379.	A picture in three compartments ; in the firft and third are two branches of an apple tree, laid acrofs each other, with a fmall bird perching on each : the fetond reprefents a piece of architecture, upon which is a bull with a fifli’s tail.
380.	Two horfes, with a large flower between them.
381.	A large fea tiger between two little dolphins : the back-grounds of thefe are red.
382.	A picture in four compartments; in the firfl and fourth a vafe, in the two others a griffon and a peacock : the back-ground is black.
383.	Young Bacchus, with a fatyr, and other figures. Engraved in ■rjyl. ii. plate xiii.
384.	A fca dragon with a long tail, and a fmall dolphin.
385.	386. Maflcs: the back-grounds red.
387.	A picture in eight compartments ; in feven of them is a mafic, and in the eighth a piece of architecture, with a triton and griffon : the back-ground is black.
388.	A great fea bull between two little dolphins: the back-ground red.
389.	A combat of fea members : the back-ground black.
390.	A large piece of architecture, with figures: the back-ground white.
391.	A large glafs veffel with eggs, fet upon a table; alfo two large pieces of bread.
392.	Three trees, among which are two goats purfued by a dog ; there is alfo a dog purfuing a wild boar, whofe leg another dog has caught hold of.
393.	Amphitrite on a fea-horfe, preceded by a triton. Engraved in *vol. ii. plate xliv. n. 1.
394.	A green bird, upon a leaf.
395.	A bufl of a fawn, in a round.
396.	A winged youth, with a mafk in his hand, and a veil thrown behind him.
397.	A fphynx, whofe tail turns in a grotefque form ; another large grotefque rifes from her head, and terminates in a rofe.
398.	Trees and animals: all thefe on a black ground.
399.	Architecture, with animals; and a view of the fea, with a tnton, flying boys, dolphins, &c.
400. A
400.	A piece in two compartments, both reprefenting the infide of a room: in the firft are two cocks fighting; and on a window-feat dates and figs: in the other there is a dead quad, and a pigeon pecking at an apple : the back-ground is red.
401.	A landfcape, with buildings and figures; mountains in the dif-tance : the back-ground is black, with a red border.
402.	A piece confifting of fix parts, and chiefly exhibiting grotefques.
403.	A picture in feven compartments : the firft, fourth, and fevenlh contain a vafej the fecond has one head, and the third two heads of a fawn; the fifth exhibits a walled city or caftle, with men coming in and out at the gate; at the back of it runs a river, and behind that are trees; the fixth has a mafk refembling a lion’s face.
404.	A picture in two compartments; the firft having a box or cheft partly open, out of which a white pigeon is drawing a ftring ; the other, two medals of a gold colour, and a coffer alfo partly open, leemingly full of the fame medals: the back-ground is black.
• 405. A piece in four compartments, which contain landfcapes.
406.	Ariadne abandoned by Thefeus. Engraved in vol. ii. plate xiv.
407.	Engraved in vol. iii. plate xxxviii.
408.	The infide of a room, where is a woman fitting, in blue and purple drapery; alfo a girl ftanding, and an old man fitting; he is in white and yellow drapery.
409.	Three female figures in a portico, two of them fitting, and one ftanding : fhe on the right is cloathed in purple, with a blue mantle, her head-drefs is white : the other on the left is naked from the middle upwards ; her drapery is white and purple : the ftanding figure is cloathed in blue, red, and purple. The picture has a yellow border round it. This is engraved in vol. ii. plate xi.
410.	A pi&ure in three compartments; reprefenting views on the fea-coaft.
411.	Another: 1. A book confifting of five plates of metal: 2. A volume partly unrolled: 3. Two pieces of ivory joined together: the background is black.
412.	A ftem of a water-plant; in the middle is a large medallion, with the head of a Silenus on it: over this is a vafe; and on the fides of the medallion are two grotefques: the back-ground is purple*
Vol. I.
413. Two
413* Two boys, crowned with leaves, and in ruftic habits; one blue and the other red. On the ground are a book and two bows ; the-background is black.
414.	A fportfman in yellow, with an upper veft and mantle of green; he has a bow in one hand, and is drawing an arrow from his quiver with the other : the back-ground is black.
415.	A woman naked from the middle upwards ; below cloathed in white drapery: (he has a quiver in her left hand : the back-ground is
4x6. Mafks.
417.	Birds : the back-ground black.
418.	Four dancing figures on black back-grounds. Engraved in vol. iii. plate xxviii, xxix, xxx, xxxi.
419.	A piece in two compartments; in each of which is a fmall fifh-pond, with three fifli in each: the back-ground is yellow, with a purple border.
420.	A woman in yellow drapery, (landing on a pillar, with a vafe on her head : the back-ground black.
421.	A fragmentof a horfe and two men.
422.	A rope-dancer. Engraved in vol. iii. plate xxxii. n. 1.
423.	424. Landfcapes : the back-grounds black, with yellow borders.
425.	Horfes and lions : back-ground and border as before.
426.	A pidiure in five compartments: 1. A fatyr’s head: 2. A yellow griffon: 3. A lionefs fighting with a great ferpent: 4. A tiger running:
5.	A large bird, like a fwan, flying: the back grounds are red; except in the fecond, which is white.
427.	Another in fix compartments: in the firft and laft are mafks ; and in each of the reft a winged boy: the back-grounds of the firft and fixth are purple, of the others red.
428.	A large duck among trees, filling up the whole back-ground, which is blue.
429.	A grotefque.
430.	A triton guiding a fea-horfe with a bridle; behind the horfe is another triton, with an oar held up : the back-ground is black.
43 j. Four p eces of ftill life. Engraved in vol. ii. plate xxxvi.
432. Birds, fheli-fifh, game, and vafes. Engraved in vol. ii. plate lvii. n. 1, 2, 3.
433* A picture in four compartments: in the firft fruit; in the fecond a vafe ; in the third a window-feat, with two books on it, and a leathern purfe; in the fourth a landfcape.
434.	Three pieces of fruit. Engraved in vol. iii. plate liv. n. 1, 2, 3.
435.	A picture in two compartments; in each of which is a tree, and a fatyr engaging with a gGat: the back-ground is red.
436.	Fruit, See. in three compartments, reprefenting the infides of rooms.
437.	A peacock and two apples, in the infide of a room.
438.	Two views of houfes.
439.	Architecture, with elephants, &c.: the back-ground black.
440.	A piece in three compartments : in the firft and third is a youth naked and winged ; in the fecond a woman in the character of a bacchant: the back-ground is yellow.
441.	Apollo with his lyre: the back-ground blue, bordered with red. Engraved in vol. iii. plate i.
442.	Architecture, with griffons and a fphynx : the back-ground •
443.	Architecture, refembling n, 439.
444.	Architecture, like n. 390.
445.	A landfcape, with buildings and cattle.
446.	Architecture, like n. 399.
447.	A figure refembling that in n. 441.
448.	Architecture : the back-ground white.
449.	Deer, and a goat. This piece is in three compartments; and the back-ground is white.
450.	A Bacchus. Engraved in vol. iii. plate ii.
451.	Architecture.
452.	A bag of dates; alfo a bafket filled with dates and figs. Engraved in vol. ii. plate lvii. n. 4.
453.	A bafket crammed with figs : the back-ground black. Engraved in vol. iii. plate liv. n. 4.
454.	A triton founding a fhell, with a bafket in one hand : the background is white.
455.	A piece in fix compartments: 1. A pillar, with a bow retting againft it; a wolf, and a quiver againft another pillar: 2. A pillar, with a vafe on the top; a man in white drapery holding a fiftrum, and a fvvan ;
g 2	alto
A M v	JL u Li J. 11 il i^l U 11. A	v *	*»-*-.*	'O' I— •
alfo another little pillar, with a vafe on it: 3. A pillar, and a globe crowned with flowers, which has a fhepherd’s crook on one fide of it, and an eagle with a thunderbolt on the other j behind is another pillar, it repre-fents a temple of Jupiter: 4. A bafket, againfl which refls a fpear j alfo a peacock : 5. A pillar; a box half open, upon which there is a white bird, and another by the fide of it; 6. A tiger eating out of a cornucopia, between two little pillars: the back-ground of all is yellow.
456.	Marine animals; in a black back-ground.
457.	Architecture.
458.	Grotefques: the back-grounds of both thefe are black.
459.	A fea-monfter, and two dolphins: the back-ground red.
460.	A piece in two compartments: there is a hoop in each, upon which ftands a peacock ; behind is a pillar: the back-ground is white.
461.	A foffit fupported by a term, ending in a head armed with a helmet ; a thyrfe refis againfl the terminus; and there is a lyre in the left hand of the figure: the back-ground is red.
462.	A picture in two compartments: in the firfl: is one, in the fecond two dolphins; the back-ground of one is green, of the other black.
463.	Two large ferpents entwined together : the back-ground is white.
464.	A piece in two compartments: in the firfl is a winged boy hunting ; in the fecond two boys, each driving a car with a pair of dolphins. This is engraved in vol. i. plate xxxvii.
465.	Engraved in vol. i. plate xxix.
466.	Engraved in vol. i. plate xxx, xxxi, and xxxii. n. 1, 2, in plate xxxi. n. 3. in plate xxxii. and n. 4. in plate xxx.
467.	Engraved in vol. i. n. 1, 2. in plate xxxiii. n. 3. in plate xxx. and n. 1. plate xxyLvVn.
468.	Engraved in vol. i. n. 1. in plate xxxiv. n. 2, 4. in plate xxxv. and n. 3. in plate xxxii.
Thefe are all winged boys at different amufements or employments.
469.	A fea-horfe; in a red back-ground, bordered with blue.
470.	A picture in four compartments: the firfl reprefents the infide of a room, where a cock is going to peck at a garland which furrounds a flick ; upon a fiep there is a little fountain : the other three reprefent boys as before ; and are engraved in vol. i. plate xxxiv. xxxvi.
471. A
47i* A picture in three compartments: in the firft and third is a figure refembling Mars; in the fecond a woman in red drapery, with a dilh of fruit j perhaps Pomona : the back-ground is blue.
472.	A picture in four compartments 1. An amazon with her bow and ihield : 2. A woman in red drapery, with a cup of water in one hand, and a trumpet in the other: 3 and 4. A woman on a pedeftal, holding up her veft with one hand, and having abafket of fruit in the other.
473.	A piece divided longitudinally into two compartments: the lower is a garden; the upper has a large veflel, from whence rifes a tree which fupports a bafket; from the tree iftue two feftoons of vine leaves with grapes, at which two goats are jumping up: the back-ground is black, terminated on the left fide with a yellow border; to which a broader red one joins: the compartments are feparated by a border, which is red above and yellow below. This is engraved in vol. ii. plate xlix.
474.	475. Each of thefe is a picture in four compartments, with ornaments and mafks alternately uniting with each other.
476.	A purple cord, about which is entwined the branch of awine, with grapes; a cymbal hangs from the middle of the cord : the back-ground is white, bordered with green and red.
477.	A whimfical picture of grotefque ornaments: the back-ground black.
478.	Like, in every refpecft, to 476.
479.	A long yellow ornament, in the middle of which are vafes, tympana, cornucopias, volutes, and on the top a crown : the back-ground is white, wirii two borders; one red, the other green.
480.	A picture in two compartments: in one a large round,, with the buft of a woman ; her head covered with a white veil, her veft red, and a balket of fruit in her hands : in the other, a-view of houfes, with a temple : the back-ground is blue.
481.	A large mafk, crowned with vine leaves; one half in a red,, the other in a blue back-ground. In the latter half is a large white, pigeon, on a feftoon of bay.
482.	Plants, with animals; in a black back-ground, in two compartments.
483.	Branches of the pomegranate tree,, with fruit: the back-ground-blue.
484.	A
484.	A picture in two compartments : in one three mafks; in the other an altar, with a thyrfus rcfling againfl it, and a cock walking towards it: the back-grounds are yellow.
485.	Birds, occ. : the back-ground black, in three compartments.
486.	Another in three compartments: in the firft and third grotefques; in the fecond a landfcape.
487.	A picture in four compartments: in the firfl an architrave with a fphynx on it; in the fecond the infide of a houfe, with a window, on which is an ear of Indian wheat, and an earthen cup : in the third a tiger : in the fourth an unnatural flower, fuch as is ufed in ornaments: the back-grounds are red.
488.	A pidlure in five compartments; a winged boy in each : the background azure.
489.	Another in three compartments: in the firfl and third is a winged boy : in the fecond a view of houfes, with figures: the back-ground is blue.
490.	A dark ground, bordered with red : fifh are fcattered about it.
491.	A term fupporting a portico; in his hand is a lyre, and a flafff is faflened to his middle by a green firing : the back-ground is red.
492.	A large curule chair, covered with red tapeflry; it has a fmall red cufhion upon it; a fpear refls againfl it; and it has a footflool, upon which a peacock is perched: the back-ground is blue. [Juno’s throne.]
493.	A fea-piece, exhibiting a triton with his conch; before him a fea tiger, and behind a dolphin : the colour of the fea is blue, and it is bordered with red.
494.	A pidure divided into three compartments by grotefque borders : in the firfl and third are an lfis, with a patera in the left hand, and a fif-trum in the right: in the fecond is a river, with a little boat in it: on one fhore a garden, on the other a wood.
495.	This is made up of feveral fragments, that have no relation to each other, and were taken from different places. Befides feveral ornaments in grotefque, there is an Ofiris fitting on a curule chair; he has two lotus flowers under his feet, and a ferpent in his hand; the dog Anubis faces him on a pedeflal. There is alfo lfis, with a ferpent in one hand, and a flower of the lotus in the other; a fphynx, with the head and neck of a woman, and the body of a dog, without wings ; another lfis fitting
in
in a curule chair, with a difh in one hand ; another Ofiris, with one flocking white, and the other blue; he has a key in one hand, the lotus in the other, and is attended by a dog: of this deity there are figures befides, one of them has a blue face, and a patera in his hand; the other has a ferpent in one hand, and a lotus flower in the other ; another fphynx like the former : and laflly, an Ifis fitting, with a fpear in her hand; one leg is white, and the other blue.
496.	A picture in fix compartments: in two of them a vafe, with handles and figures, tied with a red firing, and a thyrfus lying acrofs them : in each of the other four is a bird on the wing; like a fwan in every re-fpedt except colour, which is white : the back-ground is white.
497. A fea-piece, with four fhips. Engraved in vol. i.platex\v.	1.
498.	Apiece in fix compartments; the backgrounds white: in the firfl and fixth is a winged man : in the fecond a bird on a flick wreathed with leaves: in the third a tiger: in the fourth and fifth a fea bird, on a red and green fefloon.
499.	A pi&ure in two compartments; with a lark in each : the background blue.
500.	Another in five compartments: in the firfl a pegafus; the background black : in the fecond a monfler, with the body of a lionefs, winged, a human face bearded, with long ears: in the third a bird pecking at leaves : in the fourth a partridge pecking at a bunch of grapes: in the fifth, on a piece of architecture, a boy, terminating in an ornament, and holding in his hand a red goofe: the back-grounds are red.
501.	Another in three compartments; and in each a bird : the back- • grounds black.
502.	A peacock perched on white lattice work; in a red back-ground.
503.	Four compartments; a lark in each : the back-ground blue.
504.	A picture in five compartments : 1, 2. A river, with ducks lwim-ming in it: 3. A capon ; in a black back-ground, bordered witli blue: 4, 5. Two tigers playing with crotala: the back-ground yellow, bordered with blue.
505.	Two tigers and three goats, eating: the back-ground is green, with leaves and pears thrown about it.
506.	Two compartments: in one are two lionefles, on an ornament of flowers; in the other is a goat: the back-ground of the firfl is yellow; of the fecond black.
507. A
50j. A pidture divided into three compartments by little yellow ornaments : in each of the two fide ones is a bird ; in the middle one a garden, furrounded with yellow trellis work; in the centre of which is a large arch, and under it a fountain ; on the fides great arbours : the background is black.
508.	A pidfure in five compartments; with a rope-dancer on each, who have thyrfi in their hands ; green feftoons hang from the ropes, and the back-ground is black.
509.	A woman crowned with ivy, and a conch in her hand : the background is black.
510.	Two compartments: in one a bird on fome leaves; in the other a tiger eating out of a cornucopia.
511.	Three compartments : in the two fide ones a lamp, with feveral lights: in the middle one two mafks of lions, and a fwan : the background of both thefe red.
512.	Three compartments; in each a white medal, bordered with black : -the firfl: is a Silenus crowned with ivy, and a cup in his hand : the fccond is a woman playing on a tympanum : the third is a young man crowned with ivy, with a cup in his hand like the firft: the back-ground is blue.
513.	Fi£h : two large mullets, a gilt-head, a large fea-crab, a marvizzo, a pourcountrell, orpoulp3, a weever, and a garr-fifh. This is engraved in vol. i. plate xlv. n. 2.
514.	A large elephant.; in a white back-ground.
515.	A whimfical aflemblageof a large bearded head; birds, &c.: the back-ground yellow.
516.	Eleven fragments put together; they exhibit birds, fp'hynxcs, mafks, &c.: the back-grounds are white.
517.	A pidture in three compartments: in the firfl, between two trees, an afs moving towards a tympanum, which reffs againfi; a column : the fecond is a red architrave; on the cymatium is a winged griffon rampant, vvhofe.tail forms a volute; there is alfo a winged boy, with a flaff in one hand and a flute in the other: in the third is a wolf among fome bufhes: the back-grounds are black.
* The polypus of the ancients, Sepia oflopodia; a frightful creature to look at, but ftill .ufually eaten, as of old in Italy and Greece. G.
518* A
518.	A parcel of mifcellaneous fragments put together.
519.	Three mafks, the head of a latyr, two other mafks, a vafe with a handle, a medufa’s head, and on the fides ornaments of different co~ lours : the back-ground is yellow.
' 520. Ornaments, with flowers, fruit, animals, &c. : the back-ground yellow.
521.	Apples and other fruit difperfed about a green ground; in the midft of it are the head of a woman, and a tympanum; on one fide is a goat jumping up at fome twigs.
522.	Several fragments: a man crowned with vine leaves, the head of an owl, the back of a woman, a medufa, a bird, a head and parts of the human body.
523.	A man dancing on the tight rope; his habit and mafic are green, his cap yellow; green feftoons hang from the rope : the back-ground is black. This is engraved in vol. iii. plate xxxii. 2.
524.	A mafk on three fleps, like thofe of a theatre: the back-ground blue, bordered with red.
525.	An opening into a theatre, with a mafk lying on the flairs.
526.	527, 528. Refemble the la ft.
529.	Centaurs. Engraved in vol. i. plate xxvi, xxvii, xxviii, xxv.
530.	A woman, habited in white and green. Engraved in vol. i. plate xxiii.
531.	A pi£lure in feven compartments, containing dancing figures of women. Engraved in vol. i. plate xxii, xix, xx, xvii, xviii/xxiv, xxi.
532.	Three compartments: in two of them a triton with two dolphins; in the third a triton going to attack a lion which is on the fhore.
533.	Architecture: the back-ground red.
534.	A piClure in two compartments; 1. A boy playing with two pigeons : 2. A winged griffon : the back-ground red.
535.	Bacchus, naked before, crowned with vine leaves, and holding a large thyrfus; at his feet a tiger with a feftcon of vine leaves about his body: Silenus is playing on the lyre; and a fatyr is emptying a cornucopia of wine upon a bunch of grapes: behind is a young woman : the back-ground is white.
536.	A landfcape : the back-ground blue. It is engraved in vol. ii. plate xlv.
Vol. I.
h
537. An
537- An altar with fruit on it, and a ferpent winding about it: by the fide of the altar Hands Harpocrates, naked, with the flower of the lotus: the back-ground is white, bordered with red. It is engraved in vol. i. plate xxxviii. n, 2.
538.	A winged viflory, holding a palm-branch in one hand, and a book in the other : the back-ground white.
539.	A pidture in two compartments: the firfl: green, with a mafk; the fecond blue, with a picked fowl; both are bordered with red.
540.	A pidture in two compartments, both black : in the upper one is Juno in a chariot ; in the lower one a green round, with a boy in it.
541.	Another in four compartments; in the firfl: and fecond a fphynx, on a red ornament: in the third a rope-dancer: in the fourth a bucket: the back-grounds are black.
542.	Another in fix compartments: x. A white rofe, in the middle of an octangular fefloon of white flowers: 2, 3, 4. winged boys : 5. A purple rofe, with a boy’s head in the middle of it: 6. A white rofe, in the midft of a white oCtangular fefloon : the back-grounds black.
543.	Another in five compartments: in the four fide ones a yellow bird; the back-grounds red: in the middle one a large vafe: the back-ground black.
544.	Another in three compartments : the firfl: and third engraved in plate 1. of vol. i.; the back-grounds black: the fecond reprefents birds; in a white back-ground.
545.	Another in feven compartments; containing rope-dancers, on black back-grounds: engraved in vol. iii. the feven laft numbers of plate xxxiii.
546.	Another in three compartments, with a mullet in each : the backgrounds green.
547.	A large ferpent afcending a fmall and low altar : the back-ground white.
548.	Mercury, with wings to his feet, and the petafus\ in his right hand a purfe, in his left a caduceus, and a tortoife at his feet : the background white.
549.	Boys. Engraved in vol. iii. plate xxxv.: the back-grounds black.
550.	Four boys, in four compartments, like the foregoing. Engraved in vol. iii. plate xxxiv.
551.	Three compartments, in each of which is a bird, on a fefloon of myrtle.
552.	Four
552.	Four compartments with birds: the back-grounds of both thefe black.
553.	A centaur playing on two flutes ; in a white back-ground.
554.	A picture in two compartments : in one a woman, naked from the middle upwards, downwards habited in blue, with a red upper garment thrown behind her : in the other is a winged boy, with a long fceptre in bis hand.
555.	Fourteen fragments: in the five firfl: are a winged boy: in the 6th, 7th, 1 ith, and 12th, are a mafic : in the 8th, 9th, and 10th, a whimfical bird: in the 13th the back of a human figure; and, in the 14th, Europa on the back of a fea-bull. This laft is engraved in vol. iii. plate xviii. n. 1.: the back-grounds are black.
556.	A lark among fhrubs, pecking cherries : the back-ground red.
557.	Five compartments j a goat in each ; except in the fecond, which has a buck : the back-grounds white, with a red ornament round them;
558.	Two griffons, on architecture.
559.	A patera, and a bird like a fwan, but yellow.
560.	Three compartments : 1. A tiger, within a circular band of olive:
2.	A griffon, on architecture, with a ftaff in one hand, and a patera in the other; and terminating below in a volute : the back-grounds of the firfl; and third are white, the fecond is red.
561.	Two tritons with a large conch, behind each is a fea-horfe : there are alfo five dolphins: the back-ground is white, bordered with red.
562.	A piece in twelve compartments: in five of them a peacock on a grotefque: in the other feven a goat, on a red ornament: the background is white.
563.	564. Architecture.
565.	Diana, Endymion, and Cupid : the back-ground blue. Engraved in vol. iii. plate iii.
566.	Three compartments: in each of the two fide ones a goat, on a feftoon of vine : in the other a circle of leaves, within which is a mafic,, crowned with vine leaves: the back-grounds red.
567.	Leda with the fwan: the back-ground blue, bordered with red. Engraved in vol. iii. plate ix.
568.	Architecture, with a figure; in two white compartments, exaClly alike.
569.	A dolphin ; in a black back-ground, bordered with green.
h 2
570. A
570.	A view of a bay, with a city, and human figures.
571.	A view of a harbour, with buildings and veflels. Engraved in vol. ii. plate lv. n. 1.
572.	A fedoon, upon which is a bird, with red and green plumage: the back-ground is black.
573.	A. ground fpread with white rofes; from this rifes a portal, on which dands a bird ; from the top of the portal, on each fide, is a feftoon, from which hang rofes: the back ground is black.
574 A piece in five compartments: a.naked boy in three of them; and a Medufa in the other two : the back-ground purple.
575.	A picture in two compartments: the upper one, which is larged,, is white, and has a tall oak in it, with a palm on each fide; at the top hangs a ched, or box, with a mafic in the middle of it: the lower one is blue, and reprefents a landfcape. Thefe are engraved in vol. i. plate xlix.
576.	Another in three compartments : in thefird a figure, naked before, with a green ved thrown behind, in one hand the head of an animal: in the fecond a woman in green drapery, crowned with vine leaves : in the third a man of a fierce look, feeming by his attitude to be a wredler.
577.	Like n. 575, and engraved in plate xlviii. of vol. i.
578.	Four large rounds; the back-grounds blue; in each a landfcape. Engraved in vol. ii. plate li, lii.
579.	Four more, refembling the foregoing. Engraved in plate liii, liv. of the fame volume.
580.	581. Large mafics of a bacchant crowned with vine leaves, in a yellow back-ground.
582.	A woman in white drapery, crowned with oak leaves, and with an oak branch in her hand;, in her ved the holds flowers and fruit: the back-ground red.
583.	Hercules, reding his club againd a rock : the back-ground red.
584.	A comic fcene, with three characters.
585.	Another, one of them crowned with ivy, and playing on two flutes.
586.	Bacchus and Ariadne : die is feated on a tiger, and from the middle downwards is in red drapery: in another compartment is a naked youth; in a red back-ground.
587.	Two hunting pieces, on black back-grounds. Engraved in vol. ii. plate xliii.
5S 8. Build-
588.	Buildings by a river’s fide, with Tome human figures.
589.	A picture in two compartments: in the firft, a- view of the fea, with buildings. Engraved in vol. ii. plate lv. n. 2. In the fecond, another water piece, with buildings.
590.	A woman: the back-ground white. Engraved in vol. ii. plate xxx. n. 1.
591.	Apidlure in two compartments: in'the'firft a prieft in white, crowned with bay: in the fecond a woman in purple drapery, with a white veil over her bofom, which reaches to the ground ; with her right hand She holds a fieve upon her head,, and in her left She has a vafe: the back-ground is yellow.
592.	A blue back-ground, with a border of red: towards the top is a large conch : there is alfo a prieft, whofe upper garment is greeny and his lower red, girt with a fafih he has a hafta pura in his hand.
593.	A winged genius, a bacchant, and a Silenus, in three compartments; the ground of which is purple. Engraved in vol. iii. plate xx.
594.	A.piece in fix compartments, with houfes and veflels in each : the back-grounds white.
595.	A prieftefs and a prieft. Engraved in the two lower numbers of" plate xxxiii. in -vol. ii.: the back-grounds yellow.
596.	Another prieftefs and prieft. Engraved in the. upper part of the fame plate..
597,.	Five pigmies in caricature: the back-ground blue.
598; A winged genius, naked before, and holding upon his head a baSket of flowers : the back-ground black.
599.	.The fame in almoft every refpetft with n< 575. •
600.	A picture in two compartments, which are white : in one is a woman crowned with bay, in red and green drapery ; fhe has in one hand an extinguished torch, in the other a Shield : the fecond exhibits another Schmale figure, with a ftaff in one hand, and a difh in the other.
601.	A view of buildings,, on a blue ground, in a gold border..
602.	A bay, with a city in the distance, and human figures,.
603.	A wreftler, crowned; he has a palm branch and a Shield in one hand :. the back-ground is red.
604.	The buft of a woman, in a large blue round, on a red background ; She has a ftaff or feeptre in one hand, and a diadem on her. head,
605.	A pidure in two compartments; in one a naked Cupid, with a piece of green drapery on his arm, and a branch in one hanci; the background is black : in the other a fea-god naked, with a rudder in one hand : the back-ground white.
606.	A youth naked ; he has two pomegranates wrapped in a cloth, which he holds with both hands; by his fide is a woman, clothed from the middle downwards in green drapery: the back-ground is yellow.
607.	A mafk of a latyr, crowned with vine leaves, in a yellow back-
608.	Two Cupids : one naked with a fpear in his hand, going to ftrike; the other holds with both hands a green umbrella, bordered with white: the back-ground is black.
609.	A piece in eight compartments: in the firfl and third a (acred cheft hanging by a green dring : in the fecond a round of a red colour, bordered with white, with a white flower in the middle : in the fourth a fmall bird on a green feftoon : in the fifth and fixth a red round: in the ieventh a green bird, with red wings, legs, and beak, and his head partly red and partly white : in the eighth another large round.
6 10. A pidure in three compartments: 1. A winged genius : 2. A naked Bacchus: 3. A woman : the back-grounds black.
611. Another in four compartments: in the firfl, fecond, and fourth a naked Cupid: in the third a, man in yellow drapery : the back-grounds black.
61 2. Another in three compartments: in the firfl and third a bacchant: in the fecond a woman almofl naked : the back-grounds black.
613« Another in four: in the firfl and lafi a vafe; the back-grounds black: in the fecond a landfcape : in the third buildings by a river’s fide, with figures: the back-ground blue.
614.	Two compartments, containing two boys.
615.	A pidure in four compartments; the two middle ones larger than the fide ones: in the firfl: and fourth are a naked Cupid : in the fecond and third a half naked woman : the back-grounds black.
616.	Two compartments : in one a figure with a fpear and vafe : in the other a half naked figure : the back-grounds black.
617.	A woman half naked: the back-ground red.
61 8. A fea dragon.
619.	A grotefque. The back-grounds of both thefe black.
620.	Seven
620.	Seven compartments, all white: in three of them a vafe; in two a helmet; and in the two laft a helmet and a horn.
621.	Three boys in three different compartments: the back-grounds of the firft and laft red, of the fecond black.
622.	Two winged boys, in two feparate compartments, which are red.
623.	Two compartments, with a boy in each : the back-grounds red,
624.	A foldier with a fpear : the back-ground yellow..
625.	A woman in red drapery.
626.	A man in purple drapery-
627. Two compartments; a naked man in each, holding a drinking, horn. The back-grounds of this and the two former yellow.
628.	Two compartments, a winged genius in each: the back-grounds black.
629. A pidture in four compartments: in the firft a naked boy : in the fecond Hymen : in the third and fourth two fwans on a blue globe: the. back-grounds red.
630.	Another in five compartments: in the firft a fphynx : in the fecond a mafk ; the back-grounds yellow : in the third a ftaff by the tide of a vafe; the back-ground white: in the fourth a dolphin; the background blue : in the fifth a large mafk of a lion ; the back-ground black.
631.	A round, in which is a vaft building in the middle of water.
632.	A figure with a lance, in a yellow back-ground..
633.	A winged genius, in a red back-ground.
634.	Three compartments, all yellow : in the firft an eagle turned Cowards a globe, againft which refts a fpear: in the middle one a ram, with a helmet behind him, and a ftaff: and in the third a chariot with a vafe on it, drawn by two fphynxes.
635.	Fifh ; in a white back-ground, bordered with red.
636.	A fragment of architecture.
637.	Four compartments,, with a large fea-bird in. each flying : the back-ground white.
t 638. A car laden with implements of war, and drawn by two griffons the back-ground blue.
639.	A woman in red and green drapery; (lie is running, and holds-a-bafket of fruit: the back-ground is red.
640,	641. Like the foregoing.
642. A round, in which is a fea goddefs on a dolphin : the back-ground, red.
6- 3, A
643- A view of a great portico and other buildings: the back-ground black.
644.	Ifis with the lotus flower on her head, canopus in one hand, and a fceptre in the ether; Ike is on a pedeftal in a red ground: under the pe-■deflal is a fphynx, in a blue ground.
645.	Architecture. like that in n. 636.
646.	Two compartments; in both of them a fefloon, with a white turtle-dove on each : the back-grounds are red.
647.	Two compartments; in each of them a dolphin:	the	back-
grounds red.
648.	A view of houfes in a round: the back-ground yellow.
649.	Two {landing figures, on a white back-ground: the firft is a woman in purple drapery, with a veil of the fame colour; ftie is crowned with ivy, and holds a bafleet filled with leaves in both hands: the other is a man, naked before j in his right hand he has a baiket full of thofe cakes which were offered to the gods, in his left an olive bough.
650.	Two women {landing upright; in a white back-ground. Engraved in vol. ii. plate xxix.
651.	A {landing figure, with the head covered and wrapped in a purple mantle. Two other compartments are joined to this; in one of which is a man fitting, in the other two fwans: the back-grounds are white.
652.	Two figures (landing, in two diftindt compartments; which are white, with a blue border. Engraved in vol. ii. plate xxxii.
653.	Two hermaphrodites, in diftindt compartments; the drapery is th rown behind them; the colour of one blue, of the other red ; each has a thyrfus in the right hand : the back-ground is white, with a red border.
654.	A man in profile; below is a flying fwan : the back-ground is white.
655.	I11 a white back-ground two men are fitting looking at each other; both have a bafin in the left hand, and with the right are pouring fome liquor out of a pitcher into the bafon : behind the right hand figure is a woman, upon a black ground, which ferves for a pedeftal; upon which is painted a goat.
636. An oak branch ; in a black back-ground.
657.	A grotto, within which a naked man is fitting on a bed ; a woman
is embracing him.	,
658.	'Two compartments, both red: in one a flying fwan and a peacock ; in the other a naked genius.
659. A
659* A woman fitting: the back-ground black.
660. Two compartments, divided by a white band, and bordered with red. In the uppermoft is a landfcape: in the lower one, a continued wall, with a window in it.
661.	A woman, with white drapery over her (houlders reaching to her middle; her arms and the reft of her body are in green drapery ; (he has a difti in her hand: the back-ground is white.
662.	A woman fitting; her air is ferious; one hand reftson a rock, and with the other Ihe holds a mirror on her knee; in which (he appears with her head inverted: the back-ground is red.
663.	Three compartments, all white: in one of them a woman Handing upright: in the two others a naked Cupid.
664.	An old man of a venerable afpedt, crowned vidth ivy, fitting.
665.	Three compartments: in the firft and fecond two mafks; and in the third a tiger: the back-grounds of this and the former are white.
666.	A trophy, on one fide of which is vidtory, on the other a Roman general: the back-ground is blue. It is engraved in vol. iii. plate xxxix.
667.	A woman on a fea-horfe; (he is playing on the lyre: the background is black.
668.	Four rounds, in a purple back-ground; reprefenting landfcapes.
669.	A malk; in a black back-ground.
670.	Five rounds, exhibiting fea views.
671.	A garland, with a fmall bird in the middle: the back-ground is red.
672.	Another, with a flag in the middle.
673.	Another, with a hind.
674.	A large lantern on a pillar; at the foot of which are birds and fruit : the back-ground lead colour.
675.	A large river, with a bridge over it; men and animals are upon it; and on each fide are buildings and ftatues.
676.	A di(h of fruit, a peacock, and a bunch of grapes : the backgrounds of this and the laft blue.
677. View of a lake: on a rock fits a woman with a helmet on her head; at her right hand (lands a foldier, with fome long darts on his (houlder: there is alfo a man getting up from the ground : in the diftance is a fitting figure pointing out the three others to one who is with him : on the other fide is a building, and two cows.
Vol. I.
1
678. Three
6j$. Three compartments: in the upper one a fea-piece, with buildings on the fhore : in the fecond and third the infide of a houfe, .with two windows ; on which is fruit, fifh, ,&c.
679.	A man, naked and fitting; he has a helmet on his head, a fpear in one hand, and a fhield in the other.
680.	A woman cloathed ; fhe ftands upright, has a crown on her head, and another in her hand.
681.	682. Like«. 679.
683.	A woman fitting, and naked from the middle upwards ; fhe has a tympanum in her left hand : the back-grounds of all thefe are white.
684.	Quails, in a black back-ground.
685.	Two compartments: in one flowers, with a little infe<5t flying about them : in the other fmall birds : the back-grounds aie black.
686.	A garden, with trellis work, arbours, a fountain, birds, and rows of trees.
687.	A quail and two partridges, on a black back-ground. Engraved * in vol. ii. plate xxiv.
688.	Two compartments; both black, bordered with red; in each two dolphins.“
689.	A portrait of a woman, on a black ground.
690.	A kite embowelling a bird, and a jay looking on.
691.	A pair of turtles carefiing.
692.	Another pair pecking at fome twigs.
693.	A thrufh pecking at a juniper tree. All thefe back-grounds are black.
694.	Two birds among flowers : the back-ground blue.
695.	Two pieces; a little bird in each. Engraved in vol. ii. plate xxiv.
696.	Fruit.
697.	Two pieces of birds. Thefe and the lafl are on black backgrounds.
698.	A fea-piece, with veflels which have fifty oars in one rank only. This and the two former are engraved in vol. i. plate xlvi.
699.	Two genii, in two white compartments.
700.	Six compartments, all black: in five of them are mafks, in the fixth a bird.
701.	Mafks, &c.
702. Three
702.	Three compartments, all red : in two of them a peacock perched on a bough ; in the third a pedeftal fupported by three fphynxes.
703.	Three compartments: the firft black, with two mafks in it; the fecond is blue, with ä goat in it; the third is like the firft.
704.	Four compartments: in the firft and laft a ftag; in the fecond and third a fwan.
705.	Two red compartments: in each of them a veffel with a pine cone in it.
706.	Two black compartments, with a peacock in each.
707.	A fmall bird, in a black back-ground.
708.	A blue round, bordered with white, in a red back-ground; $ buft, with a circle of jewels round the head.
709.	Hymen, in a yellow back-ground.
710.	A landfcape.
711.	A goat, in a black back-ground.
712.	Two cocks, in a purple back-ground.
713.	A landfcape.
714.	A tiger, and two flumps of trees: the back-ground red.
715.	A mafk, with long ftrait ears; between the teeth a long and largg red ring hanging down : the back-ground yellow.
716.	717. Ducks and other birds, in a purple back-ground.
718.	An ornament.
719.	Two goats tied on a pedeflal: the back-ground is yellow, with 2 green border.
720.	Two compartments, both black ,* in each of them a white bird.
721.	Three griffons : they are green, and the back-ground is red.
722.	A fwan, in a black round j on a yellow back-ground.
723.	A yellow ground.
724.	Two peacocks. Engraved at the bottom of plate xliv. in voL i.
725.	A landfcape, in a blue round; on a purple back-ground.
726.	Some very rude figures of men, with branches of a tree, which are yellow: the back-ground is black. This is a piece of great antiquity.
727.	728. Landfcapes.
729.	A picture in fix black compartments : in the three firft a yellow dolphin ; in the two next a fwan ; and'in the fixth a white round.
730.	A mafk, in a black round, bordered with yellow; on a black back-ground.
i 2	731.	A
731.	A mafk, in a purple fquare, bordered with yellow; above it fome fcrolls; and over thefe a crown : there are alfo two winged genii.
732.	Architecture, on a blue back-ground.
733.	A picture whofe back-ground is white, bordered with purple : at the top is a green feftoon, extending acrofs the whole piece. In the middle is' a low column, about which a large green ferpent is entwined. On the right is a man in red drapery, crowned with leaves ; a bucket in one hand and a branch of olive, with the other he holds a flag in the air, and is dancing before the ferpent. On the left is another man like him.
734.	Four hippogriffs.
735.	Five nymphs. Engraved in plate i. vol. i. The infcription and the names are not the fame in the catalogue as in the print. The infcription runs thus in the catalogue : AAEHANAPOC A0HNAIOC ErPAYEN ; the names are AATfl, NIOBH, OOIBH, ArAAAIA and AIANEIPA.
736.	A woman holding a horfe by the bridle, and feeming to threaten an old man who is fitting with a child in his arms ; behind him is another woman, and an oak tree behind her: between the two groups is a pillar on a pedeftal, and a lamp-ftand on the top of it. This is engraved in vol. i. plate iii.
737.	Hippodamia, and Thefeus taking a centaur by the hair. Engraved in plate ii. of vol. i.
738.	Three praficce, or hired mourners. Engraved in vol. i. plate iv. The four laft are {ketches upon marble.
Great additions have been made to the King’s Mufeum at Portici fince this catalogue was publifhed. But as we could at moft give an imper-feCt account of them, we thought it beft to flop here ; efpecially as the reader will by this time have acquired as good an idea of the Herculaneum paintings as fuch a catalogue can convey.
The Statues, Busts, &c.
1.	A woman of an advanced age, in white marble, fix feet three inches high ; with this infcription :
ClIRIAE. A. F. ARCAB.
MATRI. BALBI.
D. D.
2. A
2.	A young Tiberius : his head is covered with the toga, and the fandals are tied with only one thong acrofs the inftep : height fix feet eight inches.
3.	Vefpafian : the fame height.
4.	Galba.
5.	A young woman.
6.	An old woman cloathed after the Grecian manner. Thefe are all of bronzeand fix feet eight inches high.
7.	A woman, whofe head is wrapt in her palla, from whence only half her right hand is feen; her.feet are naked': height fix feet ten inches.
8.	A woman in a rich tunic, and over it a Ihort palla, after the Greek falhion;, the feet naked : the. ftyle of the whole is Grecian.
p. Another like the laft. The height of thefe is five feet fix inches..
10; A young woman wrapt in her palla, which fhe holds up with her left hand; under it appears a rich tunic: her right is out of the drapery, and her feet are naked.
11.	A woman in a rich tunic, falling down-to her.naked feet ;, (he holds one border of her palla with her right hand. The height of thefe two is fix feet three inches.
12.	A Grecian Pallas, with a helmet of exquifite workmanlhip: her aegis is upon her left arm, and is fattened to her neck; her right arm.is raifed to throw a javelin: height fomewhat above fix.feet.. Thefe are all of white marble.
13.	Vertumnus crowned with ears of corn, naked before:, he Hands by the trunk of a tree, and has a dog by him : height five feet eight inches.
14.	Ptolomy Soter, the fecond of that name; and Cleopatra, third; daughter of Ptolomy Philometor, the aunt.and wife.of the former: they are embracing: height four feet five inches.
15.	A Bacchus naked, except that the Ikin of. a tiger is thrown across his fhoulders; he has a goblet in his hand,, and.Hands by the trunk of a tree covered with vine leaves: it is of white marble; and is five, feet ten inches high.
16.	A Sibyl, in white marble; five feet five inches high: her hair is dilhevelled ;, Hie has a broad girdle, and a roll in her hand,.
17.	A Serapis, fitting with a haßa pur a, the modius with a vaH quantity of hair on his head, and one hand on the head of a Cerberus: height three feet and half. This was found at Pozzuolo..
18. A
18.	A Sibyl; the drapery reaches to her feet: (he has a laughing countenance, and holds a roll in her right hand ; height fix feet three inches.
19.	A young Augudus by the (lump of a tree, quite naked, except a piece of drapery on his left (houlder : five feet eight inches high.
20.	A woman, covered all but her left bread with a tunic only; perhaps a Venus : height five feet three inches.
21.	A woman, naked, except a piece of drapery wound round her middle; (he has a mitra on her head adorned with jewels, and a vad cawl: (he leans hard on a pillar : height four feet one inch.
22.	A Gallus, or pried of Cybele, with the Phrygian bonnet, and a Jimpulum in one hand.
23.	A woman, with a penfive countenance, and a roll in one hand-: height five feet'five inches.
24.	A young man, naked, danding by the dump of a tree: height five feet five inches.
25.	A Roman fenator in his toga, and a roll in his left hand : height feven feet three inches. All thefe are of white marble.
26.	A Claudius, naked, with a hafia-pura: height feven feet and an half.
27.	Auguflus in a toga; he holds a haßa pura in his left hand, and grafps a perizonium with the right: height feven feet and an half. Thefe are of bronze.
28.	29. Two female figures, cloathed only in the tunic before, thzpalla being thrown behind ; they have the reticulum, or cawl: height five feet five inches.
30—36. Senators of different ages, with the toga', the tunic reaches only to the middle of the right arm ; they have a roll in one hand : their height is fix feet eight inches; and they were found in the theatre. Thefe, and the two former, are of white marble.
37.	A drunken faun, dretched upon a wine bag. It is of metal, and of exquifite workmanlhip.
38.	A man, with his head wrapped in his toga: height fix feet eight inches. Grecian marble.
39.	A woman, with her head covered : of the fame height. Bronze.
40.	A woman, with her hair hanging down, and tied at the end; (he is drefled after the Grecian falhion : one hand is raifed, and with the other (lie holds up her tunic, like a dancer : height five feet.
41. Another,
41.	Another, in a Grecian drefs, with a diadem; height five feet three inches.
42.	Another, in the fame drefs -; her hair is bound with a ribband, and tied in a knot behind. Thefe are all of bronze.
43.	A young wreftler, in metal. Thele are of the fame height with n, 41.
44.	A naked child, in white marble : ten inches high.
45.	A naked woman, by the flump of a tree, upon which are her cloaths; her hair is in rolls about her head : it is of Grecian marble, and eighteen inches high.
46.	A young man fitting on a rock and fifhing ; he is almoft naked, having only apenula thrown over his ihoulders, and a petafus on his head; he has a fifh in one hand, and there is a bafket of fiih by his fide : there is a hole under his feet, which (hows that the group belonged to a fountain. It is of white marble, and the height is feventeen inches.
47.	Another group of white marble, ferving for the fame purpofe : an old bearded faun, crowned with ivy, ftands upright refting on a wine bag, which is placed on a kind of pedeftal; in one hand he has a fhell, which has a hole through it: height two feet three inches.
48.	A Venus, naked from the loins upwards; fhe is putting her hair in order: this is of white marble, and is two feet fix inches high.
49.	Apollo in the character of a fhepherd; his hair is elegant, he is naked before, and ftands by a little pillar: Grecian marble, two feet eight inches high.
50.	A naked Venus; her hair is tied on the top of her head, and fhe ftands by a fea-monfter, on whofe tail fits Cupid, without wings: Grecian marble, two feet five inches high.
51.	A woman, with the palla and reticulum: white marble; height one foot ten inches.
52.	An old man with a long beard, naked : Grecian marble; two feet fix inches high.
53.	A woman, naked before down to the waift ; (lie preffes with her right hand upon the trunk of a tree. It is of Grecian marble, and is one foot nine inches high.
54. A Bacchus in a fhort tunic, a drinking vefiel in his right hand, and a patera in his left; he has goat’s horns, is crowned with ivy leaves and
3	berries,
berries, befides a diadem; he has half-boots. It is of bronze, with a pedeftal, ten inches high.
55.	A Mercury, with only the penula fattened on the right fhoulder with a fibula ; he has a winged petafus, and wings to his buttons.
56.	Ä Jupiter, with only a fmall piece of drapery hanging from his left fhoulder; he holds a patera, and in his right hand, which is raifed, there has been a haßa pura, which is now loft ; he has a long beard, and his hair is parted and curled. Thefe are fix inches high.
57.	Another: this has thunder in the right hand, is crowned with beech, and has fhoes on his feet: it is only four inches and an half high.
58.	A fortune, in an attitude of flying, retting only with the extremities of the feet on the pedeftal : (he is drefled in a tunic, which reaches to her feet, and over that is a palla reaching to her knees; (he holds up a cornucopia in both hands : height nine inches.
59.	A Diana, in a fhort habit, with the fkin of a wolf over her ttioulders; fire wears a belt, and has a bow in her left hand: it is fourteen inches and a half high.
60.	A young Mercury, naked; he has neither wings nor bufkins; there is part of a purfe remaining in his right hand, the reft is broken and loft : it is a foot high.
6r. A fortune on a globe, habited in the Grecian fafhion, with a tunic reaching down to her feet, and over that a palla reaching to her girdle, which has a double border of filver; with her left hand fhe holds up her tunic, and with the right the border of her palla: one foot eight inches high. Thefe are all on pedeftals.
62.	Fortitude militarise with only a piece of drapery hanging behind over the left fhoulder, and coming down over the right thigh ; (he has a belt over the right fhoulder, a necklace, and on the right arm a bracelet; her left arm is covered by a trophy : it is ten inches high.
63.	A faun with fhort horns, naked before, and with a ruftic cloak hanging behind ; his hair is bound with a fillet, and one foot is fet up on a little rock : it is one foot two inches high.
64.	A Mercury on a pedeftal, his penula is fattened on his right fhoulder, and hanging down on his left fide, leaves his body almoft naked ; his petajfo and bufkins are winged, and he holds a purfe : it is fix inches high.
1
65.	Another,
65.	Another, five inches and a half high : the petafus is winged, but he has no bulkins ; the purfe is in his left hand, and the penula hangs from, the right (houlder to his mid leg.
66.	Another, like the 1 aft, and of the fame height; the penula hanging to his knees.
67.	A figure in a toga, with the head covered: pedeftal and all only three inches high ; it is in bad prefervation.
68.	Another Mercury: the purfe is in his right hand, the caduceus is in his left, and lays over his (houlder : three inches high.
69.	A naked Venus : at her right fide Hands a vafe, on which her cloaths are laid : the height eight inches and a half.
70.	Another Mercury, like n. 68. : height three inches and a half.
71.	72. Cupbearers, crowned with leaves; a cup in the right hand, and a patera in the left; the legs are naked, the body is covered with a tunic.
73.	A Mercury, as before: height five inches and a half.
74.	A Hercules, naked, and crowned with poplar; he is drinking out of a cantharusy which he holds in his right hand; and his club is in his left: the height, taking in the pedeftal, is four inches and a half.
75.	Another cup-bearer.
76.	Another Hercules, in every refpeft like n. 74, only that is but four inches in height.
77.	An Autumnus, winged and naked: in his right hand a bunch of grapes, in his left a hare: height five inches, with the pedeftal eleven inches.
78.	A Hercules, bearded and naked; in his right hand a club, in his left the apples of the Hefperides: height feven inches.
79.	A cup-bearer, walking haftily; he has a great head of hair, a drinking vefiel in his right hand, and a patera in his left: height five inches and a half.
80.	A foldier, with a Grecian helmet, and a breaft-plate with Grecian ornaments; he is in the attitude of throwing a javelin : his feet have the military (hoes, but his legs and arms are naked: height five inches and a half.
81.	A fortune, with a tunic girt below the breafts, and a pal/a: She has a mitella on her head, a patera and a cormcopia in her right hand : height feven inches.
Vo L. I.
k
82. A
82c A faun, naked, with a beard, long ears, and a tail; he has a wreath of pine and ivy on his head, filver eyes, and is playing on a pipe : height thirteen inches.
83.	A Diana, in the character of a huntrefs, with a tunic, palla, and belt : with her right hand fhe is taking an arrow out of a quiver, which hangs behind her, and in her left fhe holds a bow; flic has half boots on fyer legs : height five inches and a half.
84.	A faun, fitting with his knees up to his chin; he has a great beard, long ears, and a vaft head of hair : height three inches.
85.	An Efculapius : his tunic reaches down to his feet, but does not cover his arms; at his left hand is the ftaff, with a ferpent twined about it, and in his right is a patera: height five inches and a half.
86.	A dancing faun: he has a tail, and in his hand a long thyrfus: height ten inches.
87.	A Hercules, like n. 78. : a lion’s fkin hangs over his left arm : height feven inches and a half.
88.	A figure refembling a faun, kneeling, with his hands refting on his knees; he has a lion’s fkin about his body, and his hair is difhevelled ; on his head is a pedeftal/ fo that he feems to have been intended for a fupport to fomething : height ten inches.
89.	A gladiator : his arms are naked, but he has that kind of bufkin on his legs which the Samnite gladiators wore: height five inches and a half.
90.	A Minerva, with a lofty creft; fhe has on a long tunic, with the aegis on her breaft; a patera with an owl on it is in her right, and in her left fhe held a fpear, which is now loft: height feven inches.
91.	A Harpocrates, naked and winged; he holds the fore-finger of his right hand to his mouth, and his left refts on the trunk of a tree, upon which is an Ibis', he has the lotus flower on his head: height feven inches.
92.	A Vidihnarius, with the knife in his hand, driving a hog to be fa-crificed to the Penates: height three inches and a half.
93.	Venus, naked down to the waift, from whence a tunic falls down, and covers her feet; fhe has a mitella on her head, and with both her hands is putting her hair in order, which hangs down behind: height fix inches.
94.	A Minerva, like n. 90.: height eleven inches.
95.,	Another: five inches high.
96, 97. For-
96, 97* Fortune, with a modius on her head, in manner of a tut ulus; (he has a rudder in her right hand, and a cornucopia in her left; her tunic reaches to her feet. Thefe two are four inches high : and on the pedeftal of the latter is this infcription: C. PHILEMONIS. SECV. MAG.
98.	A Minerva, fee n. 90.; her right arm is wanting: height five inches.
99.	An Egyptian Fortune, veiled; the lotus on her head, the rudder in her right hand, and a cornucopia in her left: fix inches high.
100—104. Statues of Fortune : from five to eight inches high.
105.	An Olympian Jupiter, naked, with a haßa pura in his left hand,, and his right fet againft his fide; he has a thick curling beard: height ten inches.
106.	A Minerva, in a tunic and palla, with the aegis and tnitella; in the right hand is a patera, and in the left a lance : feven inches high.
107.	A Mercury, with a winged petafus ; the penula over his fhoulders, and a purfe in his left hand ; he has no bufkins : feven inches high.
108.	Another, with a caduceus in his left hand : height five inches.
109.	A cup-bearer, crowned with bay; a drinking horn in his right hand, and another drinking veftel in his left : five inches high.
no. A fervant: his tunic reaches to his knees, over that is a mantle, which comes down to his middle ; he has a patera in his right hand: height fix inches.
111.	A figure, naked, except a fkin which hangs down his back : it is in bad prefervation, and is fix inches high.
112.	A virtue, in a modeft attitude, covered with drapery, except the legs: five inches high.
113.	An Atys, with the Phrygian bonnet, (binding on the top of a ma(k, which reprefents a bearded old man: it is eleven inches high.
114. A Circenfian horfe, running; he has a collar, and upon his cheft a piece of harnefs in form of a crofs, which pafles between his fore legs: length fix inches.
115.	A Mercury, exa&ly like n. 108, only that it is nine inches high.
116.	A Pomona with fruit, naked: height three inches.
117.	118. A naked boy, by a pedeftal with a vafe on it, on which he lays his right hand : height twenty-one inches.
119.	A naked Venus, with a fafeia over her breafts: fix inches high.
120.	A naked dwarf dancing : feven inches high.
k 2
121. X
121.	A horfe, like«. 114.: length feven inches.
122—126. Horfes with riders on them: length from five to eight inches.
127.	A Fortune, winged, habited after the Greek fafhion ; {he is raifing herfelf on a globe, and is going to fly : feven inches high.
128.	A wreftler, with nothing on but a penula: five inches high.
129.	A dancer, with bufkins, and a tunic reaching to his knees; over which is another, embroidered, and coming down only to his middle : he is (landing on his toes, as if going to take a jump : height eleven inches.
130.	An old man : five inches high.
j 3 1. A naked boy : four inches high.
132.	A figure, feeming to be one of thofe which were placed upon fepulchres: twp inches high.
133.	A naked figure, with a {kin upon the arm : height four inches.
134.	A Mercury, with a purfe in his right hand, and a caduceus in his left: three inches high.
J35> 136* Gladiators, naked: five inches high.
137.	A Mercury, with a winged petafus, and a penula: three inches high.
138.	A Hercules, crowned with poplar, and with his club: three inches high.
139.	A Hymen, winged, with a lighted torch: two inches high.
140.	A cup-bearer: three inches high.
141.	A horfe, in a cumbent pofture : three inches long.
142.	A Diana: fhe is in a tunic, reaching to her knees; over it is a palla down to her middle; her left bread is naked; {he has her quiver over her fhoulders, a bow in her left hand, and buflvins on her legs.
143.	Another, with a mitella, clothed like the preceding. Thefe are both fix inches high.
144.	A man covering his head with his toga; he has a roll in his left hand : height feven inches.
145.	A Hercules, with the lioifs {kin : of the fame height
146.	A Jupiter, with his thunder.
147.	Another, naked. Both two inches high.
148.	149. Two boys, naked : the firft has a dolphin under his right, the fecond under his left arm : nine inches- high.
150. A
150.	A young man, naked : twenty inches high.
151.	A Lar, crowned with bay ; a fitula in one hand, and a branch in the other : nine inches high.
152.	Livia, in the character of Juno.
153.	A Hercules, with the lion’s fkin over his left flioulder, and the club in his left hand 3 he has lilver eyes: height twenty-feven inches.
154.	A Mercury, naked, with wings only to his feet: height thirty-three inches.
155.	Germanicus : his head is naked, and his hair frizled 3 he has on the military cloak.
156.	A naked boy, (landing by a pillar : height twenty inches.
157.	An Apollo, covered only from the waifl to the mid leg: twenty-eight inches high.
158.	A naked boy, with a tibia'in his left hand : twenty-two inches high.
159.	The goddefs Roma, on horfe-back, with a helmet and a fhort tunic: the whole height twenty-one inches 3 length of the horfe feven-teen inches.
All thefe ftatues are of metal.
160.	A fine equeflrian flatue of Marcus Nonius Balbus the fon, confe-crated to him by the citizens of Herculaneum. It is of white flatuary marble. It is etched by M. Belhcard> pi. xxiv, xxv.: and there is a de-feription and critique upon it by M. Cochin, p. 46.: height of the horfe five feet ten inches. With it was found this infeription :
M. NONIO. M. F.
BALBO. PR. PRO. COS. HERCVLANENSES.
161.	Another, companion to the former, dedicated to Marcus Nonius Balbus the father ; with this infeription :
M. NONIO. M. F. BALBO P AT R I D. D.
162.	The goddefs Roma, a colofial flatue of white marble : ten feet ten inches high.
163.	A wrefller, of metal: ten inches high.
164.	A woman, of white marble.
165.	166. Bulls of boys, in white marole.
167. Bull
16y. Buft of Calus Numonius.
- 168. Buft of a middle-aged man, in metal.
169.	Buft of a philofopher, in marble.
170.	Marble buft of a woman ; this was found in a fepulchre: where was alfo the following infeription :
ANTEROS. L. HERACLEO. SVMMAR.
MAG.
LARIB. ET. FAMIL. D. D.
171—174. Bufts of men: the two firft marble, the others bronze.
175.	Statue of Titus: feven feet three inches high.
176,	177. Heads of women, in white marble.
378. Afatyr, horned.
179.	A young man.
180.	A young Auguftus.
18], 182, 183. Bufts, of metal; as are the foregoing.
184, 185, 186. Maiks, of metal.
187.	A fatyr, of metal.
188.	Julia, daughter of Auguftus ; a metal buft.
189.	Bacchus.
190.	191, 192. Silenus.
193. A faun.
194—197. Bufts, of metal; as are the preceding.
198.	Zeno.
199.	Epicurus.
200.	Ermarchus fon of Agemarchus, Epicurus’s fuccefior in his fchool. Thefe three have their names upon the pedeftals; and are metal bufts.
201—213. Metal rounds, with bufts in bafto relievo: they were pieces of ornament.
214.	Aftatue, in white marble, of a woman: feven feet high.
215,	2i6. Heads of philofophers, in metai.
217.	A buft of Ariftippus.
218.	A Roman lady.
219.	A young Roman: both metal bufts. On the breaft of this are thefe words:
AIlOAAflNIOS APXHOT A0HNAIO2 EEIOHEE.
220.	Seneca.
221.	Caius Casfar, fon of Agrippa and Julia.
3
222. Lucius
222.	Lucius Caefar, his brother.
223.	A barbarian king.
224.	Ptolomy Soter.
225.	Ptolomy Philomstor.
226.	A philofopher.
227.	A middle-aged man.
228.	An unknown Perfon.
Thefe are all metal bufts.
229.	A marble buft.
230.	A head, in marble.
231.	232. Two Janufes, in marble.
233, 234. Heads of Terms, in marble.
235—238. Rabbits, in marble.
239. A fatyr, in marble.
' 240. A marble bull of a bacchant.
241.	Pallas.
242.	Silenus.
243.	A woman.
244.	apiter. Thefe are heads in marble;
245.	A buft of Venus, in marble.
( 246, 247. Naked Venufcs.
248.	A lion's head, in chalk.
249.	A profile of a perion unknown,
250—270. Malks, in plafter.
271.	A gorgon’s head, in chalk.
272.	A colofial ftatue; ten feet fix inches high ; naked before.
273.	A young colofial Bacchus, bearded, crowned with ivy, and cloath-ed with a tiger’s ikin: nine feet two inches high.
O	O
274—278. Statues of fenators : 1. fix feet eight inches : 2. fix feet three inches : 3. five feet ten inches ; 5. five feet two inches high.
279. A Herm-Heracles, or Term, of white marble, reprefcnting Hercules.
280—312. Terms, chiefly in white marble.
313.	A buft of Pallas, in Grecian marble.
314,	315. Bufts of Jupiter, in Grecian marble.
• 316. A Jupiter Ammon.
317.	An old head of a Roman.
318. A
318.	A head of an old woman.
319,	320. Meads of Term?, reprefenting Bacchus. Thefe are all in Grecian marble.
321.	The head of a Term, in red marble; it reprefents a woman.
322.	The head of a woman, in white marble; it belonged to a ftatue.
323.	The head of a Term, in white marble; reprefenting Bacchus.
324.	A head, crowned with towers; probably reprefenting Herculaneum.
325.	Three legs of a table, all alike, and twenty-two inches high: they confift of winged boys, with a fmall pillar riling from between their wings; they hold a Ihell in their hands, and terminate in a lion’s foot.
326.	A term, the head reprefents an old man.
327.	A man’s head.
328.	A marble head of Pyrrhus.
329.	A leg of a table, near three feet high: a lion’s head fupports a pedeftal, and terminates in a claw of the fame animal.
33°, 331, 332. Heads of unknown perfonages, in marble.
333.	Around, of white marble; ten inches in diameter: on one fide is a bas-relief of a facrifice to Bacchus; on the other, a fatyr playing on two flutes, before him is an altar.
334.	Another : on one fide a winged boy on a dolphin, playing on two pipes; on the other fide, a large fea fnake.
335.	Half another: with a fatyr on each fide.
336» 337- Others.
338,	339. Oblongs, with bas-reliefs on them.
340, 341. Heads of Terms, in white marble.
342.	A round marble table: twenty inches in diameter, and three feet high : an Ifis ferves for the leg of it.
343.	A metal bull:, refembling Domitian.
344.	A bas-relief in ftucco : feven feet high, and five feet wide: it reprefents a veftibule of the Corinthian order, under which is a man naked.
345.	Another, in white marble : three feet nine inches high; twenty-fix inches wide : it is a bacchant.
346.	A fatyr, with a goat.
347.	An ancient Bacchus, crowned with ivy leaves and berries; he is fitting, and with his left arm embraces a tiger: about twenty inches high.
348.	A

349.	A young man.
350.	A fatyr like the former, except that this has filver eyes, and is placed on a pedeftal: they are both 20 inches high.
The vafes, paterae, ollae, cacabi, &c. that is, the articles belonging to the Resvafaria, amount to 915. Of thefe 54 are filver, 532 of a bafer metal, 136 of glafs, and the reft of earth.
Tripods, 24.
Lamps, 163.
Lamp-ftands, 40.
Mifcellaneous articles, 732.
Many of thefe belong to the foregoing heads ; but either not being dif-tinguifhed in time, or elfe being found too late to be inferted in their proper places, are put together at the end of the volume. Befides thefe, there are altars, cenfers, and a great variety of inftruments for facrifice : upwards of 300 hinges for doors, of different forts : keys, weights, fhields, amulets, chirurgical inftruments: wheat, dates, and other forts of fruit, and bread, all charred : fibulas, golden bracelets, ear-rings, and rings fet with jewels of different kinds: medals, intaglios and cameos in great abundance : upwards of thirty infcriptions, one of them round an altar, Tufcan. Mofaic pavements, one of which was the floor to a library, fur-nifhed with preffes containing 337 volumes.
Vol. I.
1
PLATE
A .Bannermaw sculp-
PLATE I.01
OUT of the four Monochromi [2] upon marble, mofl; perfect in their kind [3], and ineftimable for their fingularity [4],
[1]	Catalogue,, n. 735.
[2]	So the'ancients called pi&ures of one colour only, Pliny xxxv. 3. And in • the Monochromi they generally made ufe of Vermilion. “ Cinnabari Veteres, quce “' etiain nunc vocant Monochromata, p^chaut.” Pliny xxxiii. 7. Thefe pieces feem to be of that colour.
[3]	Although Painting in one colour belongs rather to the rude beginnings of the Art, yet in the fummit of its perfection the greatefl Malters have fomeiimes made ufe of this manner. Quintilian Inß. xii. 10. affirms that Polygnotus did it. And Pliny xxxv. 9. writes of Zeuxis: “ Pinxit et Monochromata ex Aibo.” This manner was in ufe under the Emperours, as Pliny attells of his own times, xxxv. 3. Qur Painter was fo well fatisfied with this piece, that he has not fcrupled to affix his name.
[4]	Thefe, for aught we can learn, are the firft ancient Paintings upon Marble thar have appeared j it having been till now a controverted point whether the Ancients
Vol. I,	B	(which
(which it was thought proper fhould precede [5] the reil, in this exhibition of the paintings of the Royal Mu feu m) the firft place is affigned to this; which befides its being difcover-ed before the others [6], receives an additional value from the names of the Painter [7] and of the figures [8] which remain
legible.
O
In thefe words—-painted hy Alexa?ider of Athe?is [9] we have the Name [10] and Country of the Artift; and fomething may be pronounced with regard to the Age in which he lived, it being manifeft from the Form of the Greek Characters [ii], that it mufi have been fome time before the Chriftian Era.
praflifed this art, or even underflood it. The Lapidem pingere of Pliny xxxv. i. is quite another thing. The art of veining Marble fo as to appear like a Painting, is very different from painting upon Marble.
[5]	The fimplicity of Colouring, together with the drynefs of Manner in thefe pieces, has raifed fome doubts whether they were Drawings or Chiariofcuri, and whether they deferved to be ranked among perfect Paintings.
[61 Dug up at Refina on the 24th of May, 1746.
[7]	In Sculptures it is not common to find the Name of the Artift. Among the painted Vafes, one alone has fallen within our notice, with the Name of the Painter: not one of the Stucco-pieces, as far as is yet known.
[8]	It was cuffomaty with the ancient Painters to affix names to the perfons whom they painted: And Paufanias x. 25. obferves of Polygnotus that he feigned names to fome of the perfons in his Pictures.
[9]	AAEHANAP02 A0HNAIOX ErPA<I>EN. Pliny, in the dedication of his
Natural Hiflory to the Emperour Titus, fays, that it was a cuflom among the ancient Painters and Sculptors to put the Infcriptions of their moft finifhed Pieces in the itnperfeft Tenfe, thus : Apelles, or Polycletus faciebat; as if they would have it underflood that thofe Pieces were only begun, and not completed : fo that they who were inclined to judge of them with feverity, might be retrained from criticifmg any one who being prevented by death might not have it in his power to correct them: and concludes : “ Tria, non amplius, ut opinor, abfolute quae traduntur in-“ feripta : ILLE FECIT.” But Phidias under the famous Statue of Jupiter Olym-pius placed this Infcription :	JXtxppiSx	ij& A9yiv<xi(&> fzTrctrps, Phidias the
Athenian, Son of Charmidas made me : Paufanias v. 10. And befides this we have cwo other inflances of fucli Infcriptions in the perfeft Tenfe : One in the Royal Mu feu m, where, under a Buffo, we read : AIIOAADNI02 ETIOH2E. The other in the Painting of an Etrufcan Vale in the Mufeum of our celebrated Giufeppe Valletta, where we read MAHIMOC EFPATE. Pliny therefore with too much Confidence aliened that there were but three inflances of fuch Infcriptions.
[1 o] No mention is made of this Alexander by Pliny or any other Writer, though he is by no means undeferving of honourable notice.
, [1!,] The Epfdon, Sigma, and Phi are of the ancient form.
of
Wi U1C live JL/dUlCS HCiC 1 CJJiCiCllCCU. , liaiJUV^lJ' , l-JUSVflU Z J,
Niobe [13], Phoebe [14], Ileaira [15], and Aglaia [16], fo few.
£12] AHTfi. Latona was the daughter of Caeus and Phoebe, both children of Ouranus or Coelus and Terra. Accounts of Latona are every where to be met with, particularly of her having born Apollo and Diana to Jupiter: though Herodotus in Euterpe fays, that {he was the nurfe and not the mother of thefe two deities. See Natal. Com. iv. 10.
[13] NIOBH. We find mention made of two-Niobes. One is-recorded by Apol-lodorus as the firft mortal whom Jupiter violated : fhe can have no bufinefs with Latona. The other is the renowned daughter of Tantalus, and wife of Aiflphion, icing of Thebes; who being the mother of feven fons, and as many daughters (fome fay more), and being elated at her great fecundity, began to infult Latona, and refufed her divine worfliip, which ihe thought rather due to herfelf, than to one who had born only two children, i^pollo and Diana.- The twodivine archers, being incenfed at this infolence, in one day flew with their arrows all her children, Apollo the males, and Diana the females. Thus deprived of her numerous offspring, Niobe flupified with grief, was metamorphofed by Jupiter into a flone, which {landing on Mount Sipylus appears continually weeping.- Others relate the death of this princefs with other circnmffances.	See ApoUodorus,. Aelian, Paufanias, and
almoft all the Poets; efpecially Ovid, who happily deferibes the whole llory in the lixth book of his-Metamorphofes. Why Niobe and Latona, who mortally hated each other, fhould neverthelefs join hands in this piece, will be underffood from a verfe of Sappho quoted in note [17], which imports, that before, a ffrift friendfhip had lubfifted between them.
[[4] cfiOIBH. This does not appear to be Phoebe, the mother of Latona above-mentioned ; but rather the daughter of Leucippus, and After of Ileaira, who is {quatting before her. None of the mythologiffs have collected together the accounts of thefe two fillers which we find fcattered in various authors: w’e have here abridged them. ApoUodorus (who flourifhed under Ptolemy Phyfcon, an age and half before Chriff, and whofe Bibliothecay which treats wholly of the fabulous-times, neverthelefs anciently went under the name of hiffory ; and Scaligcr affirms it ffill to deferve that title, at leaf: as far as it records-the royal fucceffors by generations) in his third book writes as follows : “ From Apbareus and Arena the s< daughter of Oebalus fprung Lynceus,. Idas, and Pifns.—-From Leucippus the- brd-“ ther of Apbareus, and P by Iodic e the daughter of Inacbus, fprung Ileaira and “ Phoebe, who having been flolen by Caßor and Pollux (fons of Led a and Jupiter) “ became their wives.” And a little after be fubjoins, “ Caßor and Pollux being in u love with the two daughters of Leucippus, carried them away from Meflenia bv “ force. Afterwards Phoebe bore Mneftleus to Pollux, and Ileaira An agonies to £< Caßor.” Ncßenia was not the place, of their birth, though they were ßolenfrom thence. Stephanus in Aphiclna fays, “ Aphidna was a little town of Laconia, the country of “ the two Lcucippides, Phoebe, and Ileaira.” Ovid in his Art of Love mentions their rape: and Propertius, Eleg. i. 2.
a Non fie Leucippis fuccendit Caffota Phoebe y “ Pollucem cuitu nqn Thelaira foror.”
W here we may obferve two blunders of Propertius; in the name of Ileaira an J in that of her hufband. Hyginus F. lxxx. adds to other accounts, that thefe two fillers before they were flolen, had been betrothed to their ebulins Idas and Lynceus ;
*	B	2	accounts
accounts have comedown to us difperfed in various ancient authors, that they are infuffioient to make us comprehend the Painter’s intention in uniting them in this group.
The valuable hexameter of the Poetefs Sappho preferved to us by Athokaeus [17], from whence we learn that
and that Phoebe was prieftefs of Minerva, Ilcaira of Diana. Laftly Pauf am as iii. 16. tells us, that the temple of Ilcaira and Phoebe might be feen in Sparta; in which young women were confecrated, who were called Leucippidcs from thefe ladies.
[15] IAEAIPA. The orthography of this name in two Latin authors, in whom only it is to be found, is different, but equally corrupt, not only in the printed copies, but alfo in the manuferipts. In all the copies of Propertius it is The lair a, and "of Hyginus Laira. But the Creek authors all agree in writing it with feven letters IAAEIPA. In our marble we meet with thefe letters, but two of them AE are placed in the contrary order EA. The agreement of all the Greek authors and manuferipts ought to carry the point again!! a fingle marble, in which the order of the two vowels might be changed by miltake, unlefs it fhould be alledged that they may be placed either way with propriety. The afpirate of the firft vowel is doubtful among ruthors. In Apollodorus and Hefychius the fmooth afpirate is always ufed ; in Stephanus and Paufanias the rough one. The etymology might decide the queftion; for ftnee we cannot derive it from any thing but 'ihotog (propifius) or z'Accpog (hilaris) ; it is plain that in Greek it ought to be written iXasipa, and in Latin Hilaira. See Sopingius on Hefychius, who pretends to prove from the beginning of Plutarch's book De Facie in Or be Luna, that z'A oLipu is derived from iXapog.
[16J ATAAIH. There are only two of this name mentioned by the ancients; one was the wife of Charopus and mother of Nircus, of whom Homer in the catalogue of Ihips, ii. v. 671, has t liefe lines:
“ Three fhips with Nireus fought the Trojan Ihore,
<c Nireus, whom Aglae to Charopus bore;
Nireus in faultlefs fhape and blooming grace,
“ The lovelied youth of all the Grecian race;
“ Pelides only match’d his early charms,” &c.	Pope.
On which palfage Eußathius obferves, that as his parent had chofen names importing beauty, io Nireus had done it with great propriety. It is not probable^that this Aglaia, who lived only about the time of the Trojan war, fhould be placed in this group ; the other four being of more remote antiquity. Whence we may rather conclude ours to be the daughter of Jupiter and one of three Graces; of whom Hefwd Thcog. v. 907.
“ To Jove Eurynome three Graces bare,
“ Euphrofyne the_blithe, Aglaiafair,
“ Thalia lovely”—
And v. 945,
“ Lame Vulcan, fir’d bv foft Aghtia’s charms,
“ Allur’d-this latl-born Grace to blefs his arms.” j 17] In book xiii. c. 4. we meet with this verfe of Sappho:. ii Acccm yjxi N.c/cfc- y.a?M y.sv (pitjxi rproa cTcapai
Lato?ia
Juatonu ana iviuue ‘were inumcue jrienasy may very well fatisfy us with regard to the fbciable employment in which we fee them here reprefented, but nothing farther [i 8].
The two figures deferve particular obfervation, which we fee playing at a fort of cockalls> called by the ancients Tt&vlct?u-Qifay [19], this game being played with five little ftones, or fmall pieces of any other matter, and Sometimes with little bones, properly called aßragali [20], like thofe we obfcrvc in
The pav, indeed, is generally followed by the adverfitive particle o-, but; from whence it feems very probable that the Poetefs afterwards defcribed the tranfitidh from fo ftritt a friendfhip to the oppofite extreme of averfion and enmity.
fi8] Several conjectures have been propoled to explain the Painter’s Intention. Firft it has been imagined, that the Artift having borrowed thefe five figures from originals of the molt excellent mailers, might have exhibited them in the fame group by way of models. Secondly, that as it was unlawful to alter the countenances of Jupiter, Apollo, Minerva, and Hercules; fo with regard to deities lefs known, it was ufual to take copies of them, in the places where they were worAliped, and had their feveral temples; as indeed Phoebe and Ilaira had in Sparta. Whence probably Alexander having taken copies of them, wrote their names, in order to diftinguifti them; and the fame may be faid of the three others ; mean while, according to art, putting them all into agreeable pollures of aflion. What Paufanias relates of the two Leucippides, Phoebe and Ilat'ra, in the place quoted above, is not at all foreign to our purpofe : that one of the priefteffes in their temple at Sparta having renewed the face of a flatue of one of the goddeffes, was threatened in a dream, that Ihe might be deterred from doing the fame to the other. The third conjeclure is this: Herodotus according to Apollodorus iii. p. 145. allows Niobe only three fons, and as many daughters; whence it is likely that the Painter repre-fenting Latona and Niobe at the time they were friends, has portrayed the three daughters of the latter, whofe names, otherwife unknown to us, might perhaps be Phoebe, Aglaia, and Ileaira. His differing in the orthography of this lall name from all the Greek authors, who call it Ila'ira, gives weight to this fuppofition.
[19]	Pollux in b. ix. feci. 126. minutely explains to us the nature of this game: the Pcntalitha (fays he) was played in this manner : five little Hones, pebbles, or bones, were thrown upwards from the palm of the hand, which being nimbly turned, they were caught on the back of it. This is exactly what Ila'ira is doing in this marble. Pollux adds, that thofe which were not caught on the back of the hand, were picked up again from the ground, as Aglaia feems to be doing. The fame author oblerves too that this game was chiefly a female amufement.
[20]	That little bone taken from lambs and other animals of the fmallcr fize which the Tufcans call Aliojfo, Pallone or Talo, was the Aßragalus of the Greeks, and the Talus of the Latins. With thefe little bones the ancients played their Ludus Talo-rum, which is now called Giuocare agli aliojfu The Aliojfo has fix fldes, or faces, but it .not .being able to reft upon two of them, only four of them were reckoned, two-as winning, and two as loflng. Entire treatifes have been written upon this
this
this piece [21J ; of which kind many in their true and natural form^ are preferred in the Royal Mufeum.
game fince Eußathius on Homer, but they make it very different from our Painter. It is fufHcient to remark, that the Artifls in their Paintings and Sculptures represented fuch games. Pliny (xxxiv. 8.) makes mention of a famous piece of flatuary of Polycletus, in which are reprefented twro boys playing at cockalls: the piece is thence called the Aftragalizontes ^ Paufanias (x. 30.) tells us, that in a painting of Poly-gnotusy the two daughters of Pandarus, Camiro and Clyde were feen 'uroa^arca ctgpxyaXcic, playing at cockalls. And Seguin p. 14. gives us this game on a curious medal, with this infcription : J$ui ludity arram dety quod fatis fit.
[21]	Befides the five Aliojfi in this piece, there are other things of different form and materials, made ufe of perhaps to render the game more intricate and agreeable.
I
PLATE
/*/ ,n.
rf. *
f
PLATE II. P]
ry^HIS Pi£ture[2] is equally beautiful and well preferved :
.1 and as the youth who makes the attack, (hows by the life which there is in his gefture [3] a fuperior warmth of fancy in the artift[4] ; fo the centaur who is afiaulted in the adt of laying violent hands on a terrified nymph, who is thrufting him from her, difcovers the defign of the piece : the Painter meaning perhaps to exprefs fome adfion, which bears a relation to the war of the Lapithae with the Centaurs [5]. And it feems highly probable, that the adfion of the moil importance, and that which gave rife to the tumult £6], may be here prefented us.
[1]	Catalogue n. 737.
[2]	This marble, together With thofe prefented in the two following Plates, was found at Refina, on the 24th of May 1749.
[3]	The attitude of this figure exactly anfwers Virgil's defcription of Chorinaeus> JEn. xii. 301, &c.
“ Super ipfe fecutus;
<c Caefariem laeva turbati corripit hoftis,
“ ImprelToque genu nitens, terrae adplicat ipfu'm:
“ Sic rigido latus enfe ferit.”—
We may fay, not without reafon, either that the Poet caught the Painter’s ex-preffion, or that the Painter hath imitated the Poet.
[4]	Some people think they can trace the fame 'artifl through all the four marbles, which are much of the fame fizc. However that may be, this pi&ure certainly has fingular merit.
• £5] Piritbous the fon of hion, king of the Lapithae, a people of Theflaly, having efpoufed Hippodamia or Hippodame, invited to his nuptials the Centaurs., whofe original fhall be fpokcn of elfewhere. Being inflamed with wine, they attempted, to violate the women of the Lapithae, w ho, with the afliftance of'Lhefeus and Hercules, flew part of the centaurs, and drove the reA from their country. Diodorus book iv., Plutarch in the Life of Thefeus, and others. On this foundation poets and painters have flnce built with equal freedom, as their fancies led them.
Then
Then the young lady will be Hippodamia [7] the wife of PirithouSy on whom a rape was attempted by Eurytus the centaur [8], who for his rafh defign was punilhed with death [9]
«	v
[6]	Ovid, who elegantly defcribes this conflict, makes it to commence from the outrage committed by Eurytus on Hippodame. Metain. xii. 210, &c.
“ Duxerat Hippodamen audaci Ixione natus:
“ Nubigenafque feros, pofitis ex ordine menfis,
“ Arboribus te&o difcumbere juflferat antro.
“ Hacmonii proceres aderant; aderamus & ipfl;
“ Feftaque confufa refonabat regia turba.
Ecce canunt Hymenaeon, & ignibus atria fumant:
“ Cinflaque adeft virgo matrum nuruumque caterva,
“ Prmfignis facie : felicem diximus ilia.
“ Conjuge Pirithoum : quod’poene fefellimus omen.
“ Nam tibi, faevorum laeviftime ceutaurcrum,
“ Euryte, quam vino peftus, tam virgine vifa “ Ardetj & ebrietas geminata libidine regnat.
“ Protiiius everfce turbant convivia menfae,
“ Raptaturque comis per vim novanupta prehenfis.
“ Eurytus Hippodamen, alii, quam quifque probarant,
“ Aut poterant, rapiunt: captaeque erat urbis imago.
“ Foemineo clamore fonat domus: ocyus omnes “ Surgimus: & primus, quae te vecordia, Thefeus,
“Euryte, pulfat? ait: qui me- vivente laceflas “ Pirithoum, violelque duos ignarus in uno?
“ Neve ea magnanimus fruftra memoravcrit heros,
“ Submovet inftantes* raptamqne furenlibus aufert.”-
[7]	Plutarch in his life of ‘Thefeus calls her Deidamia; and Propertius ii. 2. p*-Ijchomache.
[8]	Some authors give him the name of Eurytion, but Ovid calls him Eurytus..
[_9j Ovid in the place above cited proceeds thus :
“ Forte fuit juxta {ignis exftsntibus afper “ Antiquus crater, quern vaftura vaftior ipfe “ Suftulit Aegides, adverfaque mifit in ora.
“ Sanguinis ille globos pariter, cerebrumque, merumque,,
“ Vulnere, & ore vomens, madida refupinus arena “ Calcitrat: ardcfcunt germana caede Bimembres,
“ Certatimque omnes uno ore, Anita, Arma, loquuntur.”
The poet makes the occafion of Eurytus's death to have been a goblet hur :d at him by Thefeus, as by thefe means he is furnilhed with an opportunity of deferibing the original caufe of the fray, and varying the incidents of it. The Painter on the other hand reprefents by one Angle aftion his hero afiailing the centaur in that, noble and ftudied manner which is here obferved. Nothing can appear more natural thap that Thefeus fltould have attacked his adverfary both ways; firft by hurling the goblet at hjm, and after having thus ftunned him, by plunging his fword into his body: thus in Virgil, at the place quoted above,• C/j^rinaeus having firft, fnatched a flaming brand from the altar, threw it into the face of Ebufus, and having thus ftunned him, he afterwards ruflied upon him, according to the ingeni-5	ous
Dy joejeus [_ioj or luine otner .neru.
ous defcription of the Poet. But though in a Narration one may reprefent various circumftances fucceflively: A Painter muft adhere .to one only, and that the mod: chofen attion.
[io] Paufanlas v. io. defcribing the temple of Jupiter Olympius fays : that on the roof is painted the combat of the Lapithae and Centaurs at the nuptials of Pirithöus : in the middle part of the deling is Pirithöus himfelf: near him fiands Eurytion in the aft of attempting to ravifo his wife, and Caeneus defending her: in another part Thefeus ßaughtering the Centaurs with a battle-ax. Plutarch in the life of Phefeus is alfo of opinion, that Pirithöus invited Phefeus to his marriage, and that by his afliftance the Centaurs were either flain .or expelled, for their attempt to violate the women of the Lapithae. Plutarch himfelf however fubjoins, that according to -Herodotus (probably in his book about the labours of Hercules) after the war was kindled, thefeus came to the afliftance of the Lapithae, and that on this occafion he commenced hisfirft acquaintance with Hercules. Amidft this diverfity of opinions it muft be allowed, that the Painter hath followed probability, in re-prefenting Phefeus as killing with his own hand the Centaur; who attempts to ravifh the wife of his great friend Pirithöus.
VOL. I.
c
P L A T E
PLATE
1II.W
THIS pi&ure has fuftained fueh detriment from the hand of time that its outlines are fcarcely vifible, as may be obferved in the drawing and engraving, both executed with the greatefl exa&nefs. This circumftance hath contributed not a little to render the explication more difficult. The old man, who appears partly [2] naked, and partly cloathed with a fkin [3], feems to be concerned in bringing up the boy or girl which he has between his legs, and to which the whole pidlure has relation. The ffiepherdefs or nymph, whichfoever it may be, who is reprefented fondling the child, is probably its nurfe; and the ftately dame who holds a horfe by the bridle, is either its mother, or certainly fome perfon who remarks its a&ions [4]. We may venture to conje&ure, that the Painter intended for
[1]	Catalogue, n. 736.
[2]	His right arm is covered. The tunic, which had a fleeve on one fide only,, or as Kuhnius obferves, on the left fide, was called by the Greeks STepopcwyjxX<&> %itoov, and was proper to flaves. Pollux vii. 47.
[3]	This man may either be a fhepherd or fome hero. The fcholiaft of Apollonius on Argon, iii. 324. fays : crvvrfisg rag vjpuxri to 2;pyjx.TodpopHv. It was the cußom of heroes to wear the ßins of beafis.
[4]	It has been imagined that this figure may be Melanippe, mentioned in the fragments of Euripides, called by others Menalippe, who having had feveral children, by Neptune, fent them to be brought up among the herds of her father Aeolus. Hyginus.f. 186. But this circumftance alone is infufficient to determine the Painter’s defign ; becaufe there have been inftances of others who have been privately brought up in the fame way.
the
the fubje& of this piece, either the education of Achilles [5], the concealment of Neptune [6], or the clandeftine parturi-,
[5]	Almoft all the Poets feign that Thetis delivered Achilles to Chiron the Centaur to be educated: and that, being afterwards tranfported to the ifland Scyros, he lived there fecretly under a female difguife. Altogether different is the account given of him by Homer, who tells us, that Peleus King of Pthia committed the education of his fon Achilles to Phoenix. In the ninth book of the Iliad ver. 480, &c. Phoenix thus addreffes his charge :
“ In Pthia’s court at laft my labours end. t{ Your fire receiv’d me, as his fon carefs’d; i( With gifts enrich’d, and with poffeflions blefs’d.
“ By love to thee his bounties I repaid,
“ And early wifdom to thy foul convey’d.
Great as thou art, my leffons made thee brave ;
“ A child I took thee, but a hero gave.
“ Thy infant breafl a like affe&ion fhew’d,	’
“ Still in my arms (an ever-pleafmg load)
<e Or at my knee by Phoenix wouldfl thou (land ;
“ No food was grateful but from Phoenix’ hand.
“ I pafs my watchings o’er thy helplefs years,
“ The tender labours, the compliant cares;
“ The Gods (I thought) revers’d their hard decree,
“ And Phoenix felt a father’s joys in thee.”	Pope.
And in Q^Calaber, the continuator of Homer, b. iii. 407, (Pc. the fame Phoenix fpeaks to Achilles thus, Peleus bearing thee in his arms, placed thee in my lap (x.oX7su) epy yjz]s9rizs) and with great concern charged me with the care of thee.
The charge of education was two-fold: one part of it attended to the formation of the mind, the other regarded the care of the body. In the Poets, and particularly the tragic Poets, we fee thefe two parts fuftained by pedagogues and nurfes, who fometimes attended their wards till they were grown to maturity. In the old man then we fhall trace Phoenix, who holds Achilles between his knees.
The altar being fixed by him, was meant to infinuate thofe fentiments of piety, which according to Homer he repeats to his pupil now adult. The female who careflfes him, will be the nurfe. And in the other who holds a horfe by the bridle, Pthia the country where Achilles was born will very aptly and properly be expreffed,‘a country celebrated particularly for abounding in generous heeds.
Calaber having for that reafon given it the epithet svttuiA©h. Thus Philofiratus the younger, Imag. i. in which he means to reprefent the ifland of Scyros, paints a majeflic dame adorned with thofe things, with which Scyros abounded. A lady (fays he) appears crowned with rufhes, placed upon a mountain: foe is meant for the if and Scyros, having a fprig of olive in her hand. On the great bafe of the marble erected at Pozzuoli in honour of Tiberius, fifteen female figures are carved with their proper fymbols, reprefenting the fifteen cities of Afia Minor. Medals furnifh us with a number of other inflances.
£6] The cruel refolution taken by Saturn to devour his children for a reafon of Hate, is equally notorious with the care of his wife Rhea who managed to rear them
C 2	tion
12
PLATE III.
tion of Ceres [7]1, who, being transformed into a mare, broughtr forth the goddefs Regina, and the horfe Avion. But how little foever thefe conjectures [8] may be depended upon, our mar-
privarely, by fubffttnting a (lone, or any thing elfe, .in their (Had; which he devoured with equal avidity and folly.
Now, in order to preferve Neptune, flic pretended to hare brought forth a eolt, and preienting that to the old man to eat, committed her infant to the care of fome Arcadian fhepherds. Paufanias viii* 8. gives the following account of this affair. Rhea being delivered of Neptune concealed him in a Jheep-fold, conjigning him to thefoep herds to be brought up among their lambs. In the room cf Neptune Jhe placed a colt to be devoured, which Jhe pretended to have given birth to: like wife the fame Rhea is faid to have wrapped up a flone in fwaddting deaths, by way of fibflrtute for Jupiter. In the Etymologic on under the word Ayy we meet with this account: Arne, a nymph,, the nurfe of Neptune. Phis nymph, whofe real name was Sincefa, was called Arne becaufe being engaged by Rhea to bring up Neptune, when Saturn made a fcarch after him (ci7r/jpy/i<r<x]o) jhe denied having him under her care. Phils writes Phefeus in Corinthiacis lib. Hi.—From thefe relations, the old man will be the (hepherd, who received the infant god into his protection. He allures his mother Rhea of his filence, by holding up his forefinger, (he being reprefented by the majeftic lady, who, by a correfponding fignal of the forefinger, directed toward him, corroborates this conjecture. The (teed which (he leads by the bridle, will be the fame which-lhe pretended to bring forth, iu order to fubftitute it for Neptune. The nymph behind the old man will be Arne, whofe faithful fecrefy the Painter perhaps meant to exprefs by the pretty thought of muffling up her mouth with her head-drefs.
[7]	Paufanias viii. 25. writes thus: It is related that Neptune being enamoured of his fjler Ceres attempted to dißjonour her: but that the goddefs transformed herfelf into a mare, and abfeonded among the herds of Arcadia. . Neptune, getting information of it, changed himfelf into a korfe, and thus obtained his defires.—Ceres was delivered of' a female child, whofe name was religioufy concealed from the prophane, and befdes this foe brought forth a colt whom foe called Arion; and for this reafon Neptune was called (iTTori^f) Equefiris. The fame author ch. xxxvii. makes mention of Anitus the educator of this infant, and fays, that among the vulgar this daughter of Neptune and Ceres went under the name Awttoivci Regina, her real name being known to few,, and thofe who were acquainted with it not daring to divulge it. Hence fome may perhaps fufpeCf, that the female figure is Ceres, who holds her fon Arion by the bridle, and impofes filence on the (hepherd and the nymph, as if (lie was defirous; to keep fecret the monftrous birth, and likewife the name of her daughter, who-being delivered to the care, of the old man and the nurfe,. they afiure. her of their/ fidelity.
[8]	Our picture, which foever of the three conjeClures be admitted, deferves. greatly to be valued, for its uncommon fubjeCt; whether it be for the education, of Achilles, copied from the more natural pencil of Homer, and not from the-falfe colouring of other Poets: or for the concealment of Neptune, which cannot be eafily matched (as no piece on the concealment of Jupiter is extant): or the two-fold parturiiion of Ceres, to which perhaps the celebrated myfteries of this goddefs had fome allufion..
ble
ble is certainly of great value, be the fubje<9: what it will. The round (tone with an altar placed upon it, exaöly like thofe which we meet with in other antiquities, was probably meant to denote, that in the bufinefs here reprefented, fome divinity was concerned [9].
[9] See fabvetti Jhfcripu c. v. p- 360. and Montfaucon tom. ii. tab. xc and xci. * and. Supp/cm.. to tom. ii, tab. 25-
PLATE
p
E ' IV. M
U	■
L A T
IT may fafely be affirmed that as in other paintings of the Royal Mufeum [2] we find masks alone, fo this marble prefents to our view the perfons [3] themfelves who wear them: but we cannot with .equal certainty decide upon the chara&ers of thofe perfons [4]. It is likely enough, that
£1] Catalogue n. 738.
[2]	Marked in the catal. with n. 524, 525, 526, 527, 528, &c.
£3] It cannot be doubted that the three figures here painted are mafked : for befides the caricature of their countenances (which certainly do not appear natural), in the firfl of them the mouth of the perfon may be clearly enough diftinguifhed in the aperture of the mafk : nor can any fufpicion of the contrary arife from the natural appearance of the difhevelled hair, it being notorious how much the ladies made ufe of various dreffes of adventitious hair.
[4]	It has been imagined that three Praeficae or hired mourners are here reprefented; whom Lucilius deferibes in the following manner,
“ Mercede quae Conduftae flent alieno in funere, Praeficae,
“ Multo et capillos feindunt, et clamant magis.”
A certain antiquary was convinced he had feen figures refembling thefe on fome ancient monuments. He therefore does.not allow the matter even to be difputable. From a paffage in Suetonius’s Life of Vefipafian, ch. xix, where we read, “ Archi-ft mimus perfonam ejus ferens imitanfque, ut eft mos, fafta ac difta vivi,” it might be difficult and little to the purpofe to infer, that fometimes masks were made ufe of in funeral procefiions. But that the Praeficae fhould be masked, feems inconfiftent with their character (which fuppofes them to imitate according to nature a lively and fincere grief, and, as Horace exprefles it, “ dicere, ac facere prope plura dolentibus f-‘ ex animo”); becaufe the mask inftantly difeovered the cheat, and prevented the appearance of forrow and defpair in their countenances. But if, notwithftanding this, it could be proved, that the mask was fometimes worn by the Praeficae, it would ftill be infufficient to explain our pifture, in which we fee no dead body or funeral pomp. By way of obviating all thefe difficulties, it might be alledged that fometimes Praeficae appeared upon the ftage, and that here it might be defigned to reprefent them not about the dead body, but perhaps before the door of the deceafed. But he that fhould maintain this opinion would injure the Painter, who ought to have exprefled his meaning in a different manner.
as
PL IV.

as in other pieces the reprefentation of fome comic [5] fcenes is plainly diftinguifhable ; fo in this the Painter meant to give us fome tragic a&ions [6] : efpecially if we obferve the ex~ preflion of deep grief and lamentation [7], together with the long [8] laced [9] veflments, which defcending to the feet of the figures almoft cover their buskins [10}.
[5]	.Catalogue n. 584 and' 585*
[6]	Some think they trace in this picture a fcene of fome tragic Poet: But others are cautious of fixing to one particular fubjeX, a piece which with as much probability might be {trained to many others.
[7]	The middle figure is drawn in the fame aXion as Telemachus in' Homer Od. iv. 114, 116.
c: AcexfiV y a7ro (iXstyagcxv yajMx^ig ßozh?	ccxjucaq,
“■ Ahutvcnv 'zaro^v^riv otvf o(p6ocXp,o«rtv c&yatrxüiv <c Aj/jpoJspip-i y^cri.'”
In Euripides and other Greek tragedians we meet with fcenes in which heroes and heroines are introduced weeping. This is obferved, in order to remove a doubt, which has been raifed, whether our painting fliould not rather be fuppofed a chorus, than a fcene of a tragedy. Arißotle, prob. xix. qu. 49. hath this reflexion, that tragic fcenes -are formed by heroes, to which character fedatenefs and gravity were agreeable, and a fubdoric and fubphrygian tone: whereas a tragic chorus, being compofed of perfons in common life, made ufe of a plaintive and fhriller kind of melody.
[8]	Of masks and the tragic habit, Horace fpeaks in his Art. Poet. ver. 278,. &c. “ Pod hunc perfonae, pallaeque repertor honeftae
“ Aefchylus, & modicis inflravit pulpita tignis,
<c Et docuit magnumque loqui, nitique cothurno.’*
But Suidas is of opinion, that Phrynicus a difciple of Thefpis invented masks' for •women. The ved called Palla was proper to tragedians. Ovid iii. Am. El.i. 12. and Virgil Aen. xi. give it the epithet of long : “ Pro longae tegmine pallae.” The Grecians called it XvgpM, Poll. vii. f. 67. Martial calls the tragic Syrma long, and Sidonius Apollinaris calls it deep.
[9]	See Pollux iv. f. 115, and Plato de Rep. xYn. The former reckons fucTi habits among thofe worn, by tragedians ; the latter fays they belonged to women in general.
[to] Pollux, on the fubjeX of attire for the feet in ufe among tragedians, mentions	y.ai	spCcAac,	iv.	f.	114. And in vii. f. 85. he tells us the	were
common fiioes.—Their form refembled that of the low Cothurnus. Our Painter leems here to have reprefented this kind of Cothurnus: unlefs the tall and difpro-portionable ftature of the fird of the three figures (as it confirms us in the opinion that the artid has here exprefled fome tragic characters, whofe province it was to imitate the grand and dately comportment of heroes;) fliould induce others to believe that thefe are the true high Cothurni, which, being, covered by the cloaths> do not appear.
PLATE
PLATE
V. M
"^HIS picture [2], which is one of the largeft [3] in the Royal Mufeum, deferves on every account to be reckoned among the mod beautiful [4]. It was, when bid
[1] Catalogue n. 114.
[2J Among the firft happy difcoYeries made In the fouterrains of Ilefina this picture'with fome others was found in 1739, in a great building, which was’believed to be a temple, and of which we fhall difcourfe in another place.
[3]	Vitruvius vii. 5. explaining how the different parts of buildings may be moll Suitably adorned with paintings fays, “ Nonnullis in locis item fignorum Megah-“ graphiam, habentem deorum fimulacra, feu fabularum difpofitas explicationes. “ Non minus Trojanas pugnas, feu Ulyffis errationes.” From thefe words it may be colle&ed, that thofe paintings in which we find the perfons of gods and heroes, and their fabulous exploits reprefertted, were by the ancients comprifed under the name of Megalographia, in contra-diftinClion to other paintings Where the perfons were entirely fictitious ; and not to thofe in which huntings, fifiiings, landfcapes, architecture, and other things of that nature, were reprefentcd ; each of which from time to time we fhall have occafion to mention.
[4]	Pliny informs us xxxv. 10. thauthe great matters painted only upon boards or tablets, which might eafily be carried about, and preferved in cafe of accidents ; and that painting upon walls was the employment of artitts of fmall eftimation. Sometimes however wonders of the art were difplayed in ftucco. The fame Pliny (xxxv. 3.) fpeaks with admiration of Atalanta and of Helen, two very antique paintings, which were to be feen in his time at Lanuvium among the ruins of the walls of a temple. Paufanias is full of paintings which Polygnotus and others had executed on the temple walls, and in the porticos of Greece. We learn from Vitruvius, Lucian, and Pliny himfelf, that the ancient cuttom of painting upon walls was revived in the time of Auguflus, and kept its ground ever after; and of its prefent continuance many proofs are exhibited both in our public and private edifices. With regard to the tafte and manner of this, as well as of ti.e reft: of our pieces, the connoifleurs will judge. We ourfelvcs have fufficient ground to affirm, that though the authors of thefe paintings were not all the mod per fed matters of their profeffion, they had almoft always before their eyes, the mott excellent originals. The faults, and thofe fometimes very grols ones, which we ’ifeover in many of their belt works, are ftrong arguments in favour of this
union.
difeovered,
A. H a/mcrnuuisa/tp
dilcoverecf, in high preservation, and its colon rs lively and frcfli, but it has fince fufFcred Something from the air. The figures are well difpofed, and every part of it well managed, fo that one cannot help pronouncing it a very excellent piece. It represents the famous achievement of Thefcns in Crete [5]. The Fainter has ingenioufiy drawn his hero naked [6], of a
Nothing can be more natural, than that the bed paintings and fculptures, of which the Roman empire, at its higheft pitch of grandeur, pofleffed the richeft treafures, not only in public places, but even in the villas of private perfons, fhould have been copied, either wholly or in part, by ftucco painters. The finiffied exemplars, which the artifls of thofe times had always before their eyes, on. every fide of them, mufl needs have fuggefted, even to inferior performers, the moft beautiful ideas and images of adorning, according to the tafle and reigning paflion of that time, the entire walls of public and private edifices. It may fufnee to have given this general intimation: whoever is inclined, may make ufe of our reflexion in the examination of each particular painting.
{[5] Aegeus king of Athens, for reafons of ftate, commanded Androgens the foil of Minos king of Crete to be affaffinated. The latter, in order to revenge the death of his fon, made war upon the Athenians: who, being at once befieged, and affiiffed with a peflilencc, were reduced to the hard conditions of delivering every year to the king of Crete, a certain number of Athenian youths and virgins, who were deflined for unhappy viflims to the Minotaur. This monfter (the infamous fruit of Pafphae’s commerce with a bull) was kept confined in a labyrinth, a place in which there were fo many turnings and windings, that whoever entered it could never find the way to return. The time of the third tribute now approached, when Thefeus the fon of Aethra and Aegeus coming from Troezcne, where he had been educated, ro Athens, in quefl of his father, could no longer bear the cruel deflation of that city, and generoufly offered to make one among thofe who were deftined by lot to the fatal expedition. Thefcns being arrived in Crete, Ariadne the daughter of Minos became fo enamoured of him, that file furniflied him with a clue to trace the labyrinth, after he had Haiti the Minotaur. Catullus, in Nupt. Pel. & Thet.—However this whole adventure of Thefeus is fo differently related, that to make the feveral accounts which writers have given us of it confident, would be almofl as difficult, as it would have been to efcape from the mazes of the labyrinth itfelf. Befides Plutarch, who produces many opinions, Apolhdorus, Palac-phaius, Hyginus, and almoft all the poets, mention it with different circumflances. For all the other atchievements of Thefevs, it may fuffice to read his life in Plutarch, who confiders him as the follower and imitator of Hercules.
[6] Pliny xxxiv. 5. fpeaking of the manner of reprefenting iilufirious perfons in flames (the obfervatien is alfo applicable to painting), fays,
“ Graeca res eft nihil velare.”
We have obferved elfewhere, that the Nud was cha rafter iflical of heroes ; and that'
Vol. L	D	talk
1 o	A JL/ aX. X A-I	V.
tall and gigantic ftature [7], holding a knotted club |r8], and having a ring [9] on one of the fingers of his left hand [1-0].
it was confidered in the fame light with refpeft to their feet, Philofiratus particularly mentions, Epifi. xxii. And in Imag. xvi. lib. i. it is affirmed to be peculiar to the Athenians. Plutarch in his life of Phocion, and Plato in his Sympojiac, obferve that it had been a cuftom of the ancient Grecians to go bare-foot. As to the hair of our Phefeus, it differs not from that of the other youths who are about him; the painter perhaps choofing rather to exprefs the general ufage of the Grecians (to which Homer alludes, Odyff. iv. 150. laying that Pelemachus had a buffi of hair on the upper part of his head) than the particular cuitom of Phefeus, of whom Plutarch fays, that he had his hair ffiaved after the manner of the Abantes, called by Homer, 11. ii. 542. ottktQsv Kojxcccyjsc, wearing their hair on the back part of the head. "We learn from Lucian in Anacharfi, that afterwards it became a common cuitom among the Grecians to go bare-headed.
[7] Philofiratus has fpoken of the extraordinary ftature of heroes, that it admits of above ten cubits. Heroic, in Pr. & c. 1.—and Apollon. Pyan. ii. 21. and iv. 16, &rc. Now, to exprefs this uncommon fize, the Painter has reprefented Phefeus fo much larger than the figures which furround him. And the difproportion which is obferved between the head and the body is alfo according to art, in imitation of Lyftppus, “ Qui inter multa, quae ftaiuariae arti traditur contuliffe, capita minora “ faciendo, quam antiqui: corpora graciliora, ficcioraque, per quae fignorum pro-“ ceritas major videretur.” Pliny xxxiv. 8. See Fabretti Col. Praj.pag. 54, &c.
p8] The club with which Phefeus flew the Minotaur was the fame which he had taken from Periphas, who from his ufing a club (yioowri) was called Corynetes, Apollod. iii. 15. But both this author and Paufanias affirm this fort of club to be made of iron or bronze. And Homer himfelf, II. vii. 141. fpeaking of Corynetes, calls his club o-iby^ryj. It fliould feem then that our Painter is miftaken in making it knotty, and of wood, were it not that Eufiathius on the pafiage cited from Homer intimates, that the club of Corynetes, fuppoflng it made of wood, might have been called iron by the Poet, becaufe a piece of that metal was fixed to the end of it : u re 78 f Uran zvotyv criSr/fay eir,.
Ovid makes Ariadne herfclf, writing to Phefeus, fay : i( Nec tua maftaflet nodofo ftipite, Thefeu,
“ Ardua parte virum dextera, parte bovem.”
£9] Some people have difeovered a fort of myftery in this ring. Phefeus boafted himfelf to be the fon of Neptune. Mines, to divert himfelf at the hero’s expenfe, threw a ring into the fea, telling Phefeus that if he was what he pretended, lie would be able to recover it. Phefeus dived into the water, and, by the afiiftance of Amphitrite, returned with the ring, together with a crown, which he prefented to Ariadne, and which was afterwards placed among the ftars. Hyginus Afiron. Poet. ii. 6. and Paufanias i. 17. relate this ftory. And hence, it has been fufpecied, the Painter took his thought: but, as we fee the nymph who grafps the club has a ring of the fame kind, the conjefture falls to the ground.
[10]	Aldus Gcllius x. 10. tells us—■“ Veteres Graecos annulum habuifie in di-£c gito finiftrae manus qui mini mo eft proxjmusas is obfervable in our Phefeus and the young nymph.
The
The Athenian youths [n] and virgins [12] are agreeably re-prefented in various emotions of gratitude and joy, and appear to be coming out of the door of the labyrinth [13]. The
[11]	Plutarch, according to the common opinion, write?, that the Athenians once in nine years«delivered feven youths and as many virgins to be devonred by the Minotaur in the labyrinth. In Diodorus iv. 61. we find it sjwv afja, every feven years-, but, on the credit of the molt corre& manufcripts, Weffelmg has fubfii-tuted swsoi, nine. In Apollcdorus alone among the Greeks iii. i4. § 9. we read, fig ov KdoVpi'Aov xdf et©-1 K^voaoi x.zspxg sfa x.oa xcpag rag trug ru> Nlivojavpoo ßcpav tTTSjuarev. Into which labyrinth the Athenians every year have fent feven youths and as many virgins, as food for the Minotaur.
To reconcile Apollodorus with the other Greek writers we might read xar A&, ex more: although this correction-is eafy and fupported by good reafons, no one hitherto has fuggeffed it. It is true, however, that Hyginus Fab. 41. among the Latins exprefsly writes, that this tribute was fent every year: but Ovid direCtly contradicts it, Met am. y iii. 170, and 17 1.
— “ ACtaeo bis palhun fanguine monftrum,,
“ Tertia fors annis domuit repetita novenisP On the other hand, Virgil, Aon. vi. 20, &c.
“ In foribus, lethum Androgeo : turn pendere poenas “ Gecropidae juffi (miferum) feptena quotannis “ Corpora natorum, flat duCtis fortibus urna.”
Servius upon this paffage has mentioned the names of the youths and virgins : according to the correction of Meurfnis in Pkefeus, the names of the former were, Hippophorbas, Aniimachus, Mneßheus, Phidocus, Demolion, and Perizion: of the latter, Medippe, Gefione, Andromgche, Pimedufa, Europa, Me Ufa, and Peribaea.-
[12]	Some perfons have pretended to guefs the name of the nymph who grafps the club with her right hand, and has a ring on her left: accordingly fome have fuppofed her to be Ariadne, to tvhom ‘Thefeus owed his deliverance in this attempt. Others have imagined- it to be Peribaea, becaufe fhe who had furpalfed her companions in beauty, and had won the affeCtions of Minos himfelf, was entitled to the firft place in the piClure : but the greater part have not prefumed to decide. The mode of drefs is like that of other Athenian ladies, on fome antiquities in Mont-faucon.
[13]	The famous labyrinth of Egypt, near Crocodilopolis, which furpalfed in its wonderful conftruCHon even the pyramids, thofe miracles of art, is deferibed by Herodotus in his Euterpe. He is of opinion that Daedalus made his in Crete, in which the Minotaur was confined, in imitation of this. Sc»Pliny xxxvi. 13. Ovid gives an elegant defeription of it, Met. viii. 159, &c.
“ Daedalus ingenio fabrae celeberrimus artis “ Ponit opus : turbatque notas, et limina fiexu “ Ducit in errorem variarum ambage viarum.”
All thofe who give us the fable agree, that the aCHon of Thefeus war performed within the labyrinth, from which he afterwards efcaped by a clue, which Ariadne had furnilhed him with. Philoehotus (in Plutarch), who explains the whole in a different manner, and tells the real hiftory of it, deferibes the labyrinth as a ftrong
D 2	Minotaur
20
PLATE V.
Minotaur [14] lies fore-fhortened [15] at the feet of the con-
prifon, defigned for the cufiody of tlie youths and virgins, whom the Athenians fent for their tribute: and fays, that the combat of Thefeus happenedout of that in-clofure, in an open fquare, in which were celebrated the funeral games in honour of Androgeos. If that was the cafe, could Ariadne have faid to Thefeus with any propriety, what Ovid, Epiffc. v. 103, puts into her mouth, though with another intention ?
“ Non tibi, quae reditus monftrarent fila dediffem.”
We might rather fuppofe with Paiaephaius, c. 2. that it was a fvrord, and not a clue, which Thefeus received from Ariadne. Be that as it may, accounts are fo different, that rhe painters had a large field left them to reprefent this enterprize according to their own humour. Paufanias iii. 29. relates, that he had feen Thefeus reprefented leading the Minotaur in chains; now our Painter has chofen to draw the Mdnotaur fla:n by Thefeus before the entrance into the labyrinth ; becaule perhaps it belt fuited his purpofe of placing the whole fnbjeff in full view*
[14]	Pafiphae, the daughter of Sol and Perfeis, wras the wife of Minos king of Crete. Neglefted by Neptune and hated by Venus, Pafiphae became enamoured of a bull. Daedalus, a moll ingenious artift, contrived a place, in which file being Ihut up, could enjoy that infamous commerce, the fruit of which was a monfier that partook the form of a man and of a bull. Thus the poets exprefs themfelves on this fubjeö ; fee Virgil, Acn. vi. 24, &c.
“ Hie crudelis amor Tauri, fuppoftaque furto,
“ Pafiphae : miftumque genus, prolefque biformis “ Minotaurus ineff, veneris monumenta nefandae.”
Philofiratus fpeaks more clearly to the point, L. i. Itn. 16. Minos, in order to conceal his difgrace from the public eye, prevailed with Daedalus to make the labyrinth, in which the monßcr was confned. Ovid, Met. viii. 155, Sic. thus happily expreffes himfelf:
“ Creverat opprobrium generis; foedumque patebat “ Matris adulterium raonfiri novitatc biformis: tf Defiinat liunc Minos thalamis removere pudorem;
“ Multiplicique domo, caecifque includcre te&is.”
Servins on the fixth book of the Aeneid, Palaephalus c. 2. and others, explain the fable thus: Minos being infirm, or abfent from his wife, file fell in love with a young man called Taurus, who, according to Plutarch, was admiral to the Cretan king: by this man flic had two fons, one of whom refeinbled Minos, the other his proper father. Plutarch, upon the teftimony of Philochorus, proceeds to tell 11s, that Minos having infiituted funeral games in honour of Androgeos (in which the Athenian captives were the prize of the conqueror); 'Taurus, Pafiphae's gallant, was thefirftwho obtained the victory, and the reward in thefe games ; and that Thefeus engaged this Taurus in finglc combat, and having Haiti him to the great joy of the king of Crete, he obtained the liberty of his countrymen, and an exemption from the tribute. Paufanias ii. 31. fays, that he with whom Thefeus .engaged, was a fon of Minos called Ajlerion, and in i. 24. he himfelf is not able to determine whether he whom Thefeus fought with was a man or a monffer. T^etzes (after Apollcdorus iii. 14.) on the Caff and»'a cf hyeephren fays plainly, that Afterion was the fame with the Minotaur.
queror,
qusror, in an uncommon form [ i 6], and different from what it appears upon medals [17]. The goddefs [18] who fits above, and holds in her hand a how and arrow [ic], we may call the prote&refs of Thefeus in this enterprize.
[15]	Pliny xxxv. n. fpeaking of Pauftas of Sicyon, fays: “Earn pi&uram “ primus invenit, quam poftea imitati funt multi, aequavit autem nemo : ante orn-“ nia, quum longitudinem bovis oftendere vellet, adveriVim eum pinxit, non tranfver-“ lum; unde et abunde intelligitur amplitudo.”
[16]	Ovid defcribes the Minotaur as half a man and half a bull :
“ Semibovemque virum, femivirumque bovem.”
Euripides in Plutarch gives'us the fame portrait of him: and he has the fame form upon a gem (if that gem be really an antique), in which is reprefented alfo the labyrinth. See Agofiini Gem. Antiq. P. ii. T. 131. Edit, of Rome, 1702. Apollo-dorus, however, iii. 1. Hyginus tab. 40. and others, fay, that he had only the head of a bull, and that his body was wholly that of a man, exa&ly as we fee him reprefented here.
[17]	On the medals of Magna Graecia and Sicily, where this monfler is fuppofed to be reprefented, he appears with a human head and the body of a bull. See Paruta Sic. Num. Tab. 63 and 87; and Spanheim deUfuet Praefi. Numifm. p. 285.
[18]	Two conjectures have been propofed concerning this deity. One, that it is Venus, whom Thefeus took for his tutelary goddefs in his atchievement at Crete.— Plutarch in his 9th book, and Callimachus in Hymn, in Del. v. 307—3 13, relate this circumftance. The other, that it is Diana, to whom Thefeus erected a temple in Troezene, in memory of the aid he received from that goddefs in the dangerous combat of the labyrinth, and of her favouring his efcape from that intricate place, with his companions. Paufanias ii. 31. fuggefts this ufeful remark. The bow, the arrows, and the quiver, are the proper enfigns of this goddefs. It is obje&ed that Diana is always reprefented in a fhort habit, and with her legs bare; as Span-hemafter others, has obferved upon the Diana of Callimachus ; whereas in our piClure the drapery reaches to the goddefs’s feet. This objection however is nof thought to be of any great weight: becaufe we may as well fay of Venus alfo that die was reprefented in the character of a huntrefs. Indeed Ovid intimates as much. Amor. iii. El. 2.
“ Talia fuccinCtae pinguntur crura Dianae ;
“ Cum fequitur fortes, fortior ipfa, feras.”
So Virgil, Aen. i. 317, &c. fpeaks of Venus:
—“ Humeris de more habilem fufpenderat arctim “ Venatrix, dederatque comam diffundere ventis,
“ Nuda genu, nodoque finus colleCta fluentes.”
[19]	A doubt has been raifed, whether the inftrument which is hanging at the goddefs’s fide be a quiver, and not rather a trumpet : upon fuppofition that it is the latter, it has been thought, that fhe may rather be Minerva, who, befides being the tutelary deity of Athens, is called by Lycophron v. 986. 2«A7r/y^; for which furname Paufanias alfigns a reafon, ii. 21.—Befides, the fymbols of Diana are fome-times appropriated to Minerva, and the two goddeffes confounded with each other.
The
. 4
I
X
V
JU# XX
E
The two little pieces of painting which reprefent various kinds of fifh emerging from the water [20], although not of capital beauty, have neverthelefs their merit [21].
{[20] See Cat. n. 3 12 and 302.
Thefe have no relation to Phefeus, and were taken from different places. There being many pieces of this kind which are not of importance enough to merit a particular explanation; in order not to rob the public of thepleafure of obferving* the gufto of the ancients in this way, it was thought proper to fill up fome vacancies, with them.
[21] Vitruvius vii. 5. and Pliny xxxv. io. inform us what, and how great a part of houfes was allotted to thefe pretty trifles in flucco-painting.
PLATE
ji-Bafirurmsiri scitlp.
JPl. U.
PLATE
VI. IO
THIS picture [2] is the companion of the preceding, and is executed in a manner [3] not inferior to it; but the defign is not fo clear. The child who is fuckled by the hind may be 7’elephus.	This incident certainly favours that
name [4.]. The reft of the figures feem to bear a relation to him [5]. His father Hercules, adorned with his moft remark-
[1]	See Catalogue, n. 123.
[2]	Found at Refina along with the Thefeus.
[3]	The fame Ikill is difcernible in the defign of this piece, and in the attitudes of the figures, as well as the fame manner of colouring.
£4] Diodorus iv. 33. writes that Coryius called the child T?jAs(pov, cvroo ryg Tgstpxtryg sXoi<px: Tclephus, from the hind which had nourifhed him. Apollodorus iii. 9. Hyginus f. 99.—Paufanias ix. 31. obferve, that among other beautiful works of excellent nrtifts which he had feen at Helicon, was a hind giving fuck to the littleTelephus.
[5] Hercules, returning vi&orious from the war againfl the Spartans, paid a vifit in Arcadia to king Aleus; and having „fecretly violated Auge, the daughter of his hod, he departed. Aleus, finding that his daughter was with child, delivered her to Nauplius his confident, to be thrown into the fea : whilft he was conducing her, fite, being taken with the pains of childbirth, feigned fome other bufinefs, retired into a neighbouring grove near Mount Parthenius, and there being delivered of her infant, concealed him among the bullies, and returned to her company. Arriving at Nauplia, flie was not drowned, according to the cruel injunction of her father, but fold to fome travellers, who failed for Afia, and there fold her to Teuthras king of Myfia. In the mean time the infant, being left near Mount Parthenius, was found by the Ihepherds of king Goryitts, juft as .a hind was going to give him fuck. The Ihepherds took him and carried him to their maftcr, who ordered him to be brought up in the family under the name of Dele pirns. When he was grown a mail, he had a mind to confult the oracle at Delphi, in order to difcover his parents ; and receiving for anfwcr, that he fhould learn who they were from Teuthras; on his arrival at court, he was acknowledged by his mother, and declared by Teuthras his fucceffor in the kingdom, who alfo gave him his daughter Argiope in marriage. Thus Diodorus relates this adventure, iv. 33. Apollodorushowever, ii. 7. and iii. 9. will have it, that Auge concealedTelcphus in the temple of Minerva; that,
able
able attributes [6], attentively furveys him, whilft a young nymph, diftinguifhed by wings, fomc ears of corn, and a crown of olive [7], points at him with her finger. In the
being found by Alcus, lie was expofed on mount Parthenius; and that Äuge was configned to Nauplius to be put to death. But Strabo xiii. p. 615, upon the authority of Euripides, relates, that Auge and her fon Telepbus, being ihut up together in a cheft, were thrown into the fea by Aleus; and that, by the diredlion of Minerva, the cheft being driven into the mouth of the river Caicus, Auge was taken to wife by king Tent bras, and Telepbus adopted, who afterwards fucceeded him in the-kingdom. Paufanias viii. 4. writes, that Hecataeus was of the fame opinion ; but he -elfewhere gives various accounts of thefe matters, and fays in the viiith book, 47, 48, and 54, that the fountain was to be fecn in Arcadia near which Auge was defiowered by Hercules; alfe the Temple of Lucina uj ycvxT/, fo called, becaufe Auge in that place, being taken with the pains of childbirth, fell upon her knees, and in that pofiure brought forth Telepbus. And oppoftc thereto they fkow the bed of Telepbus,. fo called becaufe near mount Parthenius he was expofed in his infancy by his mother, and nourifhedby a hind. Others believe, as indeed Paufanias himfelf affirms, x. 28. that Auge, being pregnant by Hercules, brought forth her fon in Myfia; and that he very much refembled his father.
[6] Hefiod, in his poem of the fltield, 128, &C. not only attributes to Hercules-the bow and arrows, but arms him likewife with every fort of military accoutre* ments. The firft however who aferibed to this hero the club and lion’s ft.iu, as his. proper attributes, was the author of a poem curitlcd Hcraclca. Strabo xv. p. 688'. writes: That giving to Hercules the ßin of a lion, and a club, was the invention of him who compofed the Heraclca, Pifander or whoever it was : for the ancietit ßatucs do not reprefent Hercules in this maimer. Although it is dubioufly exp reffe d here who Was the author of Heraclca; this poem has been generally attributed to Pifander.. Strabo himfelf fays, xiv. p. 655, Pifander, tjoe author of the poem of Heraclca, was-of Rhodes. Suidas in	writes, Heraclca, the poem of Pifander, contains in
two books the atchievcments of Hercules: this author firfl reprefented Hercules with a-club. Paufanias ii. 37, and viii. 22, exit's Pifander of Camirus, as the author of a poem on the deeds of Hercules. And in Theocritus there- is an epigram in praife of this ancient poet. Be that as it may, this is certain, that the lion’s fkin and club are fo peculiarly the attributes of Hercules, that the bow and arrows, where-we meet with either of them, feem fuperfluous. Theocritus, in order to characterize, this hero, fays:
“ AspjJM Ti	tfMv, yjH007r7':fn rs >lopvvvjyf'
Viewing the favage ßin and mafj 'y club.
And on antiques he is reprefented with one or the other, and moft commonly,-with-both. However, there are initances in which the bow, the arrows, the fkin, and the club, are all joined together. Tcrtullian, to deride this hero fo famous im ftory, calls him by the name of Scytalofagiiti-pelliger, De Pallio, c. iv. num. 3.. Our Painter then having united all the attributes, each-of which fuffices to diltin* guiffi Hercules from every one elfe; without doubt intended to reprefent to us no. other than this hero.
[7,] Wings, and garlands of leaves or flowers, are characleriflic of Genii: books, gems, medals, bas-reliefs, furnifh us with abundance of inftances. The Genii are
v	majeftic
majeftic dame who appears in a fitting poflure, crowned with flowers, a bafket of fruit [8] at her fide, and a ruflic ftaff in her left hand ; is meant to be exhibited the tutelary deity of the expofed infant [9], or his country, as another circumflance fuggells [10].	The young Fciunus, or Pan
[11], whichever it is, accompanying this lady,	is a
reprefented under both fexes. See Nat. Com. iv. 3. and Montfaucon t. i. p. ii. lib. 2. c. 13. §5. And in tab. cc. n. 5. Victory and Fortune are both reprefented with wings. Sec Plutarch deVirt. & Fort. Rom.— Ovid. Friß. ii. 169. and Facat. in Panegyr. To the goddefs of Peace, befides the crown of olive, and the ears of corn, which are her peculiar fymbols; wings arealfo fometimes given. Cupcri Apotheof. Horn. p. 178. This uncertainty has fuggefled various opinions to our critics. Cue maintains, that the figure thus diftinguiflied, reprefents Ceres; another will have it to be meant for Providence, induced by the expreilion of Strabo xiii. p. 615, (who, recounting the adventure of Felephus, fays, that he was faved A%vag w^oma, by the providence of Minerva) and by another of Apollodorus ii. 7. who writes, that Tele-phus was nurfed by a hind, under a certain divine Providence. This opinion differs not materially from another, that fortune might have been defigned here: for w'hat the vulgar called fortune, philofophers acknowledged to be the providence of the gods. And indeed on fome medals of the times immediately fucceeding Titus, providence is reprefented with ears of corn.
[8]	Grapes and pomgranates.
[9]	Every thing has been offered that can be fuppofed, to give any information
with regard to this nymph, or deity, whichever it is. Auge, Lucina, Minerva, and others of the fame kind, have been mentioned : but all of them liable to fome rational obje&ions. Many have, with fome {how of probability, held, that it mufl be the goddefs Fellus, called by the Greeks Kxpojpc(p(&’, the nnrfe of infants. Suidas, and Paufanias, I. 22, make mention of her. This goddefs, as every one knows, being often taken for the great mother, for Ops, for Flora, (all which mean one and the fame deity), is very properly accompanied by the god Pan, whom Pindar calls	^syaXag	c7r«S@h-; the follower of the great mother, or as Arif-
totle, Rhet. ii. 24. explains him, psyafatg 0.:8 kuvu wavJcScTrov, according to Wcffe-ling's Remark on Diodor. iii. 58. v. 36. And the tame lion is a circuraflarce that agrees very well.
[10]	It has been fuggefled, that this goddefs reprefents Myfa, in which Felephus was born, or certainly reigned; and of which the foil is called by Pindar, I. viii. 108. ay.7rsXo:-v, abounding with vines ; ox Arcadia, a place equally fertile ; and in this cafe Pan, the principal deity of that country, might, with much propriety, accompany her.
[11]	The fhepherd’s crook, the pipe, and tiger’s or panther’s fkin, were the proper fymbols of the god Pan, reprefenting nature. See Nat. Com. v. 6. It is true that Pan isalfo figured with horns, and a beard ; neverthelefs, appearing fome-times without either, the Pan of the Greeks is confounded with the Faunas of the
Vol. I.	E	cir-
circumftance that may contribute to particularize her [12].
Latins. Jußin. xliii. j. 6. fays, “ In hujus radicibus templum Lycaeo, quem “ Graeci Pana, Romani Lupercum appellant, conftituit.”
Ovid agreeably to this fays, Faß. v. ioi.
“ Semicaper coleris cin&utis, Faune, Lupercis.”
And Horace, 1. i. od. 17.
Velox amoenum faepe Lucretilem
“ Mu tat Lycaeo Faunus.”
[ 12] There remains fome doubt about this figure ; no plaufible reafon being given why, upon fuppofition that the fitting lady reprefents Arcadia, or even Ferra, the god Pan fhould be painted in the form of a youth. This doubt, in conjunction with another (till greater, from the appearance of an eagle in the picture; for which it is exceeding difficult to account; has given occafion to advance another conjecture. Dionyfius of Halicarnajfus relates, i. p. 34. that there was current in Italy an ancient tradition that Hercules had a fon called Latinus, by a young woman of the north, (:-x wrc-fcpio^ ; and that, having given in marriage .this young lady to Faunus, king of the Aborigines, Latinus was believed to be the fon of Faunas. Saidas, agreeably to this account, under the word Aaftm writes thus: Telephus, furnamed Latinus, the fon of Hercules, gave the name of Latins to a people before called Cctii. They were afterwards called Italians, from one Italus; then Aeneadae from Aeneas ; and lafily Romans from Romulus. It is true that Kufier, upon this paflage, writes: “ Haec inepta omnino funt, et ex putidis lacunis haufta, “ quibus gemina legas apud Cedrenum et Joannem Mala lamp Now that this paffiage is not to be found in all the manuferipts, and perhaps only in that belonging to Portus, may be allowed : but that the contents of it fhould be throughout fooliffi and falfe, cannot well be advanced ; fince it is very true, that the Latins were once called Cet'ii, a name derived from Cettim, the grandfon of Japhet, and great grandfon of Noah, Gen. c. x. Mention is made of this name by ancient authors. Homer Od. A.-
520.	and elfewhere. The tradition contained in that paflage is not then entirely to be rejeCled; and it deferves the more attention, becaufe Plutarch in his. life of Rmndus, at the beginning, writes, that Rome was fo called, according to fome, from Roma, the daughter of Telephus and wife of Aeneas. lie alfo adds, that the .lady, whom Hercules was concerned with, was called Faula, or FI aura ; and the worfjip of the goddefs Flora was very ancient in Latium, being antecedent even to the foundation of Rome. Varro de Lingua Latina, lib. iv. and others, hold that AvQtscroi was the fecret name of that city. Now, though all thefe conjectures taken feparately may be weak, yet if they are all put together, we may perhaps venture to pro^ nounce, that by the fitting lady, the goddefs Flora may be intended; that ffie has with her the young Faunus, who was thought to be the father of Latinus or Tcle-phus, to particularize whom the hind may have been added; that peace or viClory •points out to Hercules, in his lbn, his illuftrious defeendants; and that, as the eagle explains the defign of the Painter, in (bowing the origin of that warlike and victorious people ; (o the tame lion difeovers, that the time alluded to is the age of the firff Caefars, when the whole world refpeCled the Roman power. Others, to whom fuch a conjeClure appears more ingenious than true, think the Painter rather intended to reprefentTelephus expofed near mount Parthenius, in Arcadia; and that, to fhadow out this country, he placed the god Pan near the goddefs Tellus, the
The eagle [ 13], and the tame hon [14J, which the Painter no doubt introduced into his piece in order to render his design more clear, make it in fa6t more obfcure [15].
The little frieze [ 16] which fills up the vacancy at the bot-
nurfe of infants, accompanied by her pacific lion ; which goddefs commands the hind to fuckle the infant, whom 'Providence, or fome fuch deity, (hows to Hercules, and difeovers to him the adventure, pointing out in the eagle the extra&ion of this hero. This fecond conjecture feems not fo far-fetched as the other; both however are equally attended with this difficulty, that Roman fubjefts were not ufually introduced into Grecian pictures. But it may be anfwered, that Herculaneum was not a city placed in the heart of Greece, but in the neighbourhood of Rome itfelf; which city, at the time thefe pictures were moft probably drawn, fhe was obliged to flatter, through a defire to pleafe, or from neceffity: and in the profecution of this work, we (hall fee Roman affairs introduced in our pictures.
[13] Pau/anias viii. 31. mentions having feen in Arcadia, a ftatue of Bacchus, upon whofe thyrfus was an eagle : and adds, that he was ignorant of the reafon of it. Meurfius on the Cajfandra of Lycophron, v. 658, p. 78, remarks, that the eagle ufed to be given to heroes in general} perhaps becaufe the very lofty flight of that bird exprefles their elevated genius.
([143 The lion is alfo a proper attendant on heroes, to exprefs their valour; and accordingly ufually appears on the fepulchres of military men. Paufamas x. 40. tells us: that near the city of Chaeronca is the fepulchre of thofe Thebans who died ßghting againfi Philip. There is no infeription, but only a lion by way of device, to denote their magnanimity. Ptolomaeus Hephaeßion in Pbotius Bib. Cod. 190. relates, that thefe fepulchral Hons are a fymbol of the ßrength of Hercules. The eagle and Imi then, being confidered as fymbols, may.be equally fuitable to Telephus and Hercules. A living lion, however, fhould feem fuperfluous, where there is the fkin of another : but as feveral lions were killed by Hercules, fo among the antique gems of Augnftinus, p. ii. t. 39. there is a Hercules adorned with the fpoils of one lion, in the a<fi of killing another.
[15]	All the above conje&ures, each of which has fome reafons to fupport it, prove the very great difficulties there are to encounter, in deciding upon the fubjeft of this pi&ure. And to confefs the truth, to infer from the circumftance of the eagle, that it is a Roman fubjeft, is too far-fetched : and to make it only a general fymbol of heroifm, is too fimple. As to the lion, if it has no connexion with the fitting lady, the meaning of it remains very obfcure; efpecially if we confider the pacific poffure in which it is painted. It avails but little to fay, that the winged nymph with the ears of corn in her hand, crowned with olive; and Hercules him-felf in an attitude of repofe, with the crown ufually denoting victory or divinity ; r and in a word, all the other figures, who are crowned to exprefs a facrifice, or other joyful folemnity, convey the fame idea with the tamenefs of the lion : fir.ee all this only renders the defign of the Painter ffill more intricate,
[16]	Catalogue, n. 209.
E 2
tom
tom of the plate, is Hightly touched, but with fpirit []17].
[17]	This frieze, which has no relation to Telephus, and was found in a different place, is probably part of fome ornament in fictitious architecture. And the Painter feems to have intended an imitation of thofe ornaments which architects place in the fronts of their buildings. The ends of the beams were covered with triglyphs : the intertignia, or fpaces between the triglyphs, were called metopae; on -thefe they ufually carved the heads of oxen or rams, as may be feen in the ancient edifices. Vitruv. iv. 2. and 3, writes thus : “ lta divifiones tignorum teCtae trigly-“ phorum difpofitione, intertignium, et opam habere in Doricis operibus coeperunt “ — utraque enim et inter denticulos, et inter triglyphos quae funt intervalla, “ metopae nominantur: opas enim Graeci tignorum cubilia, et afferum appellant, “ uti noflra cava, columbaria. Ita quod inter duas opas eft intertignium, id “ metopa efl apud eos nominatum.” And in the front of a temple, with four columns, there were eight triglyphs, or opae, and feven metopae.
The Painter then feems to have defigned by the eight ovals, to reprefent the ex* tremities of the beams, covered with little figures inflead of triglyphs; and by the feven rams heads the intertignia, or metopae. Whofoever fhould undertake to give an account of the little figures, would certainly undertake a very difficult tafle.
PLATE
A .Ba/inerrmin/ sen ip.
PLATE VII. M
THIS pi&ure, every part of which is wonderfully beautiful, reprefents the firft labour [2] of Hercules [3] ; who, when he was juft born (as a certain author, with little probability however, pretends [4]), or whilft he was yet an infant [5], as he is here defcribed, ftrangied the two ferpents [6]
[i]	Catalogue, rt. 119.-
[2]	Philoßraius the younger, in Trnag. v. which is called HpaxXyg sv erTcocpyavoic, Hercules in Jwaddling cloaths, fays, nca yskoeg rßyj tov x9kov, and Ovid. Met. ix. 67;
“ Cunarum labor eft angues fuperare mearum.”
It was then the firfl: labour of Hercules, but none of the twelve enjoined him by Eurißheus.
[3]	Amphitryon, being engaged in the war againfl the Teleboans, was abfent from Thebes, where his wife Alcmena remained. Jupiter aflumed his likenefs, and lay with her one night only; but he lengthened the night in fuch a manner, that It was as long as two or three, or even nine nights, according to various traditions. Amphitryon returning foon after, was furprized at the coldnefs with which his wife received him ; and underftanding that it was becaufe (he fuppofed this not to be his firfl: arrival, he confulted the diviner Tirefas about it, from whom he difeovered what Jupiter had done. Alcmena at her time brought forth two fons, Hercules begotten by Jupiter, and Jphiclus by Amphitryon: but Juno, out of hatred to her rival, threw two monflrous ferpents into the cradle of the infants: Iphiclus being much terrified, Hercules attacked and flew them. This is the account of Apollodo-rus, Billiotb. lib. ii. and. of the Greek and Latin poets who fpeak of the generation, defeent, and recognition of Hercules. This amorous intrigue of Jupiter is the fubjefi: of the firfl: comedy of Plautus, which we fliall examine more at large prefently.
[4]	Plant. Arnph. ad. v. fc. 1.
[5]	Apollodorus, in the place quoted above, fays, that Hercules was already eight months old; and Theocritus-, Id. xxiv. 1. calls him hx.up,Yt\cv, ten months of age; an opinion more probable and more confiflent with our picture.
[6]	“ Alterum altera apprehendit eos manu perniciter.” Plaut, ad. v. fc. 1. Thus too Apollodorus, Theocritus, Philoßraius, and others, reprefent it: there is a gem which treats the fubjeft in the fame manner.
fent
3^	Jr	JL/	a I il<	Vll.
fent by Juno [7] to kill him : Alcmena\%~\ appears in an attitude [9] that with great life exprefles all her terror.
On one fide is painted Jupiter feated on his throne [»o] with a fcourge\_ 11] in his right hand, as if in a£t to drive away the ferpents; and with a fceptre\yi\ in his left. On the other fide Amphitryon holds in his arms [13] the terrified Iphiclus [14]. Were this picture to be compared with that of
[7]	This is the common Rory ; and accordingly Diodorus iv\ 9. fays, Juno com-miffioned two dragons to kill the little Hercules; but grafping one in each hand, he ftrangled them. On account of this action, the infant, who was atfirft named Alcides, "was called by the Argives (HpaxAsa, on 5/ llpav strypv zHercules, becaufe he derived his glory from Juno : but Pherecydes, a very ancient hiftorian, in Apollodorus, will have it, that Amphitryon threw the ferpents into the cradle, in order to dillinguifh his own fon.
£8] From Perfeus and Andromeda, among other children, fprung Alcaeus, Elec-tryon and Sthenelcus: of Alcaeus and Hippono?ne were born Amphitryon and his filter Anajfo: from her and Eledryon her uncle, fprung a daughter Alcmena, who was the wife of Amphitryon her coufin. Stheneleus and Nicippe had a fon Eurißheus, who was afterwards king of Mycenae, whom Hercules was condemned to ferve for twelve years, and to accomplifh as many labours, enjoined him by the king. Apollodor. Bibl. lib. ii. Plutarch in Thefeus, and the Scholiaß of Pindar, od. vii. 49. fay, that Alanena was the daughter of Elcdryon and of Lyßdice, the daughter of Pelops, whom Diodorus, iv. 9. calls Eurydice.
[9 J Philoßraius, Imag. v. reprefents her as fhe is here: axaXvvMf, vmi po-voyjucv, arjamolrrcara rvjg £vr/^, uTuitjco ryj y.opvj, Tag yftpag syjjrilatrucra. Pindar p. iv. 304. calls Alcmena $XiK.ovXs(papov. And Statius Thebaic!, vi. 288. fays, that ike bore, by way of ornament, three moons:
“ Tergemina crinem circundata Luna perhaps in memory of the triple night which pafled in the begetting of Hercules. In our painting, the whole head of Alcmena is fo much damaged, that the outlines are hardly diftinguifhable.
[10] The throne here painted is the fame as on medals and bas-reliefs.
[ 11^] The Dei Averrunci are thus reprefented, La Chaujfe, tom. i.fed. i. tab. 33.
[12]	It is not long, like a lance, and held upright, as in many ancient monuments ; but fhort, and as it appears in fome others. See Feithii Antiq. Homer, lib. ii. c. 4. § 4. The fceptre is fo peculiarly the enfign of Jupiter ; that when the gods, especially Jupiter, were invoked in the ratification of peace, the perfon who took the oath held in his hand a fceptre, as the fymbol of that deity. Servius on Aen. xii. 206.
[13]	Iphiclus, awakening his parents with his cries, was taken up in the arms of ‘his father : a circumftance mentioned by Se?-vius.
([14] Alcmena had bound herfelf by an oath, to marry none except him, who Would revenge the death of her brothers, flain by the fons of Pterelas, king of the
Zeuxis,
Zeuxis, defcribed by Pliny [15], the great refemblance dif-eernible between them [16] might create a fufpicion, that our Painter had partly imitated fo excellent an original.
The Angular manner in which Amphitryon is habited with a tunic [iy]t a hood\\8],, and ma?ttle [19], deferves particular
Teleboans. Amphitryon, to obtain tbe lady, undertook a war againft them, and reduced them to fubjeftion. In the mean time Jupiter, afluming the figure of Amphitryon,. lay with Alcmena. It is indeed generally agreed, that Jupiter enjoyed Alcmena firft ; and as Apollodorus calls Hercules one night older than Iphiclus, fo Theocritus, Id.xxx.z. ftiles Iphiclus a night younger than Hercules. Plautus alone pretends the contrary, expreffing himfelf thus in the prologue of Amphitryon, V-. 102-and 103.
“ Is (Amphitryon) priufquam hinc abiit in exercitum “ Gravidam Alcumenam uxorem fecit fuam.”
And he repeats it again, aft. v. fc. 2.
We have already remarked, that this poet differs from the common opinion, in fuppofmg Hercules, when juft born, to have ftrangled the ferpents. But as Plautus in that play differs widely from the received accounts in the ftory itfelf, fo he departs likewife from probability, and the feverity of dramatic laws. For whereas the action of a fable ought not to be prolonged beyond two days; he, on the other hand, makes 'Hercules, in three nights, to be begotten, born, and fo furprizingly grown, as to be able to ftrangle the ferpents; for all which matters more months are required. Befides all this, he confounds together the comic foci; and the bufkin of tragedy, intitling his drama a tragi-comedy: meaning by that name to infinuate, that the charafters are not ordinary perfons, fuch as ufually appear in comedy ; but the fupreme Jupiter, the divine Mercury, the prince Amphitryon, and the heroine Alcmena. ft is true, that in this Plautus has perhaps imitated Rhynton the Taren- -tine poet, who invented the Hilaro-tragoedia, a name given by him to thofe plays (which afterwards obtained the name of Rhyntonicae), in which the facetioufnefs of comedy was applied to tragic fubjefts. Now Athenaeus having mentioned a play of Rhynton's called Amphitryon, it is probable, that from this piece Plautus took his tragi-comedy. But we do not know whether Rhynton had jumbled together fo many improbable events. The authority however of thofe who attend to common fenfe, ought ever to carry more weight than that of a man who gives a loofe to invention for the fake of ridicule.
[15]	Pliny xxxv. 9. “ Magnificus eft Jupiter ejus in throno, adftantibus diis,, “ et Hercules infans draconcs ftrangulans, Alcmena matre coram pavente, et Am-“ phitryone.”
[16]	The want of the other deities in our pifture (which perhaps the compafs of the ftucco would not admit) is compenfated by fome other matters, which the Painter (for Pliny has not explained it) either met with in the pifture of Zeuxis, or drew from fome other fource.
[17]	That fort of tunic which reaches down to the wrift of both hands is called yjdtcujTos yj.ii/:v, Pollux vii. 58. Cellius vii. 12,
atten-
attention: his hat [20], his baßins [21], and Alcmena’s ßippers [22], are worthy of confideration. The collar which the young Hercules wears, feems by its colour to be of filver [23].
The little plate [24] at the bottom of this, is part of a finishing of fome ornamental piece, fuggefled by fancy; and has no relation to Hercules.
[18]	Over the tunic appears the hood, which covers the fhoulders, long behind, and fhort before ; and this was the true form of the hood, of which, till now, nothing was known but the name. Suidas in Evrodtgs. Pollux vii. 49. fays, however, that it was proper to women.
[19]	The mantle, ox pallium, was the uppermofi: garment, Nonius xiv. 2 6. and was properly a Grecian drefs. Suetonius Aug. c. 98. 5. Homer gives it to his heroes, Iliad, ii. 43. Od. iii. 467, &c.
[20]	Plautus introduces on the (läge both the real and the pretended Amphitryon, with zpetafus, Pro!, v. J44.
“ Turn meo patri torulus inerit aureus “ Sub petafo: id fignum Amphitryoni non erit.”
This kind of hat was worn by travellers, Plautus, Merc. v. 2. and Pfeud. ii. 4. That of Amphitryon, which we fee here, was for the fame ufe.
[21]	The Greeks for the mofl part went bare-foot: upon a journey, they ufed to wear flioes. Homer, in Hymn. Mercur. v. 83. Spanheim ad Callim. Hymn, in Apoll. 2;. 34. In thefe of Amphitryon's the foie appears to be very fubftantial, whereas it was ufually made of thin leather, of reeds or broom wove or plaited, or elfe of cork, Xenoph. Cyropaed. viii. p. 142. The aperture of that part which goes half way up the leg is laced together by fmall thongs of leather.
[22]	They feem to be of the fineft fkin, and refemble a good deal the flippers which are now worn by our women.
[23]	Such collars of gold or filver were common ornaments for children. See Scheffer de Torquibus.
£24] Catalogue, n. 180..
PLATE
pi.Tm.
PLATE VIII. CO
IN this picture [2], the merit of which may fafely be fub-mitted to the judgment of connoifleurs, who have always looked upon it with admiration, is reprefented the young Achilles, learning of the centaur Chiron to play upon the harp, or lyre [3]. The whole is worthy of being obferved with at-tendon. In the centaur [4], behdes his attitude [5], the Ikin
[ij Catalogue, n. 370.
[2] Found with the next at Refina, in 1739.
[[33 For the full illuflration of this picture we might refer the reader to the Ho-mericus Achilles of Drellncourt, or to Fahretti in Tab. Iliad, p. 355, &c. or to the Article of Achilles in Bayle only. But the end for which thefe notes are intended, obliges us to make obfervations which to many may not appear new, and which every body may eafily find. We write them principally for thofe, who either cannot, or do not choofe to confult other books about thefe plates; not omitting however to refer to the authors themfelves, for the fake of thofe who may not be inclined to take our word.
£43 Saturn having an amorous intercourfe with Philyra, the daughter of Oceanus, was furprifed by his wife Rhea. He immediately transformed himfelf into a horfe, and Philyra fled to mount Pelion ; where file brought forth Chiron, of a figure partaking both of man and horfe. Apollon. Argon, ii. And fuch was the grief and fhame which Philyra fuffered on account of this monftrous birth, that fhe determined not to furvive it, and obtained of Jupiter the favour of being transformed into a lime tree. Hyginus, fab. 138.
Others tell the ltory, that Ixion being enamoured of Juno, had the aflurance to make ufe of violence ; and that the goddefs, to avoid the encounter, fubftituted a cloud which reprefented her own figure: from this conjunction fprang Chiron, the firfl of the race of the centaurs. See Nat. Com. iv. 12. and vii. 4. He was a very juft and wife man: the inventor of botany,'and very fkilful in chirurgery, whence he had his name : he was the inflruCtor of Aefculapius in medicine, of Hercules in aftronomy, and of Achilles in mufic, of which he was a very great mailer. Hyginus Aßrom Poet. ii. in Centaur. Apollod. Biblioth. iii. Philoflratus Heroic, ix. mentions orher heroes being inftiuCtedby Chiron. Suidas in X&pai> fays, that he firfl introduced the ufe of herbs into medicine, and wrote poetical precepts in the art for Achilles ; and having likewife invented medicines for horfes, he obtained the name
Vo I. I.	F	with
with which he is covered [6], the plant which forms his garland [7], and above all, the fleSirum, which he holds in his right hand [8], offer themfelves to our confederation.
In Achilles [9] the fandals indeed [10] feem a violation of
of Centaur. Some are of opinion, that Chiron being wounded with an arrow by Hercules, and being unable to cure the hurt, died of it: Others tell us, that he ap-plied the herb called Centaury, and was healed. Plin. xxv. 6.
[5] Thus Statius, Achil. i. 125. reprefents him:
“ imos fubmilfus in annos.”
M Chiron was the firlt who exercifed himfelf in hunting; and on that account the lkin of a wild bead appears in character. Though this cloatlnng belonged to the Centaurs in general; as the companions of Bacchus. Buonarroti in Cameo del Trionfo di Bacco, p. 438.
[7J This is not very diftinguifliable: it is not however ivy with which the Centaurs are ufually crowned. Pliny defcribes feveral plants, which took their name from Chiron, xxv. 4. “ Tertium panaces Chironion cognominatur ab inver-“ tore: Folium ejus Lapatho fimile, majus tarnen et hirfutius.—Quartum genus “ panaces ab eodem Chirone repertum, Centaurion cognominatur. Ell Chironis in-“ ventum ampelos, quae vocatur Chironia.” In the fame book, chap. vi. “ Cen-“ taurio curatus dicitur Chiron, quum Ilerculis excepti hofpitio pertraftanti arma, “ fagitta excidiffet in pcdem ; quare aliqui Chironion vocant: folia funt lata, et “ oblonga, ferrata ambitu.” In xxiv. 14. he mentions, “ pyxacanthon Chiro-“ niam and in xxvi. 14. “ Herbam Chironiam.” The painter perhaps had one of thefe in view.
[8]	Pignorius de Servis, p. 80. makes mention of the mod uncommon forms of Pledra. On two bas-reliefs in Montfaucon Ant. Expl. t. i. p. i. tab. 59 and do. there are fome which are like fmall tuiks. Ours here mod refembles that which we meet with in Buonarroti's OJJervationi fopra i Medaglioni, p. 368.
[9]	Thetis, the daughter of Chiron, according to the poet Epicharmus ; or of Nereus, according to the common tradition, being the mod beautiful of women, was eagerly defired by Jupiter, by Neptune, and Apollo : but becaufe Prometheus had foretold her, that her fon fhould be more valiant and renowned than his father, no god would hold commerce with her; and Jupiter decreed her to be the wife of a mortal. She was given in marriage to Peleus, the fon of Aeacus and Endeis. Apollodorus Bib. iii. Hygin. Fab. 54. From Peleus and Thetis fprang Achilles ; and his mother being defirous to render him invulnerable, dipped him in the Stygian lake, holding him by one heel, in which part, becaufe untouched by the water, he remained liable to be wounded. Fulgent. Mythol. iii. 7. Servius ad Aeneid. vi. 57. Many reäfons have been afligned to account for the name of Achilles; fome imagining him to be fo called quafi uyjiKog, others quad ayjKoc. Every thing on this fubjedl has been diligently collected by Bayle, in the fecond article of Achilles. In the find: article, (where on the authority of Ptolemy in Photius Biblioth. Cod. 190. he fpeaks of many of the name of Achilles befides the fon of Thetis) he rejefls all thefe etymologies; and afferts, that Chiron named the famous hero his p.upil Achilles, becaufe that was the name of Chiron’s mailer.. It is however difputed,
the cofiume; but on the other hand, the a&ion of the fingers, which are reprefented ftriking the cords [i i] of the inflru-ment [12], is proper enough.
whether Chiron did educate our Achilles. We have remarked, plate iii. note [5] that Homer, II. ix. affirms Achilles to have been educated by Phoenix; attributing only to Chiron the having inftruCtcd him in the knowledge of plants, II. xi. 877, &c. Some have thought to reconcile Homer with all the other authors who attribute fuch a charge to Chiron ; but they have not fucceeded happily. See Bayle, art. Achilles, rem. C. Be that as it may, Homer, II. ix. i'86, &c. fays, that Achilles (hutting himfelf up in his tent, on account of his chagrin for having loft Br'tßis, amufed himfelf with playing upon his lyre. Philoßratus Heroic, c. 19. befides mufic, attributes poetry alfo to Achilles. Every thing elfe which is related of this hero is very well known. It being impoffible to take Troy without him, and he being doomed to die under its walls; Thetis, defirous to withdraw him from his deftiny, concealed him in a female drefs, with Lycomedes king of Scyros: but he was difcovered by the diligence of Ulyffes; and, after having given very great proofs of his valour, and of his wrath in the war, he was {lain by Paris, under the direction of Apollo, juft as he was betrothing himfelf to Polyxena, the daughter of Priam.
[10]	Philoßratus, Epiß. xxii. fays, that Achilles was painted bare-foot. And
indeed, as heroes were ufually reprefented with naked feet, it feemed peculiarly proper for Achilles, whofe fwiftnefs was fo greatly celebrated. Whence he is continually called by Homer	ooxvg:	and	Bayle Achilles rem. A. n. vi. obferves,
that perhaps this hero was feigned to have been nouriffied by the marrow of lions, and of flags (as we read in Gregory Nazianzen Orat. xx.) ; only to exprefs his character : as if by fuch fort of food, Achilles became valorous and full of wrath like a lion, and fwift in the race like a flag. In other refpe&s, this picture of our Achilles is very like one of which Philoßratus has given us a defeription, Imag. ii. lib. 2. And in Heroic, c. 19. he fpeaks minutely of his flature and ffiape. What Homer, II. ii. 673. fays of Nireus,- that he was more beautiful than any one at Troy except Achilles, is a great elogium on his beauty. But much greater is the idea which the Scholiaß upon Iliad, i. 131. makes us form of him, by (tiling him the moll beautiful of all the heroes.
[11]	Both hands were made ufe of in playing the harp : the Pleflrum was held with the right hand, and the firings touched with the left. Aßonius in Verr. i. 20. *c Quum canunt cithariftae utriufque manus funguntur officio : dextra pleCtro utitur ; “ et hoc eft foris canere : fmiftra digitis chordas capit, et hoc eft intus canere.5' See Bulcnger de Thcatro, ii. 39. Cicero in Verr. i. 20. fpeaks of Afpendius a famous performer upon the harp, who did every thing with the left hand alone : whence the expreffions intus canere, and Afpendii Citbarißae, were proverbially applied to hlchers, on account of their dexterity, and becaufe they knew how to conceal what they did.
[12]	There are many and various opinions about the invention of the harp and the lyre ; and whether they are one and the fame, or different inftruments. Pau-fanias, v. 14. writes thus : There was a tradition among the Greeks, that Mercury invented the lyre, Apollo the harp. But Plutarch de Muße a, p. 1131. relates, that Hcraclides attributed the invention of the latter to Orpheus. On the other hand,
F 2	The
sJ
The building which makes the back-ground of the piece, and in which all the difficulty of it confifts [13], by no means correfponds with the clearnefs and perfection of the figures [14],
Macrob. Sat. i. 19. Fulgent. Myth. i. 14. and all the poets, confound the inflruments together ; indifcriminately attributing to Apollo the lyre or the harp. There is equal doubt and uncertainty in determining the number of the firings. Diodorus, i. 16. fays, that Mercury put three firings to the lyre invented by ban ; imitating the feafons of the year: for he formed three tones, taking the acute from the fummer, the grave from the winter, the natural from the fpring. Macrobius Sat. i. 19. and Nicomachus in Boethius de Mufica, v. give four firings to the lyre. Some are of opinion, that Coroebus added the fifth, and Hyagnis the fixth. See Caefius in Cael. Afiron. Poet, in Lyra. But Homer Hymn, in Mercur. Virgil Aen. vi. 645. Horace, iii. Ode ir. and almofl all the poets, make the firings of the lyre to be feven. Plutarch Symp. ix. 14. Macrobius Sat. i. 19. Callimachus Hymn, in Del. aflign three different reafons for the number feven in the firings of Apollo's lyre. Feftus Avienus will have ir, that Mercury formed the lyre with feven firings in allufion to the feven Pleiades, of which his mother Maia was one, and that Orpheus increafed them to nine, in honour of the nine mufes. P//«y vii. 56. has the following paffage: “ Citharam «* Amphion, ut alii Orpheus, ut alii Linus invenit. Septem chordis additis Ter-“ pander. Oflavam Simonides addidit: nonam Timotheus.” Fulgentius Mythol. i. 14. fays, that the lyre of Apollo had ten firings. Laflly, Paufanias, iii. 12. relates, that Timotheus, the Milefian, was punifhed by the Lacedaemonians, becaufe to the feven firings of the ancients he added four others, upon his own harp. In our pitture the inflrument has eleven firings, and is of the fame form as we commonly meet with upon gems, and other ancient monuments, and as authors have deferibed it. Philofiratus Imag. x. lib. i. minutely delineates it, and enumerates its parts with exa&nefs. Upon a marble in Spon. Mifcell. Er. Ant. p. 23, there is a harp of a triangular form. Spon obferves, that in an epiflle de generibus Mufices attributed to Jcrom, we read, that the harp was formed like a A, with twenty four firings. In one of our paintings, which will be explained in this volume, there is an inflrument of the fame form. For the reft LaChauJfe may be confulted, Thef. Er. Ant. tom. ii. fee. iv. tab. iv. and v. where he has collected all the various inflruments of this kind, which are to be met with on antiques, and learnedly explains them. As to the inflrument here painted, it ought in propriety of fpeech to be called a Pbor-minx, which differed not in any refpefl from the harp; but of which Bulenger de Theatr. ii. 37, obferves, on the authority of Hefychius, that it was made to hang up, as it appears here. Homer too, fpeaking of the harp of Achilles, calls it Phorminx.
£13] Not to mention the attitudes of the figures; the head of Chiron, and the nud of Achilles, are very pretty ; and if there be a defeat in any part, it may be imputed rather to negligence, than error. The judgment of the connoiffeurs bears teflimony to the excellence and perfection of this painting; it can however receive no prejudice though anyone fhould think differently of it: the critic will be punifhed in fhowingthat he is not mafler of all its merit.
[14] It being conjectured, that this and the following picture were copies of Greek flatues, from a certain delicacy of tafle obfervable in them; both too being of the fame fize, and found in the fame place, and whereas Achilles and Chiron are
The
The two rounds 15] at the bottom of the plate [16] feem defigned for Bacchants. The hrfi: has in her left hand a torch [17], and in her right, fome inhrument not eafy to be determined [18]. The fecond holds in one hand a riband\19\y and in the other a Thyrfus [20].
reprefented in this; and Pan and Olympus not improbably in the other : thefe cir-cumftances have fuggefted to fome that they were perhaps imitations of the beautiful Grecian groups of Achilles, and Chiron, and Olympus and Pan, which were placed in the Septa Julia, as Pliny writes, xxxvi. 5. The feeing on a gem in the Mufcum Florentihum the figure of a Centaur intruding Achillesi exaCtly like that in our picture, confirmed the fufpicion : and the obferving, that in the gem the centaur lay upon one fide, gave room for a remark, that it might be occafioned by its being copied from the fame flatue, but taken in a different point of view. And becaufe the painter perhaps meant to fhow that he had a mind to exprefs in their proper colours the two very groups which were fo much admired in the Septa Julia, he added to the two pictures that architecture in the back-ground, reprefenting the buildings themfelves. This conjecture was relifhed as ingenious but has been opp.ofed by very ftrong objections.
[15] Catalogue, num. 35:4 and 355".
[idj They have no relation to Achilles, nor were they found in the fame place.
[17] The myfleries of Bacchus being for the mofl part celebrated by night, his priefleffes very properly carry torches. See Buonarroti Trionfo di Bacco, p. 431.
[i8jj It feems a fort of inflrument for the purpofe of trimming and mending the flambeau.
[19]	Ribands and garlands of various colours, exprefling feflivity, were given to the priefleffes of Bacchus.
[20]	The Thyrfi were the proper enfigns of the followers of Bacchus. See Buonarroti, p. 435.
P L A T E
PLATE ELM
PAUSANIAS [2], defcribing the beautiful pictures of Polygnotus, which he faw at Delphi, relates, that in one of them there was among other figures the fatyr Marjyas [3] fitting upon a rock, with the young Olympus [4] by him, learning to play upon the flute [5]. And this feems to be the
£1] Catalogue, n. 115.
[2]	Paufanias, x. 30, “ sgiv ski wsrpaig	v(&> ’Whxpo'vtxg, xmi	wap
ce ocvTov	cgiv	oo^am	xozi	uvXhv	'hi^carxop.iva	<ryyipt.oc	£%wv.”
[3]	Mythologifts do not agree who was the father of Marfyas. Hyginus, F. 165, calls Marfyas the fon of Oeagrus. Plutarch dc Mufica, p. 1133, will have him to be the fon of Hyagnis. Apollodcrus Bib. i. calls him the fon of Olympus. All however agree that he was born in Phrygia, and that, being an excellent player upon the flute, he challenged Apollg to contend with him upon the harp, and being van-quifhed in the conteft, was flayed alive by the god. Diodorus iii. 58. writes, that he was the infeparable companion of the goddefs Cybele, and of wonderful continence, having preferved his chaftity throughout his whole life.
[4]	Suidas mentions many of the name of Olympus: of ours thefe are his words: Olympus, fon of Maeon, of Myfia, a player on the flute, and a poet, a difciple and friend of the fatyr Marfyas, the fon of Jagnis. Olympus lived before the Trojan war: from him mount Olympus in Myfla took its name. On the word BwavXiav, he adds, that mufle was the occaflon of Olympus’s difgrace, as it had been that of his mafler. That Olympus was the difciple of Marfyas, all agree. Philofl. i. bnag. 20 and 21, gives a charming reprefentation of this graceful youth, finging and playing in the company of the enamoured fatyre, who in the abfence of Marfyas look wantonly at him, and flock about him. And Ovid. Metam. vi. v. 393, fpeaking of the fatal difgrace which Marfyas fuffered from Apollo, fays, that his brother fatyrs, and the bright Olympus, bewailed him:
“ Et fatyri fratres, et tunc quoque clarus Olympus.”
[5]	It is controverted who was the original inventor of this inftrument. Hyginus, Fab. 165. fays,' that Minerva firfl: formed it of the bone of a flag; but, that being derided by Juno and Venus (becaufe in blowing it her cheeks were puffed out, and it disfigured her face) fhe threw it afide; but meeting with Marfyas, taught him to play it. Ovid. Fafl. vi. 6<y7, &c. elegantly deferibes it. Others, according to
fubje£t
P la to IX.
C. Ori/fmon sculp.
fubjed: of the piece before us [6]. The ornament of architecture, which we fee in this and the foregoing pi&ure, mani-
Athenaeus, iv. p. 184, attribute to Marfyas not only the invention of the flute, but alfo of the fyrinx. Suidas, under Marfyas, writes, “ ogig s(p:-vps ha paroaig avXag c< am xaXapMv yjou yjxXKx.” But under the word OXvp7r@-j he feems to attribute the invention of it to Hyagnis, and calls his fon Marfyas his fcholar. In truth, the mod Common opinion favours Hyagnis as the inventor of this inftrument, and the firft who taught the art of playing it to others. Apul. Florid, i. Marfyas and Olympus made additions, and brought me ule of the inftrument to perfection. Paufanias indeed, x. 30. relates, that to Marfyas was attributed the	uvXrjpM,	that method of
playing the flute which was made uft of in the fefinals of the great mother. And Diodorus, ill. 58. fays, that Cybele having invented the pipe compofed of fever a I reeds joined together, Marfyas her follower tranfpofed all. the harmony of it to the flute. Pliny, vii. 56. thus diftinguilhes the different inventions: “ Fiftulan* Pan : monau-“ lum Mercurius: obliquam tibiam Midas in Phrygia: geminas tibias Marfyas in “ eadem gente — et Phrygios modulos.” .
Although Olympus palled for the inventor of the flute (’Strabo, x. 470.), yet his inventions were confined to the improvement of its ufc, by various modulations, and-the eftablilhmcnt of rules. Suidas under OXipir^, and BvvavXiav exprefsly mentions, that Olympus “ rag avXvjjixxg vopxg £7tolh, sypafs h nai -S’pvpn]Tixxg vopxg.” As to the different forts of flutes, Meurjius, Bartholinus and others, may be confulted, who have profefiedly treated the fubjeft; and La Chauffe, Muf. Rom. tom. ii .fed-, iv. tab. i. and ii. who hath colleftcd and illuftrated every thing about it: and we {hall elfewhere have occaflon to mention the fubjeft. To underhand out pkfture, it is fufficient to fay, that the Tibia was a wind-inftrument like our modern flute, and at firft it had but three or four holes. Pollux iv. 80. Ovidfm the place already cited,,
thus deferibes .t:--------
“ Prima terebrato per rara foramina buxo,.
“ Ut daret effeci tibia longa fonos.
“ Inventum fatyrus {Marfyas) primum miratur ; atufum>
“ Nefcit, et inflatam fentit habere fonum. u Et modo dimittit digitis, modo concipit auras:
“ Jarnque inter nymphas arte fuperbus erat.”
The principal part of the flute was its tongue, fo called by the Greeks and Latins, becaufe made in the lliape of that member, and becaufe it ferved the player to regulate his breath in blowing the inftrument. See Bartholinus deTib. i. 5. In the pitfture iris fufflciently diftintt.
[6]	In note [14] on the preceding plate it was mentioned, that fome have been of opinion, that not Marfyas but Pan was reprefented here, on the authority of Pliny xxxvi. 5. who reckons among the moft beautiful Grecian ftatues at Rome, Olympus, Pan, and Chiron with Achilles: A little after he fubjoins: “ Pana et “ Ölympum luftantes Heliodorus eodem loco’’ {in the portico of Odavia) —“ quod “ eft alterum in terris fymplegma nobile.” But it being unknown what connection Pan can have with Olympus, and all writers, on the contrary, agreeing that Olympus was the fcholar of Marfyas, we can either draw no argument from thefe pafiages of Pliny ; or muft fay, that he has confounded the god Pan with the fatyr Marfyas. And indeed as Silenus and Marfyas are frequently confounded
fefl 1 y
feftly ffiows the correfpöndence betwixt them [7] ; but does not clear up the difficulty, whether there be any relation between the buildings and the figures; and if fo, what that relation may be [8].
together, {Strabo, x. 470. Paufanias, ii. 22, and elfewhere; Herodotus alfo, vii. 26, fpeaking of Marfyas, calls him exprefsly Silenus) fothe invention of the fyrinx, the educating and attending Bacchus, the ears and the fkin of a goat, being -attributed indifferently to Pan and Silenus : the one may have been miflaken for the other. {Diodorus iii. Nat. Com. v. 6, 8, and 13). However that may be, Silenus is reprefented, old, bald-headed, corpulent, punch-bellied, and entirely of an human form except his ears, which are large and pointed. Lucian in Concilio Deorum. Setting afide the baldnefs, and fome other deformities, which old age and drunken-nefs bring with them, this defcription in a great meafure agrees to our fatyr. But the Painter has here reprefented Marfyas of a middling age, and of a proper figure. Of fatyrs and their origin, we (hall fpeak in another place.
[7]	It is abundantly clear, that the Painter intended thefe two pieces as companions, with regard both to the fubjeCt and the figures. The attitudes in both are beautiful and fludied : the heads of the centaur and fatyr are excellent: the Achilles and the Olympus are in the fame tafle, and have equal merit in the execution.
[8]	A conjecture being propofed in the 14th note on the preceding plate to account for this ornament, which feemed too ingenious and far-fetched • another very fiimple one is offered. Thefe two paintings were found in the fame place; and the ornament does not terminate in the compartments of the wall which contained them, and which were cut from the refi: of the flucco. Whence it is probable, that throughout the whole wall of the room the very fame ornament recurs. And, as in almoft all the edifices, the walls were found covered with paintings, reprefenting architecture, grotefques, and the like ; and fometimes there were fingle figures, or groups, which had no other connection with each other than that of fymmetry, and the ornament of the walls : fo we may alfo affirm, that this is the cafe with the ornaments which form the back-ground of the pictures of the centaur and fatyr; syithout fuppofmg that they have any reference to the perfons themfelves.
PLATE
I1 LX,

PLATE
X. M
EVERY one at firlf fight will imagine he underftands all that is reprefented in this painting [2]: but if he would examine the whole minutely, and feparate the parts from each other, he will perhaps find the piece exhibited here to differ fo widely from common tradition, as to make it very difficult, without diligent enquiry, to give a good account of it. Tis well known, that among the Cyclopes [3] Polyphemus [4] was
jj] Catalogue, n. 249.
[2]	Found at Refina.
[3]	The Cyclopes were the firft Inhabitants of Sicily. They lived in the mountains, and fubfifted on the fpontaneous produce of the earth ; that fort of life which Plato imagines men to have lived immediately after the deluge, as Strabo obferves, xiii. p. 592. See Cluverius Sic. Ant. ii. 15. and Bocbart in Chanaan, i. 30. Some confider them as the original founders of fociety, and as the firft who furrounded cities with walls. See Natal. Com. Mythol. ix. 8. But the poets, in conformity to Homer, Odyff. ix. 105, &c. defcribe the Cyclopes as contemners of the gods, and devourers of men, without laws, and without humanity. Hefiod, in Theog. v. 140, &c. fings thus of them.
Terra to Coelus the proud Cyclopes bore,
. Brontes and Steropes, and Arge brave:
Who forge the thunder for the arm of Jove.
In nought they differ fron} the other gods Save that in front one circular eye-ball glares.
And hence the name of Cyclopes-------
Apollodorus agrees with Hefiod, Bibl. i. 2. and hence the poets feigned, that the Cyclopes inhabited the ifland Vulcania near Aetna, together with Vulcan, with whom they were employed in forging the arms of the gods and heroes, Virgil, Aeneid. viii. 416, &c. where we may obferve, he mentions Pyracmon in the place of Arge ;
“ Brontefque, Steropefque, et nudus membra Pyracmon.”
Vol. I.	G
the
the molt famous; his amours with Galatea [5] are notorious;
✓
They feigned alfo that Jupiter having killed Aefculapius with his thunder, and Apollo not being able to take revenge upon him for the death of his fon, flew the Cyclopes who had forged Jupiter's thunder, Hyg. Fab. 49. and Aflron.,Poet. ii. in Sagitta.
£4] Polyphemus was the fon of Neptune, and of the nymph Fhoofa, according to Homer, Odyff. i. or of Europa the daughter of Tityus, as Apollonius writes, Argon, i. Others fay, that Polyphemus was the fon of Elatus and Stilbe, or Amymone; and that he married Latonome the daughter of Alcmena and Amphitryon, and the After of Hercules. See Natal. Com. Mythol. ix. 8. But Ance Hyginus, Fab. 14. reckons among the Argonauts, Polyphemus (the fon of Elatus and Hippea, born at Larifla in Thef-faly); Latonome feems to have been his wife, and he to have been a different perfon from the Cyclops. Polyphemus was the moft renowned of the Cyclopes, but not their father, as Nat. Cam. chap. viii. inconfiderately affirms; attributing to Polyphemus the 36th verfe of Euripides's Cyclops ;
--------Now my fons Ifee
Paß'ring their flocks.—
The poet puts thefe words into the mouth of Silenus; and they relate to the 'fatyrs, of whom Silenus himfelf, in v. 27 and 28, had faid:
The tender lambs of barb'rous Polypheme My youthful fons along thefe mountains feed.
Euripides, in this tragedy, draws the character of the Cyclops with great fpirit; and when Ulyffes puts him in mind of his duties towards man, and the refpeft due to the gods, he anfwers thus: v. 315, &c.
“ Riches, Ulyffes, are the wife man’s god :
“ All elfe is empty found and vanity.
“ And wherefore quit my rocks and native fliores ?
“ Jove’s bolts 1 dread not, ftranger ; nor acknowledge “ His fov’reign power. When rain in torrents falls,
“ My dry warm cave a fafe retreat affords;
“ Where largely fed with dainties from my flock,
“ Or from the chafe ; and quaffing in full ftreams “ The tepid milk; Jove’s thunders I defy.
“ When Thracian Boreas brings his fleecy fhowers,
“ My body fafe in furs enwrapp’d, the hearth “ Glows with the chearful Are, and Idifdain “ The pinching cold without. The teeming earth,
“ Wills he or not, feeds of her own accord “ My herds, from whence there fmokes no hecatomb,
“ Save to my belly, greateft of the gods.”
But this arrogant impiety was foon puniflied : for Ulyffes having intoxicated the Cyclops, put out his eye with a Are-brand. This adventure of Polyphemus, de-fcribed by Homer, and after him by others, is reprefented by Euripides, in the fame tragedy.
[5J Neither Homer nor Euripides fpeak of the amours of Polyphemus with Galatea. The Scholiaft o?-Theocritus, upon Idyll. Yi. 7. relates, that Polyphemus in gratitude
and
ana ms ikiii m munc is um more 10 |_oj. nuz nere me painter has treated the fubjedt in a manner widely different from the common ftöry: our Cyclops being reprefented without deformity of fhape [7], with three eyes in the forehead [8], 'wrth a
for the goodnefs of his faflurage and the abundance of milk (yaXaKVgfi) having built a temple near Aetna, under the name of Galatea: Philoxenus, who was miacquainted with that circumßance, to afifign fome reafon for this edifice, invented the fiory of Polyphemus’s amour with Galatea. The poets have caught this fable, and embellifhed it in their own way. They tell us, that Galatea, the daughter of Nereus and Doris, loved and was beloved by Acis, who, through jealoufy, having been (lain by the Cyclops, formed with his blood the river Acis in Sicily. Ovid. Metam. xiii. with his ufual fire, and all the vivacity of his imagination, defcribes at large the amorous fury of Polyphemus, and the revenge which he took upon his rival for the nymph’s difdain.
[6] ‘Theocritus Idyll, vi. 9. fays, that Polyphemus played fweetly ; and Propertius, iii. El. ii. 5.
“ Quin etiam, Polypheme, fera Galatea fub Aetna “ Ad tua rorantes carmina flexit equos.”
And if Ulyffes in Euripides, Cycl. 424, and Doris in Lucian in Dor. c-f Gal. fpeak with contempt of his finging and playing ; we may juftly fay, that the former through hatred, and the latter through envy, paffed this judgement upon him.
£7] All agree in defcribing Polyphemus as hideous, deformed, and monflrous. In Theocritus Idyll, xi. 31, &c. he himfelf makes a very unpleafing portrairof his own figure; and very fenfible of his want of merit in the article of beauty, he fays to Galatea; Ugly as I am, I have however a thoufand cattle to offer you. Virgil. Aen. iii. 658, paints him in three words;
“ Monftrum horrendum, informe, ingens.
And to give an idea of his flature he fubjoins;
“ Trunca manum pinus regit, et vefligia fifmat.”
But, to juflify the Painter,, it is fufficient to relate what Hejiod tells us: namely, that the Cyclopes, except their having but one eye, were in every other refped like the refi of the gods. And the Painter probably having a mind (as we lhall fee by and by) to exprefs, that Galatea was enamoured of Polyphemus, it behoved him not to reprefent him as a monfler, but under the proper figure of a man. Indeed Lucian, in the above cited Dialogue of Doris and Galatea, makes the latter fpeak of her Cyclops to the following purpofe : Rough and rußte as you think him, he is not deflitute of beauty. As to his flature, which is high, but not enormous ; befides the reafon already given for the diminution, it is manifefl that the Painter had an eye to the very great difproportion which would have appeared in the picture, if either like an oak or a cyprefs (to which Virgil compares the Cyclopes, Aen. iii. 679.), he had reprefented Polyphemus over againfl a dolphin, and a little genius. We fee the fame allowance made ufe of by other artifls in reprefenting the Cfclopes. In a bas-relief in Admir. Rom. Antiq. Tab. 66. they are of a flature very little differing from that of Vulcan, who is among them.
G 2	lyre
lyre [9J in his hand, and in the act or receiving a billet doux[io] from a genius [11 ] upon a dolphin [12], probably
[8]	All the mythologies and poets agree in allowing to the Cyclopes each but one eye, and particularly to Polyphemus, whole adventure with Ulyjjes, which we mentioned above, turns wholly on this circumftance. Why then has our Painter given him three eyes? Becaufe he had read fome-books, which are no longer extant.. Servius on v. 36 of the third book of the Aeneid, has preferved us this remark: “ Multi Polyphemum dicunt unum habuilfe oculum : alii duos: alii tres.” This fingle inflance might ferve to difabufe any one who is inclined to place the leaft de-pendance upon negative arguments. And we may learn from it, that the moll diflant information may have fuggelled to our painters the fubje&s of their works;, we ought not to be cenfured therefore for fetting before our readers the moll farfetched learning in our accounts of fome pieces. Paufanias ii. 24. relates, that the image of Jupiter Hercacus, called alfo Patrius, in the palace of Priam, had three eyes, two placed as thofe of men are, and the third in the forehead : and he affigns. this reafon for it, becaufe it was believed that Jupiter reigned in heaven, in the earth, and in the fea : and it might properly have been expreffed, that there was. only one deity who reigned over, all, reprefented under three different names. Without the important information of Servius, who would not have determined, on the clear authority of Paufanias, that our Cyclops was a Jupiter ? And then the whole difficulty would have been in adapting to him the circumllances of the lyre, the genius, the dolphin, and the trunk of a tree, which we find in the painting. Nor ought it then to have been faid, that we had failed in our duty : conje&ures, though they reach not the truth, do not ceafe to be plaufible,; fo long as they have an air of probability.
[9]	Agreeable to this, is the fentiment of the poets,, who put- into Polyphemus’s hand a pipe, properly the infirument of fhepherds, a chara&er which he affumes. The only reafon we know of that authorizes giving him a lyre is, that Lucian, in the frequently mentioned dialogue of Doris and Galatea, makes Doris exprefs her-felf in this manner: And what then is his lyre? The /cull of a hind cleared offlefh: the horns are its handles: he has fixed a piece of wood acrofs, and, tied the firings to it, which are not fo much as difiended by a peg. This defeription appears to fuit very well the rude lyre of our Polyphemus, as it is reprefented here; and we may obferve, that it has five firings. On a bas-relief of the Villa Mattel, there is one with the fame number of firings. La Chauffe, Muf. Rom. tom. ii. fee. iv. t. iv. Others too are found onfeveral gems of Auguflin. p. ii. t. 2, 3, 5..
[10]	The form of this letter, which the genius prefents to our Cyclops, in two-openings or folds, determines it to be one of the diptycha, on which letters and billets were ufed tobe written : and hence billet doux obtained the name of diptycha amatoria. The Scboliafi of Juvenal, on verfe 36, fat. ix.
" Et blandae, affiduae, denfaeq.ue tabellae u Sollicitent.”— writes: “ blandis te epiflolis, et diptychis follicitet.”
The Romans with equal propriety called them duplices, Ovid. Amor. i. EL xii. 27.
“ Ergo ego vos rebus duplices pro nomine fenfi.”
dilpatched
tnipaLciicu liuui vjcuaica |_± jj.
Of the three little paintings [14] which are. put at the
[113 It is very common to fee Genii, or little Cupids, reprefented, miniftring to the principal fubjeft of the piece.
[ 12] The Genius is here very properly painted on a dolphin ; for being confidered as the fervant and meffenger of Galatea, a nymph of the fea, the dolphin is cha-ra&eriftic enough. Philcflratus, lib. ii. Imag. xviii. deferibes Galatea on a car drawn by four dolphins: and the Scholiaß of Theocritus, on Idyll, xi. writes thus: Philoxenus introduces the Cyclops talking to himfelf about his love for Galatea, and commanding the dolphins to tell him, hove the mufes could cure his pajfton. Hence it might be faid with equal probability either that Galatea charges the Genius upon the dolphin with the billet to Polyphemus; or that Polyphemus, having frit fent the little Cupid with his letter to the nymph, now received an anfwer to it by him again.
[133 Theocritus and Ovid, who have celebrated Polyphemus's paffion for Galatea, tell us of thedifdain and horror which Ihe always expreffed for him. Ovid, Metam. xiii.. 756, &c. makes Galatea fpeak as follows:
“ Nec, fi quaefieris odium Cyclopis, amorne “ Acidis in nobis fuerit praefentior, edam.”
Theocritus, Idyll, xi. introduces the Cyclops fitting on a rock by the fea-fide (juft as we fee him here) venting his grief for the cruelty of Galatea, by finging : indeed Theocritus feems to have fuggefted the fubjeft to our painter. In Idyll, vi. he introduces Daphnis fpeaking to Damoetas, under whom he means to reprefent Polyphemus. Daphnis informs him that the wanton Galatea threw apples at his flock and his bitch, that the latter by her barking might advertife him where fhe was. Damoetas anfwers, that he knew this very well, but that he diffembled his knowledge; and although his paflion was reciprocal, he appeared to take no notice of her, in order to draw from her greater proofs of affe&ion. The following are- his words:
AAAos xat	syoo	kvivUocv tzchKiv, a vcovop/jpi,
(t AAA oiXkocv TLVOt gapi yvvaix syjv' a. §’ ociourtz,
“ XaKoi p , 00 IIouav, xxxi vmkstou' sz S- SoiA«crcw$
“ Otdjgfi rarcx.7t]<xivoi(ra t&ot avrpx 7- xoa täxoti Trroipvc&g.
“ T ocCJct V icroeg soropuroi vroisvyra p; veoKkccni, vusp-Jy« ■
“ AyuXo'j, avrxp syui xXao-u Bvpag.—”
If then the Painter had his eye upon this paffage of Theocritus; our little Cupid with the billet in his hand will be the very meffenger whom Polyphemus expefled.
Theocritus, however, is not the only one who fays that Galatea was fond of Polyphemus : fome writers affure us, that-he had, by Galatea, a fon called Galatus. See Nat. Corn. ix. 8. Perhaps it may be faid, as was intimated a little above, that the letter of the little genius contained an anfwer threatening him with difmiflion and difdain. It is remarkable, however, with what concern and anxiety Polyphemus ftretchcs forth his hand to take the billet; and a kind of penfive melancholy is dif-cernible on his countenance.
[14] Catalogue, n. 256, 235, and.232..
bottom
Dottom or tms plate, tnat wnicn is in tne miaaie aeierves lome attention [15].
([15] It reprcfents a little vehicle drawn by two fwans, and guidedby a little Cupid; its form is not unlike the (hell in which Venus is faid to have been conceived ; and which fhe made ufe of to carry her on the water.
Although in general they feign her car to have been drawn by doves, Sappho has furniflied it with fparrows. And Ovid, Met. x. 717, 7 18, with fwans.
“ Ve£la levi curru medias Cytherea per auras “ Cypron olorinis nondum pervenerat alis.”
Upon a gem in Augafiin. p. ii. tab. 59, the car of Venus is reprefented as drawn by dolphins, and driven by the god of love.
PLATE
A.Bann ermtin _ failf.
PLATE
XL [■]
f~gpHE more accurately we examine this piece [2], which is X fufficiently curious, the lefs we feem to underftand it. At firfl fight it will perhaps appear eafy enough to explain it, from a correfpondence between fome parts, of it and many events fabulous and hiftorical, which readily recur to any one’s memory upon obferving it. But in applying all its parts to thofe tranfatftions which hiftory or fable may furnifh, we fhall find how difficult it is to underftand the defign of the painter. Now among the many and different conjectures, which might with equal uncertainty be propofed, that, which in our opinion has the feweft inconveniences to encounter, is the difcovery of Oreßes [3], as that event is reprefented to us by Euripides in
[j3 Catalogue, n. 369.
fa] Found at Refina, in the year 1740.
C3] "Whilft the famous Agamemnon the fon of Atreus was detained at the (lege of Troy, his wife Clytacmneßra admitted to her confidence Aegtßhus the fon of Thyeß tss. Agamemnon returning victorious, brought with him CaJJandra the daughter of Priam. Glytaemneflra, either through jealoufy of Caffandra, or affeCtion for the adulterer, confpired with him to kill her hufband; and attempted alfo to murder the little Oreßes, whom Ihe had by Agamemnon. But the vigilance of Elec~ tra preferved her brother from the fury of her mother. Oreßes being grown up, went fecretly into Argos, with Pylades the fon of Strophius, his great friend ; and by his, and his lifter Eledlra’s afliftanc'e, he killed his mother and Aegißhus, at the command of Apollo. From that moment Oreßes was continually tormented by the furies: and although he had been abfolved in Athens, and expiated in Troezene, yet they would not leave him. But being informed by the oracle of Apollo, that he Ihould be free, when he had carried off the image of Diana, which was adored in Tauris ; he went with Pylades into that barbarous country; where, on the
his
his Iphigenia [4] in kauris. If what the poet has imagined in his tragedy [5] be compared with every circumftance ex-* prefled by our Painter, fome account may, without great difficulty, be given of each part of the pidture. In the youth [6],
point of being facrificed to Diana, he was difcovered by his After lphigenia; and having together with her ftolen the flatue, he returned to Mycaene, delivered from the furies. The adventures of Oreßes have been a fubjeft for all the tragedians. Aefcbylus in Eumen. and Choephori; Sophocles in Eledra; Euripides in Oreßes, in Elcdra, and Iphigenia in Tauris. See Hyginus, fab. 117, 123, and 2dl.
£4*1 When the Grecian fleet, deftined for the fiege of Troy, Ihould have departed from Aulis, it was detained for want of a wind : the foothfayer Cha/cas informed them that it happened becaufe Diana was incenfed againft Agamemnon, for having killed one of her hinds; and that, to appeafe the goddefs, he muft facrifice his daughter Iphigenia ; who accordingly, under pretence of his defigning to marry her to Achilles, was conduced to Aulis. But Iphigenia, on the point of being offered, was fnatched by Diana from the facrifice, and conveyed to Tauris, where flie was made her prieftefs. Euripides in Iphigenia in Aulis, Hyginus, fab. 98.
£5] The a&ion of Euripides's tragedy commences from the arrival of Oreßes and Pylades at Tauris. As foon as they arrived there, they were difcovered by fome fhepherds, were apprehended, and fent by king Thoas to the temple of Diana, to be facrificed, according to the barbarous cuftom of the country, where all foreigners Were doomed to be vittims of that goddefs. Iphigenia, to whom as prieftefs the two youths were prefented, not knowing her brother, and unknown by him, Oreßes being but an infant at the time fhe was conduced to Aulis, and from thence to Tauris, demanded of her brother of what country he was; and finding he was of Argos, file promifed him his life, on condition of his carrying her a letter to that city. Here arofe a generous contention between the friends, to determine which of them fhould remain for the facrifice, and which depart. In the mean time Iphigenia comes with the letter, and at the requeft of Oreßes gives it to Pyladcs ; and being in fear left it fhould be loft, fhe tells him its contents. Pylades being furprifed, turns to Oreßes, and addrefles him as follows: Behold I fulfil what I have promifed her: I deliver you the letter which your ßßer Iphigenia fends you. This difco\ ery being made, they embrace each other: and afterwards contrive means how to (teal the image, and to fly. And becaufe the women of the chorus, and minifters of the temple Were prefent at the whole of this tranfa&ion, they are entreated by Iphigenia to keep the fecret. In the mean time comes Thoas, whom Iphigenia informs, that one of the two young men had flain his own mother, and that it was neceffary to wafh the flatue and the victims in the fea, to purify them. By means of this device, (lie conveys on board the ßatuc, together with Oreßes and Pylades. Thoas being acquainted with it, would have purfued them, but was prevented by Minerva ; who explained to him, that fuch was the will of the gods. If the picture be compared with this account, the correfpondence between them will appear.
[d] Among the many conjeflures which have been propofed, three, befides the difeovery of Oreßes, have been examined with great attention. We will mention
who
who fits in a penfive and melancholy pofiure, we finall recog-
them, together with the difficulties which attend them. The firfl: of thefe is, that it might be Admetus, fot^ihom Apollo obtained life of the Fates, on condition that another fhould die for him ; and his wife Alceßes, who offered to die in his Head : whilft his aged father and mother, and perhaps his filter, all refufe; Euripides in Alceß. Palaephatus de Incred. c. 27. Thefecond, that it is Eteccles, who continued firm in his refolution of not yielding the kingdom of Thebes to his brother Polynices, who recalls to his memory, before the flatue of Apollo, the agreement of reigning by turns; whilft their mother Jocafia, their filters Antigene and Jfmene, with their uncle Creon, endeavour in vain to reconcile them. Sophocles in Oedipus Coloneus. Acfchylus, in his Septem contra The has. Euripides, in his Phoenijj'ae. Hyginus, fab. 69. But in thefe conjectures, befides the other difficulties which occur, wemuft confider, that no plaufible reafon can be affigned for the letter. The third conjecture is, that it may be the paffing fentence on Oreßes, in the Areopagus : And they who fup-pofed, that in this thought they had happily difeovered the defign of the Painter, led by Aefchylus in Eumenid. have maintained, that the penfive and melancholy youth might be Oreßes, to whom the young man oppofite recites the fentence pronounced by the Areopagites, of whom one is an old man; whilft Minerva, on the equality of fuffrages, expreffed by the motion of the finger, abfolves him. To which deci-fion two of the furies fubmitting, lay afide their black habits, and appear wiih amiable countenances, and in white dreffes: the eldeft of them only remaining firm in her ill-difpofition towards Oreftes. The objections which have been made to this explanation are, firfl, that the imagination of the Painter muft have been very whimfical and depraved, who, meaning to reprefent Minerva, has painted Diana, purpofely to deceive the fpeClators. In the fecond place, the furies have uni-verfally been deferibed habited in black, of a horrible and deformed afpeCt, and armed with ferpents. Aefchylus gives this defeription of them, in his Choe~ phori, v. 1043.
Apooau ywa.iY.sg, ai$- Tc^loyoov 5/xijv “ ^aionyfoovig v.ai rjsi^7aK\avriy?j<y.i “ ITtmvig <$paKX<riv.”
And in the Eumenides, after having, v. 48, called them Gorgons, in v. 414. he fays, that they had not a human form.
c< Ovr c-y Suxtri	Bsoov	epupavaig,
“ Ovr ay ßpcjaoig spdpspng po'puipxri.”
Now if none of thefe circumftances appear in cur old woman, how can it be faid that fhe is the unrelenting fury of Oreßes f It will avail little to fay, that Paufanias, i. 28. tells us, the antique ftatues of the furies have nothing of the horrible in them, Aefchylus having been the firfl who reprei'ented them with ferpents. For the painter being certainly defirous that every one who faw his piclure, lhould perceive that the old woman w'as a fury, and one who ought to be well diflinguiPned from her appeafed companions, by her rage and obftinacy in purfuing Oreßes, could not but have added the ferpents, the torches, the whips, or any other circumftances, whence file might be known. And it would certainly have been very improper to reprefent her with pendents at her ears, as our good old woman appears in the
Vol. I.	H	nize
J.X.
X

nize Oreßes in his proper character [7]. The lady who em-
picce before us. But we muft undoubtedly fuppofe the painter to have been out of his fenfes, if, in order to reprefent an appeafed fury, he fhould have painted her weeping, and embracing Oreßes, as we fee here. Befides, he mud have been extremely ignorant of the Grecian cudoms, and not at all have un-derdood the poets who defcribe this adventure of Oreftes, in what light foever. we confider the youth fitting with the letter in his hand. For he mud either be taken for the crier of the court (and who is ignorant that in this character he ought to dand and not to fit), or he mud be one of the judges of Areopagus ; and then he could not be young, certainly not very young, as he is reprefented hete; but of an age fomething advanced, not to fay old, as all. the Areopa-gites were; Arifioph. Vefpae 195. Or thirdly, he mud be confidered as the accufer ; and (not to mention that the old Tyndarus ought to have fupported that part) how depped he in to recite the fentence to the criminal ? And them what-lentence was it that Oreßes mud receive in writing ? Aefchylus, in Eumenid. v. 742. introduces Minerva herfelf pronouncing his acquittal on the equality of fuffrages. And ladly, if it be infided that the two feats be thofe of calumny where the accufer, and of impudence (or innocence) where the accufed fat, the painter muft needs be looked upon as an ignoramus; becaufe he ought to have made them of ßone, as Paufanias affirms them to have been; or, if he meant to make ftools of metal, they fhould have been of the colour of fiver, according to the fame author, not of gold like thofe here painted. Moreover, if he intended to place Oreßes on one of the two feats, he ought to have fet the accufingfury in the other. Elfe the painter muft have contradifted what he is fuppofed to reprefent: fince Aefchylus, in Eumenid. 591, &c. introduces the old Erinnys fupporting the place and part of an aftor. And Euripides, in Iphigenia in Tauris, makes Oreßes fpeak as follows: v. 961, &c.
--------When to the folemn court 1 came
On Mars’s hill; I took th’ accißom'd feat;
Another, foe the eldeß of the furies.
[7]	Horace, in Art. Poet. v. 1 24. defcribing the charafters of perfons introduced on the dage, fays, that Oreßes ought to be reprefented mourning. Thus alfo Ovid. Trift, i. Eleg. iv. 21.
“ Ut foret exemplum veri Phocaens amoris “ Fecerunt furiae, rriftis Orefta, tuae.”
And his appearing here covered with drapery is charafteridic, and anfwers to the defcription given by Euripides, who reprefents him as cloathed in this manner, on account of his continual infirmities, Iphig. in Taur. v. 312. and in Oreßes, 42 and 43.—Perhaps he fits in the aft of praying, or making vows to the gods; it being fufficiently notorious, that the ancients ufed to fit in their facred ceremonies. Ticnill. ii. El. vi. 33.
“ lllius ad tumulum fugiam, fupplexque fedebo.”
Propert. ii. El. xxi. 45. Mncrob. Sat. i. 10. Pint, in Numa, and others. And it is equally well known, that their feats were covered with the fkins of wild beads. Homer, Od. xvii. 32. l’iigiI, Aen. viii. 177.
braces
braces him weeping [3J, exprelies in a lively manner his filler Iphigenia in the a8: of acknowledging him. In the other youth who fits [9] oppofite to him, and with a tablet half open [10] in his hand, appears whilft reading it to point to Oreftes, will be reprefented Pylades, who difcovers to Jphigenia her brother, to whom he was to deliver her letter [11].
[8]	Euripides, In Iphigenia in Tauris, makes Oreftes, v. 795, &c. fpeak as follows
And do I prefs my ßfter to my arms ?
Or is it all a dream ?---
and verfe 833, &c.
Tears that unitedfiow From fources diftantfar of grief and joy.
Bedew our cheeks.
And Iphigenia herfelf, v. 827 and 828, fpeaks thus:
Deareft of brothers, name for ever dear :
Far from thy native land, I hold thee here In ftricl embrace.
Ovid, Trift, iv. El. 4.
“ Cum vice lermonis Fratrem cognovit, et illi “ Pro nece complexus Iphigenia dedir.”
The manner in which Ihe is habited is very proper, and agreeable to the virgin and the prieftefs,
[9]	For the fame reafon that the Painter has reprefented Oreftes fitting, he has put Pylades into the fame pofture. And we may add, that as a vi&im defined to the facrifice, he is placed on the Sacra Menfa, which is what he fits upon ; and in the next plate it will be clearly feen, that the menfa on which the ftatue of Diana is placed, in every refpett refembles this. See Montfutcon, Ant. Expl. Tom. iii. PI. Ixxviii. n. 12. The air of Pylades is beautiful, and very expreffive. He is painted naked, to afford more fcope for the Painter’s genius, perhaps alfo becaufe he is on the point of being facrificed. See the facrifice of Iphigenia, in Monffaucon, Tom. iii. Ch. xvi. PI. lxxxiv.
[10]	Pylades, in Euripides Iphigenia in Tauris, having received the letter which Iphigenia had written to her brother, turning to Oreftes, addreffes him as follows: v. 791, &c.
Behold thefe letters from thy Jifter's hand To thee, Oreftes, I deliver.—
And the Painter hath expreffed this with a good deal of vivacity.
[n] It has been made an obje&ion, that a letter half open, like this before us, correfponds not with the expreffion of Oreftes, who receiving the letter of Pylades (in Eurip. v. 793), makes this anfwer :
H 2
By
By the other young female figure ^ might either be meant the fame Iphigenia [i 2], recommending herfelf to the Chorus^ re-
--------Thanks, P via des; bat now
' y	'
’Tis not the proper feafon to unfold it :
riel ions, not words, muß Jill my foul with plecifure.
But it has been anfwered, that perhaps the Painter chofe rather to reprefent the letter thus open, that he might inferibe on it the names of Iphigenia and Orefies; and that if time had preferved foine traits of the pencil, of which now fcarcely any traces are to be difeovered, they might have given greater force to our conjecture. Befides, it is neceflary to allow room for the Painter’s imagination, who, being obliged to ufe mute expreflion to explain himfelf, cannot always confine himfelf to faff.
We will not here fupprefs what has been obferved on the form of the letter, which appears to be rolled up, not folded in corners. Euripides introduces Iphigenia coming out with the letter in her hand to deliver it to Pylades, and exprefling herfelf thus: r. 727.
“ AiXja pev onh wcKi9coci hccrPivyjxi “ Bsvoig wctpHcnv.”
Which words are thus tranflated by Barnes:
“ Literarum quidem haec loquacia volumina “ Plofpitibus adfunt.”
Indeed Stephens, on the authority of Eußathius, in Dionyf p. 42. writes: “ A.va^. “ Pugillares, qui forma literae A plicabantur, feu Tabeliae : fed poftea hk “ diffus fuit quivis liber quacunque forma eflet.” Cafaubon, in note 20, upon chap. 31. of Aeneas’s Taffies, fays: “ Vetuftiflimum eft inventum/tenues e plurnbo “ albo, vel etiam quovis alio, laminas procudere in nfum feriptionis: quas poflea in “ formam cvlindri volvebant, ut alialibrorum volumina.--------AufforeflDio lib. xlvi.
j	*
“ Decimum Brutum Mutinae obfenum de adventante iubfidio faffum efie certiorem “ per literas in charta plumbea exaratas, et ad librorum inflar convolutas.”
The cuflom of fending letters wrapped up in a cylindrical form, and inclofed within a wp9r£, ox ferula, or other thing of the like kind, is alio well known. From all which we may perceive how well the cylindrical form of the flieet here painted agrees with the letter written by Iphigenia.
[t 2] In bas-reliefs is is a common thing to fee the fame perfon reprefented feveral times in different aftions. In Philofiratus's account of fiatues, and in the paintings of Greece deferibed by Paufanias, we may make the fame oblervation. We fnnft not here pafs by a conjeffure which has been propofed, namely, that this figure may poflibly be intended for Elcdlra, the After of Iphigenia. Orefies being interrogated by Iphigenia, when (he wanted to alfure herfelf whether he was really her brother, anfwers, in Euripides, v. 811. I'll tell thee all: but bean this fir ft, Eledlra.
The commentators mention various reafons for the poets naming Eledlra in this place, when fpeaking to Iphigenia. See Acmilius Portus and Barnes on this verfe. Our painter, without entering into the criticifm, took occafion perhaps from this ambiguity to reprefent the two lifters Iphigenia and Eleftra,
prefented
prefented by the old woman [13], who promifes the required filence [14], or it might be faid that the Chorus comprehends both [15]. In the old man who is feized with aftonifhment, king Thoas [16] will be prefented to our view. And laftly, the deity habited in the chlamys [17], with the quiver at her fide [18], who feems to be placed in a nich of a temple [19]? will
[13] Her habit, and her whole attire are in the charafter of a fervant; and the chorus of that tragedy is compofed of the fervants of Iphigenia: among thefe the poet makes Iphigenia diftinguifh one above the reft ; for fhe recommending it to the chorus to keep her fecret, after having faid, v. 1056, &c,
Dearefi companions, *tis to you I fly,
Be fecret, and ajflfi our flight : fubjoins the following words, addrefling herfelf only to one of them.
If I efcape 1 You too Jhall be partaker of my fortune.
And Greece jhall an afylumyield to both.
[143 The putting of the finger to the mouth, exprefles very well the promife of filence which the Chorus makes to Iphigenia, v. 1075, &c.
Be careful for your fafety ; as for us.
Our lips fl:all keep inviolable filence.
IVitnefs, great Jove!
[15J It is with propriety that the Chorus is reprefented by a )Toung woman and an old one. In the next plate we fhall fee, that two women reprefent the minifters of the temple, who prepare for the prieftefs the things neceflary for the facrifice. And therefore the habit of a young woman being worn by thofe who prepared the fa-crifices, could not be improper for the Chorus.
[16]	Either whilft Iphigenia is telling him the pretended prodigy of the flatue of Diana turning back upon feeing the two victims, v. 1159, &c. or at the time when he was flopped by Minerva, v. 1475, &c.
[17]	It is notorious that the ancients cloathed the ftatues of the gods; and the green Chlamys feems prpper to be worn by the deity of the woods.
[18]	The quiver and the bow are the proper enfigns of Apollo and Diana, by which they are diftinguifh ed from the reft of the gods.
[19]	It is clear that the deity is placed in the back ground of the piclure, which reprefents the interior part of the temple ; and that the other figures are in the fore-ground of the piece ; exaftly as the poet hath formed the a£lion and the fcene, which it was not poflible for the Painter to have exprefled in any other manner. Paufanias, v. 12. remarks, that in the temple of Diana at Epbcfus, the veil did not fall down to the ground, but was drawn up, as it appears here.
[20]	The appearance of the deity above the other figures, fhows it to be a ftatue on its pedeftal. Indeed Ovid, fpeaking of this very flatue, fays, (de 1'onto, iii. Ep. ii.)
“ Quoque minus dubites, flat bafis orba dea,”
be
be the ftatue [20] of Diana, which was to be carried off [21].
And if the colouring, which appears to be that of flefh rather than of flone, fhould raife any doubt, we may anfwer: that the poet having an eye to the words of Pau-fanias, i. 23. (who calls this flatue “ up%aiov %cuvov”) and to the image being taken and carried on board by Iphigenia alone (Euripides, Iphig. in Taur. <u..ii57, &c.), moll probably defigned to reprefent it of wood, painted from nature, thus alluding at the fame time to its antiquity; fince it is well known that the moll ancient images were of wood (Paufanias, viii. 16. Pliny, xxxiv. 7.), and ufed tobe painted (Plutarch in Rom.) like our modern wooden, or pafte-board ftatues. In Paufaniast iii. 16. we read of aprieftefs of the Leucippides> who made for one of the two ftatues a new face inflead of the old one.
[21]	Of the various traditions related by Paufanias, Servius, and Hyginus, about the flatue of Diana Taurica, mention fhall be made in the obfervations upon the following plate.
PLATE
florin a /nun- sculp.
PLATE XII. M
IF the picture preceding be a reprefentation of Orettes dif* covered by his fitter, the piece now before us will be a continuation of it [2], and the explanation of one will conduce to the illuftration of the other. Euripides, who in his Iphigenia in Tauris [3] has furnifhed us with the fubjed of
[1]	Catalogue, n. 253.
[2]	Although not found in the fame place, nor at the fame time.
[3]	Strabo, xii. pag. 537, fays there were fome who related, that the fcene of thefe adventures of Oreßes and Iphigenia was the city of Cafiabala, fituated on the Hurts of Mount Taurus in Cappadocia : but this is nothing but a blunder, in taking the Mount Taurus for the city of Tauris. Between the Pontus Euxinus and the Palus Maeotis there is a peninfula, called by the Grecians Cherfonefus Tauricus, be-caufe it was inhabited by a people of Scythia called Tauri; who having the barbarous cuftom of facrificing to the goddefs Diana all the Grangers who by ill fortune landed there, got that place the odious name of o’ftyv^, or a%nv(&>, inhofpitable, Ovid, Trift, iv. El. iv. v. 55, &c. Strabo, vii. p. 300. Diodorus, iv. 40. Mela, i. 19. Solinus, ch. xxiii. and the author of the Etymologicon on the word Ev%hv(&. The inditution of thefe barbarous facrifices are by Diodorus, lib. ii. 46, attributed to the fecond queen of the Amazons. But in lib. iv. 44, he contradicts himfelf in afcribing the building of the temple to the introduction of the facrifices to Hecate, the daughter of Pcrfes, the wife of Oeetes her uncle, and mother of the famous Circe and Medea.
The people of Tauris, however, were not the fird, nor the only perfons who fa-crificed human victims to the gods. This horrid cudom, fo difgraceful to human nature, was in ufe both in the ead and the w’ed. The Phoenicians, W’ith all their vad colonies of Tyrians, Carthaginians, and others; thofe of Chios, of Tenedos, of Lefbos; the Spartans, the Laodicaeans, the Mefifenians, the Pellaeans, and al-mod all the inhabitants of Greece : the Aborigines, and fometimes even the Romans, practifed fuch facrifices: and there are people of America who retain them to this day. Eufebius, vrpoTr. svaFy. iv. 16. See Kippingius, Ant. Rom. i. 6. § 11. Such w’as the influence of a falfe religion on the fpirit of nations, that the name alone of an imaginary god, or ä Ample hero, was fufficient caufe to induce the molt
the
the hrit, will fupply us with the neceflary lights for difcover-ing clearly the Painter’s intention in the fecond [4]. Behold then Oreßes and Pylades conduced to the fea by king Thoas’s guards [5], to be purified, with their hands tied behind them [6], their temples bound with fillets [7], and crowned with wreaths [8], as vi£lims defined for the facrifice. Behold the
polifhed and humane people to an aft of cruelty againft their own fpecies, of which the molt favage brutes are incapable.
[4]	What formed the plot of the tragedy, and all that is here reprefented, we have already remarked in a note on the preceding plate. In this piece the Painter feems to have intended to exprefs that part of the aftion in which the poet feigns, that Ipltigenia, to fave Oreßes and Py lades, made Tbcas believe, that the goddefs, on the two viftims being prefented to her, turned herfelf backward, and fhut her eyes, that Ihe might not fee the young man contaminated by parricide : and that to purify the ftatue and the viftims, it was neceflary to carry them to the fea and bathe them ; and that the office mud be performed in a folitary place, not liable to the interruption of any one. Thoas, giving credit to the prieftefs, ifiued orders agreeable to every thing (lie defired. In explaining fucceffively each part of the pifture, we fhall make it appear, how well the painter and the poet agree.
[5]	The firft order of Iphigenia was, that the two youths fhould be bound, and condufted in this manner under a guard. Iphigenia in Tauris, v. 1204, l2°7i and 1329. This figure appears to be martial by the habit, and though it is not armed, yet this is confident with what Euripides fays, v. 1367, &c.
They were unarm'd as well as we.
[6]	Exaftly thus Euripides reprefents them, v. 456 and 1333. Ovid, de Ponto, iii. Ep. ii. 72. deferibing this aftion, lays, that Oreßes and Py lades were condufted,
“ Evinfti geminas ad fuaterga manus.”
Indeed the cuftom of binding the hands of captives behind them was common. Homer. Iliad, xxi. 27 and 32. Plut. in Philop. Sueton. in Vitell. xvii.
[7]	Ovid, in the above cited epiftle, v. 73, &c. has the following lines:
“ Sparfit aqua captos luftrali Graja facerdos “ Ambiat ut f'ulvas infula longa comas.
“ Dumque parat facrum, dum velat tempora vittis.”
And in Triß. iv. El. iv. 78. fpeaking of the fame thing, he fays:
“ Cinxerat et Grajas barbara vitta comas.”
It was the cuftom to adorn the temples of viftims with long fillets, called infulae and vittae. Varco de Ling. Lai. lib. iv. 3. Fcftus in Infula. Virgil, Aeneid. ii. 132. makes Sinon, who faid he had been deftined for a facrifice, fpeak as follows:
“ Mihi facra parari
“ Et falfae fruges, et circum tempora vittae.”
And verfe 156.
“ Vittaequedeum, quas hofliageffi.”	See	Floras,	iv.	2.
[8]	The viftims ufed to be crowned. Euripides, in Iphig. in Tauris, v. 1567, fays, that Chalcas being about to facrifice Iphigenia, “ xpdtja r sg-sipsy xopqc,” crowned tin head of the damfcl.
jrwws, ~	 fc>--------L---J r-----	L	-J'
two facred vejfels [i 2]. See Iphigenia commanding the citizens to keep at a diftance from the facred ceremony, and fe-cretly addrefling the goddefs with vows upon her meditated
£9] Paufanias iii. 16. writes: that the Lacedaemonians believed themfelves to be in pofleffion of the very ftatue ftolen by Oreftes and Iphigenia in Tauris; and that they called the goddefs ofbtuv and Kvyo^sa-puv; becaufe the flatue was found among fome bufhes, fo clofely interwoven as to keep it upright. And, they being obliged to bathe the altar of that deity in blood, a man was doomed by lot for the facrifice. But Lycurgus decreed, that fome boys fhould be whipped be-fore the altar; that blood fufficing to fulfil the intention of the facrifice. Now whilft the boys were under the operation, the image was held by the prieftefs, which was xa'pcv vno crpKpoTjjr^, light on account of its fmalhiefs. But if they whofe office it was to beat the children did it flightly, the ftatue became fo heavy that the prieftefs could no longer hold it. Paufanias's defcription feems to agree very well with the ftatue here painted. We muft however remark the difference which is obfervable in point of drefs and fize, between this and the other ftatue reprefen ted in the preceding plate. The doubts arifing from this circum-ftance may be refolved by reflecting on the various traditions about the Diana Tau-rica. Paufanias himfelf, befides other traditions, which he has related, in feveral other places, writes, lib. i. c. 33, that in Brauron, a place of Attica, there was an ancient ftatue of Diana, faid to be the fame which Iphigenia had ftolen from Tauris. Hyginus, fab. 261, and Servius relate, that Orcßcs carried the ftatue from Tauris to Aricia (near Rome); where, upon that account, human facrifices were once offered. The two painters then might follow different traditions: and certainly, if one chofe to attach himfelf fcrupuloufly to one tradition becaufe it belt an-fwered the proportion of the other figures; another was not forbidden to ufe his imagination in adapting this to the fize of the other perfons in the plate.
£10]] Herodotus iv. 103, writes, that human facrifices v\ere inftituted in Tauris in honour of a virgin, whom the people believed to be Iphigenia herfelf, the daughter of Agamemnon. Paufanias indeed, ii. 3-. makes mention of the temple of Dia?ia, furnamed Iphigenia, at Hennione; and all agree, that the goddefs of Tauris was Diana. The worfhip of this goddefs, with the fame rites, either really bloody, or fymbolically fo, has pafled to various people; from whom fhe received the various denominations of Tauropolis, Munychia, Aricina, Face Una, and many others. See Munker. on Hygin. fab. 261.
[11]	The facred tables are mentioned by Macrobius Sat. iii. 11. Feßus fays, that the facred table in temples held the place of the altar, and was called Anclabris. See Scaligcr upon Feßus de Menfa. Gather, de vet. jur. Pontif. iii. 6. Stuclius, tom. i. /. ii. c. 16. p. 320. and tom. ii. p. 98.
[12] One is a Simpulum or Chalice, and the other a plate. Euripides, v. 244., and in many other places of Iphigenia in Tauris, calls veflels belonging to the facrifice ‘xjpviCa.g. In verfe 1190, Thoas anfwers Iphigenia, who had faid file was ready to facrifice the two Grecians, in the following words:
c< Qi'xxv sv sof/g yjoviCsc, typeg re crov
Why are ?iot then the veffcls and the fa or I In readinefsf
Vol. L
I
theft
l	j	l	•	j	r	•
whom bears a lighted lamp [15] ; the other necefiary implements are fuppofed to be in the cheß.
The other piece [16] in this plate, which exhibits an agree« able landfcape, with buildings and figures, deferves to be admired ; but fiands not in need of illuftration.
P13]] Jphigenia concludes her fpeech thus, v. 1232, &c.
And %vc at length Jhall tafie of happinefs.
For what remains, in filence to the gods
Who read each thought, and chief to thee, 0 goddefs,.
Safe I commit it.
Now the painter feems to have reprefented her in this very aft of making her filent vows.
'[14] Although Euripides makes no mention of Iphigenia's being accompanied by women, it muft neverthelefs be fuppofed, that the lamp, andthefacred inflruments which he fpeaks of, were borne by others; fince file herfelf muft carry the ftatue of the goddefs, which no one elfe might touch. Hence the painter efcorts her with -two handmaids, who attend with the facred utenfils.
[*5] In v. 1222, &c. Iphigenia fpeaks as follows:
“ Ta$ S’ ctp sAootivovjotg rf/j Soop-cztoov epoo
t( Kon Bsctg xc<rpx$—<rsXci$ ts Xa.p7rcMocv, ta t uKX\ ccrcc
te Ufja9spyjv syoo fflvoivi, vjcu Bsot xazdccgo-iiz.”
I fee the fir angers iffidng from the temple ; '
The flaming lamps ; the goddefs’ ornaments Each inflrument' I need, to purify : -	' The fir angers, and the fiatue--
[id] Catalogue, n. 207.
PLATE
-A.H<innerman sra//\
PLATE
XIII. M
TH E inftrument, which the female figure reprefented in the picture before us [2], holds in her hands, however different it may appear at firft fight, is certainly a fword within its fcabbard [4] ; the end of it, which refembles a muß-room, merits confederation [5]. Now, from her grafping the fword, and from the circumftance of extreme defperation in which Ihe is exhibited to our view, it is not difficult to difco-
£1] Catalogue, n. 21 <5.
£2] Found in the fouterrains at Refina.
[3]	In the pifture, the fcabbard is difcernible enough, terminating exa&Iy with the crofs piece.
[4]	In the filver fhield (which reprefents the generous a&ion of Scipio Africanus, in reftoringthe beautiful Carthaginian prifoner to her husband), publifhed by Spon. Mifc. Erud. Ant. Sed. iv. p. 152 ; and in other antiquities exhibited by Montfaucon, Ant. Expl. tom. i. p. ii. pi. cxciv. ccx. and elfewhere; there are faulchions and fwords with their fcabbards, like this.
[5]	Herodotus, lib. iii. c. 64. relates, that Cambyfcs king of Perfia, in going' from Aegypt to Sufa, with great expedition, in order to expel from his kingdom the famous magician Pfeudo-Smerdis, “ ava9pco<rxof]i stu tov ittttov, an X8?aa -ns “	0	p.vxrjg	o,ttot:ltt]h, yvp.vw9$v	70	wain	tov p.Ylpovd> In mounting
his horfe the fungus of the fcabbard of his fword fell off, which remaining naked, wounded his thigh. It feems then that the lower end of the fneath was fortified with a piece of metal, or wood, like a muß:room; and which from thence Was called the fungus of it. Paufanias, ii. 16. fays, that Perfcus built Mycacne in the place zvhere the fungus of his fword dropped off “ 78	yap ai9a f-miosv
“ 0 [wkyis <xvtw:” and he fubjoins, that others believed Mycacne to have taken its name from Perfcus’s gathering a mufhrocm in that place, prxf\a ex rr,c yr,c. The Seboliajl of Nie ander, on v. 103, thus explains the y.vxr; ot the fword: “ Mux//f, xiyag so “ axpov 78	70 xar.avJ~.HC)> v/jv ffx.ythe fungus, properly the extremity of the
fword, namely that part which clofes the fcabbard. Hefychius, however, feems to underhand it otherwife, and with Suidas, to take it for the hilt of the fword : and the commentators ufually give it this fenfe. But how in fuch a fenfc the Mix,,$ could occafion fuch an accident as is related by Herodotus, we cannot fee.
I 2
VCL
ver in her one of thofe perfons whom we know from hiftory to have laid violent hands upon themfelves [6], The leaft improbable conjecture would lead us to think it is Dido [7]. The fillet which furrounds the difhevelled hair [8], the garment with lo?ig fleeves [9], and the red colour [10] of that and the upper veft, the age alfo, and the ßature\_ 11] agree to her. The countenance, which at the fame time has an air of melancholy
[6]	Hyginus, fab. 243, has a catalogue of them. Ovid. Epiß. xi. v. 98, &c, makes Canace, in a letter to her brother Macareus, which (he writes juft as (he was going to kill herfelf with the fword fent to her by her father Aeolus, on account of the inceft die had been guilty of with her brother, exprefs herfelf as follows :
“ Scimus et utemur violento fortiter enfe :
“ Pe&oribus condam dona paterna meis.”
£7] The amours of Aeneas and Dido, and the emotions of her furious paffion, expreffed in the moll lively manner by the great Virgil, are too well known to need recital. ’Tis fufficient to remark, that Macrobius, fat. v. 17. writes, that the painters and other artifts ufed to make her adventures the fubjett of their works : “ ut piclores, fi&orefque, qui figmentis Liciorum contextas imitantur effigies, hac “ materia (Fabula Didcnis) vel maxime in efficiendis fimulacris tanquam unico argu-“ mento decoris utantur.”
[8] We know that the taenia, or filet, was anciently worn by kings and queens, and ferved for the diadem. It was alfo (and isfoftill) a Ample ornament madeufe of by the women to bind their hair tight. Varro de Ling. Lat. iv. 29. iC Fafciola, “ qua capillum in capite colligarent.” And the diffievelled hair is chara&eriflic enough of Dido, who at the break of day, feeing Aeneas fail from the ffiore, becomes furious, Aen. iv. 589, See.
“ Terque quaterque manu pe&us percufla decorum,
“ Flaventefque abfeiffa comas.”
[9 3 A habit with long fleeves was worn by the Carthaginians. Ennius in Gellius, \ii. 12.
[to] This colour well enough exprefles the Tyrian purple, and fuits Didoys cloaths, which were doubtlefs after the Phoenician faffiion. Virgil, Aen. iv. 262, &c. Ypeaking of Aeneas, fays,
“ Tyrioque ardebat murice Laena,
“ Dcmiffa ex humeris: dives quae munera Dido “ Fecerat.”
[1 i3 Virgil, Aen. i. 502, &c. thus deferibes Dido:
“ Qualis in Flurotae ripis, aut per juga Cynthi “ Exercet Diana choros; quam mille fequutae “ Hinc atque hinc glomerantur Oreades: ilia pharctram “ Fert liumero, gradienfque deas fupereminet omnes.
“ Talis erat Dido.”
Heroines, however, are generally reprefented of a majeftic ftature.
and
arid wildnefs, the fternnefs pf her eye [12], the foeord in the fcabbard\_ 13], and her appearing near fome fteps which-lead up to a gate\_ 14], are all circumftances that mark her for Dido [15].
There are alfo in this plate two borders [16] filledwith fymbols, both alike; and which, if they are minutely examined, and considered as being made with any particular de-fign by the painter, may perhaps have fome relation to Venus and Bacchus [17]:
[12] Virgil, in Aen. iv. v. 642, &c. thus reprefents Dido, now refolded to kill herfelf:
“ At trepida, et coeptis immanibus efTera Dido
“ Sanguineam volvens aciem, maculifque trementes Interfufa genas, et pallida morte futura.”
[[13] Virgil, v. 646.
-------“ Enfemque recludit
“ Dardanium.”
[14]	Doors with lattices, or crofs-bars, are not mentioned "'in Vitruvius. See-his commentators on the word Ceroftrota, in book iv. c. vi. See alfo Voffius Etymol. in the words Cancelli, Clatbri, and Tranfenna, where he produces palTages from Nonius, Polybiusy and CaJJiodorus, upon the fubject of this kind of doors.
[15]	The painter may be fuppofed to have had an eye to thofe words of the poet in Aen. iv. v. 645.
“ Interiora domus irrumpit Lhnina.”-----
The women had their beds in the upper part of the houfe, called wrc-paov. Homert fpeaking of Penelope, Od. iv. 751, &c. and xv. 5 16. and of Helen 11. iii. 423, explains it: and in Odyff. i. 426. calls it ze-pio^Trjcv.
(T 6] Catalogue, n. 145. and 146.
[17] It might be advanced, that the painter, in compliance with the fituation ini ■ which he was working, only divided the compartments of the wall by thefe twa- -borders, without having any particular idea in painting them ; as we fee every daly our ornamentors do, in covering the walls with fimilar flrokes of fancy. It might be faid too, that he may have regarded propriety of place, in adapting fymbols correfpondent to it in thefe two borders. Indeed Vitruvius remarks, the paintings ufed to correfpond with the nature of the place where they were made, lib. vii. cb. 5. Under this notion, fome have imagined they difcover in thefe borders, a reprefentation of fymbols belonging to Bacchus, or to the myfteries of His. In the lirft divifion of the firft and third feftoon there are two vafes, which undoubtedly belong to Bacchus. On three little Ihields of an oblong form, there are three heads, feemingly of cats, fuch as we meet with on the Ifiac Dahle, and which had a particular worfhip paid them in Aegypt. Herod, in Euterpe. Eufeb. Praep. Evang. ii. 1. If it be infilled, that they are the heads of lions, an explanation of them will be found in Pignorius, on the Menfa Ifiaca, pag. 66: -and in the proceflion of
Xa
In the other little piece [i 8] we have a fmall bough with fruit, very prettily drawn [19].
Bacchus, defcribed by Atkcnacus, lib. v. c. 7. we alfo meet with lions. Under the firfl ihield we find two doves; thefe every one knows were dedicated to Venus, who according to Aptileius was the fame as //is: and in one of our paintings, which (hall be explained in its proper place, we fee Ofiris crowned with ivy, and lfis with a ferula in her hand, and between them a dove.. Between the birds, hangs a pipe formed of feveral reeds ; this was the attribute of Pan or Silenus, who are both called the inventors of it, and likewife the educators of Bacchus. Under the doves, within a feftoon, there is a horn hanging up ; this was a proper fymbol of Bacchus, the ancients ufing it to drink out of. Under the fecond (hield hangs fomething which might be called a cymbal, an inftrumeut ufed by the priefiefies of Bacchus: this is placed between two fphinxes. "We often meet with fphinxes on antiquities relating to Bacchus. See Buonarroti in the triumph of Bacchus after the Medaglions, p. 429. Between the fphinxes are two ferpents; thefe are very frequent in the hands of the Bacchants, and it is well known how great a part they bore in th’e orgies of Bacchus; Eufebius, Clemens Alexandrinus, and Arnobius mention them: and Athenaeus, in the proccjfion of Bacchus, v. 7. mentions alfo the Caduceus. Under the fphinxes are two mafks in a fmall oblong ; thefe were (tiled Ofcilla, and the pridlefies of Bacchus ufed to adorn the trees with them. Virgil} Georg, ii. 388.
“ Et te, Bacche, vocant per Carmina laeta, tibique “ Ofcilla ex alta fufpendunt mollia pinu.
Lafily, we fee two griffons; thefe fabulous animals long retained a place among the lymbols of Bacchus. See Buonarroti, as quoted above.
Thefe two borders end with two figures; one winged, with a bafket on its head, and a goblet, or fome fort of drinking veflel, in the hand: the other, be-fides the bafket, has a Bracfcriculum in the right hand ; and in the left a cafket or little box. Thefe two figures may be fuppofed to reprefent Ofiris and Jfis; or what amounts to the fame thing, Bacchus and Venus. Nor do the wings confifl ill with Bacchus. Paufanias, iii. 19. mentions Bacchus Pftla, or winged: “ Y/A« yap kcc-“ Axt tv a Aocyig ra 'csjspce' avfocr.xq ch	sirayi ts xat civaxxfpi^H yioopyiv, x$sv n
“ y/j'xcv ,] op>Aag ttjzpoc.” For the Dorians (fays he) call wings fti-.a, becaufc wine elevates men and makes their fpirits light, no lefs than wings do birds. See Defy him, in TiXaza. One of thefe figures finifhes in the manner of a Terminus ; the other in a foliage; thus fupplying, as it were, the place of a Caryatides and a Telamon. It is fufficient here only to have mentioned them ; as we {hall be obliged to give an account of the greater part of thefe fymbols, in illufirating other paintings where we fhall meet with them.
ft Catalogue, n. 216.
[’19] This little piece has no relation to the two borders, nor to Dido ; as {lie has no relation to them, the three being found in different places: and let us repeat it once more for all, that where we do not remark the contrary, it is always to be nnderftood, that the little pieces which are put together in the fame plate, have nothing to do with the principal one.
PLATE
iHHM
9
PLAT
E
XIV. CO
EVE RY thing that occurs in this piece [2] fhows it to be the reprefentation of a family [3] meal [4], and the whole deferves to be viewed with attention : the couch [5] covered with a white quilt 6] : the garment [7 j of the youth who reclines upon it, together with his attitude, fupporting himfelf half reclined upon his left elbow [8] ; and the veffel in
{T] Catalogue, n. 213.
•[2] Found in the fouterrains of.Relina.
[3] We meet with domeftic fuppers of this kind in a variety of antiquities exhibited by Montfaucon, tom. iii. part i. book iii. ch. vii. plate lvii. lviii.
£4]'On the various forts of meals confult Bulenger, Ciacconius, Stuckius, and others. Not only among the Egyptians, the Indians, and Lacedaemonians, (fee Herodotus, Mela, Strabo, Blut arch); but alfo among the Romans, it was decreed by law, that people fhould eat their meals with their doors open. But this cuftom came afterwards into difufe. See Macrobius, fat. iii. 17.' and Valerius Maximus, ii. r.
[5]	Anciently people eat fitting.. And the heroes “ xu9cfcv]ui rv 701g l.H7rvoig, a nulux.rA.KivJa.iy did not recline at tkeir meals, but fat, as it is remarked by Athcnaeus, i. 14. and by Homer in feverahplaces. Virgil, Aen.v'n. fays:
(i Perpetuis foliti patres confidere menfis.”
See Servius on this paflage, and Varro de Ling. Lat. lib. iv. Couches afterwards came into ufe at table.
[6]	Thefe quilts ufed to be of purple cloth, or any other valuable materials. Apuleius in the Aureus Afinus, lib. x. gives us the following defeription : “ Left us “ indica tefludine perlucidus, plumea congerie tumidus, vefle ferica floridus.” See Athenaeus, ii. 9. wdiere he obferves, that thefe quilts are called by Homer “ $gw-“ y.u]u KTluB
\j~] This feems to be the Caenaloria, or Synthcfs, a night-gown covering the whole' body, like that we fee in a Triclinium exhibited by Mercurialis, Art. Gymn. i. 1 1, but in the heat of the entertainment was fullered to fall from the .fhouiders, as is obfervable in the piece before us, and in an antique in Fuh'uis Urfinus {ad Ciacon. Trie lint).
[8] From this attitude we learn the manner in which the ancients placed them-felves on the couch to eat; though when they were fatisfied, they ftretclied them-
the
the fhape of a horn [9], which he holds in his hand in the aft of drinking [10] ; the young woman [11] who fits [12J upon
felves entirely along it, laying the head on a pillow. In which podure we fee fome of the gueds in the Triclinium of Mercuriahs, above-mentioned.
Montfaucon, chap. vii. obfcrves, that the mod probable reafon why the ancients laid afide the cudom of fitting at their meals, which was certainly the mod convenient, and changed it for lying on couches, is that alledged by Mcrcurialis ; namely, that after the ufe of baths was introduced, they went from thence to bed, or to the table, immediately. Plutarch, however, vii. Symp. Prob. ii. pretends, that the couch was more convenient than the feat: which opinion Stuckius confirms^ many reafons, Ant. Conviv. lib. ii. c. xxxiv. p. 417.
[9]] The ancients made ufe of the horns of animals indead of glades to drink out of. Athcnaeus, xi. 7. fpeaks thus upon this cudom: It is (fays he) inßfled on that the ancients once drank out of the horns of oxen. This opinion is confirmed by the appellation nspacrat, given at this day to wine and water mixed, and a drhiking veffel is called xpajr^ quad xspdjrsp, axvo t« Kspccj@->, from the ancient cufiom of putting the beverage in a horn. Indeed the Thracians, the Arabians, the Paphlagonians, and others, made-ufe of horn in drinking, and the Indians of the horns of wild ades. Ctefias Ind. and the people of the ead thofe of wild oxen, Plin. xi. 37. Hence the horn is attributed to Bacchus as his particular fymbol, and he i's on this account called zavp<&’: the cup-bearers of the Ephedans obtained the fame name. See Spanheim de Ufu & Praefi. Numifm. Dijfcrt. v. Luxury afterwards introduced diver and golden drinking vedels in the form of a horn, and often too vedels of glafs, of which there is one fpecimen in the Royal Mufeum ; though it is not entire at the pointed end.
[jo] The manner of drinking by making the wine run into the mouth without touching the lips, is thus expreded by Ambrof. de El. dr Jejun. “ Per cornu etiam “ duentia in fauces hominum vina decurrunt: et fi quis refpiraverit, commidum fla-“ gitium, foluta acies, loco motus habetur.” To fwallow down a large cup in one breath was efteemed an aft of prowefs, and was called by the Greeks apevgi^m and wi'jhv uwjivgi. See Athenacus, lib. x. and Arifiophaues in Ac ham. aft. v. fc. ii. v. 39. And becaufe they ufed much larger drinking vedels than ordinary upon fuch occa-dons, the word ap.vgi$ itfelf came to fignify a large cup.
Whence Callimachus, in Athenaeus, xi. 7.
yap 0 Qgyjncjtiv pesv U7rrjvo]o yjzv&ov apcugiv (( Xcopo7rojav, oAiiw "fijo xitrcruS/w.”
And the Amyfiis is properly called Thracian, either becaufe that people ufed to drink it off" in a breath, or becaufe they were great drinkers* Athenaeus, x. 11. Horace, lib. i. ode 36.
“ Neu multi Damalis meri
“ Baflum Threicia vincat amydide.*’
[11]	This dgure may reprefent either his wife or his midrefs.
[12]	It was cuftomary among .the Greeks and Romans for the women to fit at .table, “ In ipfis leftis cum viris cubantibus foeminae fedentes coenitabant,” fays Valerius Maximus, lib. ii. c. 1. who adds, that the fame cudom was obferved in the Leflifternia; In which couches were prepared for the gods, and feats for the goddeflfes.
the
the fore-part of the couch [13] *, her veß [14]; the net of a golden colour [15], with which her head is covered ; the little box [16] which is prefented to her by a ßave [17] ; the round
Montfaucorty in the chapter referred to in note [3], obferves, that fometimes the woman appears fitting on the fide of the couch, fo as to touch the floor with her feet, and fometimes lies all along upon it, pi. lvii. and lviii. where it is remarked, that the fitting woman wears (hoes, the reclining one none at all.
[13]	Couches ufed at meals were called tricliniares, as diftinguiflied from beds to fleep in, which had the name of cubiculares. Urfin. de Tricl. p. 220. And the former were not unfrequently called abfolutely triclinia. Varro de Re Ruß. iii. Although this name has very often been given to the eating room itfelf, owing to the common cultom of ufirig three couches. Servius on Aen. i. v. 698. See Alexand. Gen. Dier. v. 21, and Tiraquellus v. Aut. Tricliniis, See. But becaufe two couches only were fometimes ufed, we meet alfo with the word biclimum. Plaut. Baccb. iv. 4.
[143 Befides the night-gown, lhe has another veft, which defeending from the right ihoulder wraps round her, being fattened by a claip on the left arm. Perhaps this may be the fupparum of the Romans. Ferrarius Par. i. de Re veftiar. lib. iii. cb. 20. obferves, that the fiipparum was a woman’s garment, worn over the reft; of the cloaths; that it was of a texture very fine and light; was fixed by a button or clafp, and fuffered to fall from the fhoulders, and to blow about with the wind. Thus Sidonius deferibes it, Carrn. ii. v. 325, &c.
“ Perque numeros teretes, rutilantes perque lacertos “ Pendula gemmiferae mordebant fuppara bullae.”
Lucan, ii. 363, &c.
---------“	humerifque	haerentia primis
“ Suppara nudatos cingunt augufta lacertos.”
It remains now to examine, whether fuch a veil be peculiar to young girls, or whether it agree alfo to the grown woman. Fßus fays : “ Supparum dicebatur “ puellare veftimentum lineum, quod et fubucula appellabatur and fubjoins, “ Mulier videtur puella fupparo induta, ut Afranius ait: puella non fum, fupparo “ fi induta fum.” See Nonius, xiv. 20. who calls it a woman’s garment.
[15] Juvenaly fat. ii. 96.
“ Reticulumque comis auratum ingentibus implet.” fi6] This little box appears to have fome relation to the wine with which the table is furniflied. There is no doubt that the ancients at their meals made ufe of odoriferous unguents; anointed their heads (particularly towards the clofe of the entertainment, when they drank to excefs, Diog. Laertius in Anacharfi. Atbanaeust
i.	18.) becaufe they believed that unguents reprefled. the vapours of wine. Athenaeus, xv. 13. It was even cuftomary to mingle the unguents themfelves with wine; of which circumftance among the Grecians Aelian makes mention, Var. Hiß. xii. 31. Pliny mentions it alfo of the Romans, xiii. 13. and juvenaly fat. vi. v. 302. We may fuppofe then, that by this little box the painter meant to reprefent the myrotbeciuniy which is called by Pliny, vii. 30, and xiii. 1. unguentorum ferinium. It has alfo been conjeftured that the painter might have had in his thoughts a cu-ftom, which Cafaubon mentions in his notes to Suetonius in Vitell. c. ii. where the hiftorian faying, that the father of the emperour Vitellius always carried in his bo-r fom a flipper of Mejjulina’s to flatter her; the commentator remarks, that the
Vol. I.	K	table
table [18], theßralner [19] and the three veffels [20] which
luxury and delicacy of the women with regard to their fhoes was great, infomuch that, in order to preferve them, they made their fervants carry them in little boxes, Plautus calls thefe fervants Sandaligeru/ae, Trin. ad. ii. fc. i. 22. And it is a well-known cuftom among the ancients, that when they placed themfelves at table, they took off their flippers, committed them to the care of their fervants, and alked for them again after fupper. Menander, cited by Pollux, x. fed. 50. calls the repofi-tories for fhoes traybaKo^ytug, which are explained by Bald, de Calc. c. iz. The meal however drawing toward a conclufion, and the lady appearing bare-foot, and juft getting up from her feat, or from lying down on the couch, thefhoes might be brought, in order to be put on again.
[17]	Both male and female fervants were by the Romans faid to be ad pedes, be-
caufe at meals they flood at their mafter’s, or the guefts feet, Seneca de Benefic^ iii. 27.	“	Servus,	qui coenanti ad pedes fteterat, narrat, quae inter coenam ebrius
4‘ dixiflet.5* Martial v. tpig. 19. and xii* ep. 88.
[18]	Tables were called rptxTrs^ai, quafi mpa7r^ai, becaufe they had ordinarily four, feet, and were fquare. Thus they were made at firft, nor does Homer fpeak of any other figure. Eußaih. ad Homer. Odyff. i. v. 138. They fometimes had but three feet, and were then called rpnrohg. Athenaeus, ii. 10. produces paflages of Hefiod, Xenophon, Arifiophanes, and many others, which mention tables made thus with three feet. Here Cafaubon may be confulted. Horacet lib. i. fat. iii. fays:
“ Modo fit mihi menfa tripes, et “ Concha falis puri/’
And laftly, they were made with one foot only, and thence called monopodiar Liv. xxxix. 6. Plin. xxxiv. 3. Athanaeus, xi., 12. p: 489, fays, that the ancients made their tables round, in allufion to the form of the world ; which they believed to be fpherical like the fun and moon. Thefe round tables were ufed, when femi-circular couches, called Stibadia and Sigmata, were fet, to which tables made in this, manner might be exafily fitted. Martial xiv. epig. 87.
i( Accipe lunata feriptum teftudine figma :
“ Offo capit.”
See Bulenger de Conviv. lib. i. c. 38'.
[19]	The ancients made ufe of the flrainer, to cool and qualify their wine at the fame time; for a proper quantity of fnow being put into it, they poured the wine thereupon, which, together with the diffolved fnow, ran through the holes of the. flrainer, into a cup ready to receive it underneath. Strainers were made of copper,, and alfo of filver. Pomponius 21. tit. ii. lib. xxxiv. digefiorum. There are of both forts in the Royal Mufeum. Pollux, x. 24. figm. 198. Martial xiv. epig. 103. and other ancient authors make mention of ftrainers. Aulefius, Venuti, and other learned antiquaries, have fully treated of them.
£20] Thefe three veffels (which from the colour of the infide are meant to be reprefented as full of wine) may perhaps have fome reference to a cuftom of the ancient Greeks, who at their meals ufed to fet on this number of fuch veffels as thefe, in honour of Mercury, the Graces, and Jupiter Servator, in whofe names, as well as in thofe of other deities, they were ufed to drink. And as that was done
3	are
are placed upon it; and alfo the flowers [21] with which the table and thz pavement [22] are fpread.
chiefly toward the end of the meal, fo it was concluded with libations, efpecially with one to Mercury, the difpenfer of reft, to whom the laft glafs was confecrated, as we read in Homer, Odyjf. vii. 137. See Bulenger, iii. 15. and Stuckius, ii. c. ult. p. 440, &c. who explain this cuftom at large. Now no fort of victuals appearing in the entertainment before us, but things folely relative to drinking ; it feems very probable that the painter had a mind to reprefent the meal towards its conclufion, and approaching the time of libation.
[21]	The breaft and neck were adorned with flowers during the time of meals, and particularly the head; the ancients being perfuaded that fuch expedients prevented drunkennefs ; as Plutarch obferves, iii. Syrnp. qu. i. and Athenaem xv. 5.	•
£21] Flowers were fcattered over the couches, the table; and the floor. Spar-tian. in Aelio Vero fays: f‘ Jam ilia frequentantur a nonnullis quod et accubationes, “ et menfas de rofis, ac liliis fecerit, et quidem purgatis.” And Nazianzen vrspt <piXc7?jcA)%. fpeak thus: We often firew our pavement with fweet flowers, and even out of feafcn. And Plutarch i. Syrnp. Prob. i. writes, that they fprinkled the pavement with odoriferous waters. See Stuckius, ii. ,i4.
K 2
PLATE
PLATE	XV. M
THIS pi&ure [2], excellent for its colouring, and in no contemptible ftile, reprefents to us a young Faun [3], in whofe air the artift has fhown much ftudy and genius. He is killing a Bacchant [4] as he is throwing her backwards on
[i] Catalogue, n. 236.
[ 2] Found at Refina.
[3]	The Fauns were believed to defcend from Taunus the fon of Picus, king of the Latins. Bochart, in Chanaan, i. 33. and in Hieroz. p. ii. lib. vi. cap.'vi. maintains, that the Faunus of the Latins was the fame with the Pan of the Greek, and we have already obferved it in another place. The fatyrs alfo claim their original from Faunus. And although Euripides, in Cycl. fliles them the fons of Silenus, and the Scholiaß of Nie ander fays exprefsly, that the Silent and Satyrs were the fame, yet, according to the opinion of thofe who make Pan and Silenus to be the fame deity, the Satyrs and the Fauns rauft needs have the fame original. Be that as it may, both are deferibed by the poets and mythologies in the lame manner. Ovid Faß. ii. v. 361, and Ep. v. v. 137, calls the Fauns cornipedes, and cornigeri: Lucian, in Concil. Deor. attributes horns to the Satyrs: and Lucretius, jv. 584, iFc.
(( Haec loca capripedes Satyros, nymphafque tenere “ Finitimi fingunt, et Faunos die Joquuntur.”
Where he exprefsly fays, that in figure and fubflance the Satyrs and Fauns were the fame. See Nonmts, in Dionyfiac. xiv. v. 130, &c. and Sea tiger, Poet. i. 17. who diftinguilh various forts of fatyrs. Now, though no diiTerence be made by authors betwixt Fauns and Satyrs, neverthelefs antiquaries call thofe Fauns which have entirely a human figure, except the goats ears and tail. They call thofe Satyrs, which, befides the horns and the feet, have half the body of a goat. Montfaucon remarks this, t. i. p. ii. /. i. c. xxiii. and xxv. Of the lafeivious character of this whole herd of rural and fylvan deities, mention will be made in the notes on the next plate.
[4]	It is well known, that Oftris over-ran Aethiopia, India, and Thrace ; carrying with him the ufe of wine, which he had found out, and that of corn difeovered by Ifts his lifter, and wife ; obliging thofe who refufed, to receive them by force : he
the ground. The fequeftered and folitary place, in which the Faun is here imagined to furprife the Bacchant, as fhe is climbing up among fome rocks, is confiftent enough with their
returned into Aegypt with a victorious army, compofed of various people, and of both fexes; who being crowned with ivy, clothed with the fkins of panthers, tigers, and deer, and armed with the ferula and thyrfus, accompanied his triumph with finging, playing, and dancing. A little time after, Oftris was torn to pieces by fome confpirators: Tfts gathered together the fcattered limbs, and being unable to find that part which diftinguifhed his fex, (he had an image of it made of wood, and ordered it to be folemnly carried about in the feftivals file had inftituted in honour of her husband, which fhe commanded to be celebrated with certain fecret' rites. Diodorus, i. 77, &c. From the triumph of Ofiris the Bacchanals drew their original; and from the feafts inftituted by Ifis came the orgies of Bacchus,. and other myfteries which bear fome relation to them. This worfhip afterwards pafling into Greece, it was feigned, that Semele (the daughter of Cadmus the founder of Thebes) being with child by Jupiter, and having requeued it as a favour, that he Would vifit her in the fame manner he approached Juno, fhe was left dead by his thunder.
Jupiter delivered her fon Bacchus to the nymphs at Nifa in Arabia, to be nurfedi* He fpent his childhood among the women, in dancing, fports, and pleafures ; and. having found out the ufe of wine, he infilled upon being adored as a god ; and in-, flituted certain feftivals in his own honour. And having affembled an army of women, he wandered over the whole earth, teaching the art of prefling the grape, and every where introducing his orgies, by fubduing thofe who oppofed him. Having in this manner pafled over India and Thrace, he entered Thebes in triumph. And becaufe three years were fpent in his expedition, his feftivals were obferved every three years, Diodor. i. 22. iii. 62. and iv. 2. &c. It is fufficient to have given this relation, without entering into abftrufe refearches about the number of Bacchufes, their different mythologies, the variety of their feafls, their rites and myfteries, and other deities refembling them among different people. Upon fnch matters thofe may be confulred who have compofed entire treatifes on this fubjeCl. The Romans called the feafls of Bacchus Bacchanalia and Liberalia, becaufe Bac-. chus and Liber were names for the fame god : although the Bacchanalia and Li be-ralia were celebrated at different times, and in a different manner; fo that thofe were forbidden, and thefe retained. The nurfes of Bacchus, and all the women who followed him, were cailed Bacchants ; in which company were reckoned alfo the Satyrs, the Silent, the Fauns, the Pans, the Tityri, and the Centaurs; as fhall be mentioned in its proper place. See Strabo, lib. x. p. 468, befides Koiinus, Artenndonts, and others. -Nay all thofe who celebrated the feafls of Bacchus were called Bacchants. Of whom Diodorus, iv. 3. gives the following account: The Bacchanalia are celebrated by women. In performing the folemnity virgins carry the thyrfus, and run about frantic, hollowing Evoe in honour of the god ; then the women in a body offer the facrifices, and roar out the praifes of Bacchus in fongs os if he were prefent, in imitation of the ancient Maenades, who accompanied him. The ftrange contortions of their bodies were l'uch, that /lvgußine de Civ. Dei, \i. 9. fays:
'i	cu	horns
cuftoms [5]. Near the Faun lies a fhepherd’s crooked ßaß\ and a pipe with feven reeds [6]. At the feet of the Bacchant is a Thyrfus [7], with its top wrapped in ivy, and bound with
te Src Bacchanalia fumma celebrantur infania, uti Varro ipfe confiteatur a Bacchan-“ tibus tälia fieri non potuifie, nifi mente commota.”
’ Of their drefles and their inftruments, Ovid Metam.iv. v. 6. &c. fays:
“ Pe&ora pelle tegi, crinales folvere vittas,
“ Serta coma, manibus frondentes fumere Thyrfos.”
And v. 28, &c.
“ Quacumque ingrederis, clamor juvenilis, et una “ Foemineae voces, impulfaque tympana palmis;
“ Concavaque aera foriant, longoque foramine buxus.”
.Bee Euripides in Bacch.. Every thing that could be done by a company of men and women intoxicated, was committed by them, with that unbridled licentioufnefs which lull inflamed by wine infpires. Befides Tertullian, Clemens Alexandrinus, Epiphanius, and other fathers, the Pagans themfelves fpeak of the obfcenity of the Bacchanals.
[5]	Places of this kind were proper for the orgies of Bacchus. “ Oreos Liber “ pater, fays Feflus, ut et Oreades nymphae appellantur, quod in montibus fre-“ quenter appareant.” And Stuckius Antiq. Conv. i. 33. p. 194. fays, that the orgies were perhaps fo named <xnto toov opcov, from the mountains in which they were celebrated. See Euripides in Bacch. who fpeaking of the Bacchants., after having faid, v. 218, &c.
---------Our	women	leave	their	houfes,
On fhady hills to celebrate the gods. fubjoins, v. 222, ißc.
“ ccKk/p S’ ctKh(&> teg (pyjpeav “ TlrOccra-iscrav svvatg uprsvuv vTrrjpsjtev,
“ IIpotpourtv psv oog Sjj MyjvcAug Suoo'Kcag,
Tyi'jo A(ppoSljqv woorff altev ra ßaxyja.”
[6]	The crook and pipe agree well to Pan, and to Bis defendants and compa-.riions the Fauns and Satyrs. Ancient monuments are full of Fauns with fuch Jym-bols. In Maf'ei we have the reprefentation of a tree, with Ofcilli bacchici, or little images, hung upon it; and at the foot of the tree, the pipe and crook.
[7]	The Thyrfus was a long ftaff, ending at the top with a cone, refembling the fruit of a pine. In an epigram of the Ant hoi. cited by Kufier on Suidas in Seur^, •we read:
K«/ Supra yhospov xcoyotpopov net puna.”
Others -infill that Thyrfus was properly the pipe itfelf. Bochart in Chanaan, i. 18. However that may be, Diodorus, iii. 62, writes, that Bacchus armed his followers with a fpear, whofe iron point was covered and concealed with ivy : and Ovid calls it a fpear, Met. iii. 667.
“ Pampineis agitat velatam frondibus haftam.”
Thus Virgil, Seneca, Euripides, call the Thyrfus Cufpis, Telum, Mafia, covered with ivy. But afterwards, Bacchus himfelf took away their fpear, and ordered them to carry a Ferula. Diodorus, iv. 4. afiignsthis humane reaion for it: becaufe at fir ft, drinking wine unmixed with water, they became eafily intoxicated, and with
a riband
a rihand\_8], of a red colour [9] like that of her garment• There is a Cymbal [10] furrounded with little bells \_w\ on the bottom of which is painted a Sißrum [12]. And at fome diftance we may obferve a hoop without a bottom [13], which.
their ftaves, or Thyrfi, which they carried in their hands, ufed fometimes to hurt one another in their frolics* Bacchus, finding this fort of mirth to be attended with ill confequences, inftead of a hard piece of wood gave them a Ferula. In the antiquities relating to Bacchus, the Fhyrfus is molt, commonly covered at the top with ivy, or wound about with twigs of the vine.
[83 Th tThyrfus, as a (acred infirument, was .adorned with garlands and ribands.' Bacchus himfelf applied fillets to his fore-head, to keep off the fumes of the wine. Diodorus, iv. 4.
[9] The Bacchants are reprefen ted with light hair, and a habit of deep red*. Thefe colours were fuitable to the feafts of Bacchus. Lucian (in Baccho) fays, that this god was “ Mijpcc ryjv KOjx^v	sv Tzrofövp&i, xou Xfucnj The	veft-
ments ufed by the Bacchants were the Crocota of the colour of faffron, and the Bajfaris of the colour of a fox. Clemens Alexandrians indeed, Paed. ii. 10. attributes to the Bacchants coloured garments in general.
[103 The Cymbal was a hoop with a (kin drawn over it. Euripides, Bacch. v... 124, defcribes it thus:—
“ Bvp<roJow xvKhocpux tcSs.” and in v. 513, he tells us it was (truck with the hand ; whence we fee this inftru--ment was properly called a tympanum. See Buonarroti in the Cammeo di Baccor, p. 436 and 7.
[ii3 Some thin plates of metal ufed to be fattened to the circumference of the Cymbals, exactly like thofe which are now in ufe, to increafe and vary the found in playing upon the infirument. Buonarroti has this remark in the page above cited, „ and confirms it with a fpecimen from Bartoli delle Lucerne, part ii. p. 23. Of the cymbal and the little bells we (hall have occafion to fpeak again in the notes on, plate xix.
[123 On the bottom of BartoW.s Cymbal there is the figure of a tiger inftead of. the Sißrum in ours. The Sißrum was ufed in the proceilions of Ids, and alfo in. the orgies of Bacchus, as will be mentioned elfewhere.
[133 A conjecture has been propofed, that this infirument may perhaps be ai Rhombus, which is mentioned in the fore-cited epigram of the Anthologia, among
the furniture of the Bacchants-------
“ XrpS7fJov ßxcr<rapixx pojjdow Biatroio yoonra.”
See Voffii Etym. in Trochus, or in Rhombus, and Mercurialis, Aft. Gymn. iii. 8». Others, and with more reafon perhaps,., think it (hould be called a cymbal without a lkin, or perhaps a fimple hoop with bells round it. The Bacchants made a ufe of it by (haking it in the air, as we may obferve in a facrifice to Priapus in Boijfart,. given us alfo by Montfaucon, tom. i. p. ii. lib. i.. c. xxviii. pi. clxxxi. See Agoß. part i. tab. 22. where under the head of a Faun, befides the Fißula, there is another infirument like this, which that learned antiquary thinks to be the Tympanum,, with little plates of metal fafiencd to its circumference..
may.
may belong either to the Bacchant, or to the Faun. Great was the fondnefs of the ancients for fuch immodeft fubje&s [14]; and the moft obfcene are to be met with, particularly upon gems.
o
[14]	We fhallfpeak at large in the notes on the following plate, of the ufe of fiich reprefentations. It is fufficient to remark here what Pliny xxxv. 10. fays of Parrbajius, ,c Pinxit et minoribus tabellis Libidines: eo genere petulantis joci fe “ reficiensand in book xxxiii. ch. i. he had faid: “ Auxere et vitiorum irrita-“ menta: in poculis libidines caelare juvit.” To this fort of pi&ures called Libidines t on account of the immodeft reprefentations which they contain, may be reduced thefe and fome others which follow.
PLATE
PLATE
XVI ['I
HIS piece [2] is equal to the preceding in excellence of JL colouring, and in manner: both indeed feem to be the work of the fame hand. The perfpicuity of the artift’s defign, and the fimplicity of his compofition, correfpond well with the perfection of the art. The fubjeCt of the piece is a naked • and bearded Faun [3] attempting [4] to kifs a
Catalogue, n. 237.
£2] Found with the foregoing at Refina.
[3] We meet with many fuch Fauns and Satyrs with long beards on antiques, and they ought properly to be called Sileni. See Montfaucon, tom. i. par. ii. lib. i. ch. xxiii. and xxiv.
[[4] Eufebius, in Praep. Evang. lib. iii. c. xi. writes, that under the figures of Satyrs, and fuch kinds of beings, was meant to be exprefled the violence of fen-fual paffion. Bochart. Hieroz. par. ii. lib. vi. c. vii. has fhown that the whole tribe of Pans, Fauns, Satyrs, Dußans, Sylvans, and other deities of goat-like form are very luftful, or at lead are feigned to be violently inclined to that paflion. See Augufi. de Civ. Dei, xv. 23, who writes with great plainnefs: “ Quoniam creberri-“ ma fama ed, multique fe expertos, vel ab eis qui experti elfent, de quorum fide “ dubitandum non ed, audiffe confirmant, Sylvanos et Faunos, quos vulgo incubos “ vocant, improbos faepe extitifle mulieribus, et earum appetiifie, ac peregifle con-“ cubitum : et quofdam Daemones, quos Dufios Galli nuncupanr, hanc afiidue im-“ munditiam et tentare et efficere, plures talelque afifeverant, ut hoc negare impu-“ dentiae videatur.” Paufanias, i. 23, alfo relates, that in the iflands called Sa-tyrides there were inhabitants of human form, with a long tail behind, and remarkable for a furious lud : and he believes that they were real Satyrs. But as every one fees that fuch beads could be nothing elfe but apes; fo thofe who are better informed believe, that the Fauns, and other monders of goat-like form, had no other exidence than in the imagination of the poets. Bochart obferves the fame in the place quoted above : “ Abfit interim, ut ex his locis quifquam colligat “ ullos aut jam extare, aut unquam exditifle in rerum natura Satyros: fed Daemo-<c nes Satyrorum fpecie hominum oculis illudcntes.” It is, however, notorious how
Vol. I.	L	Nymph
Nymph [5], who is alfo reprefented naked [6], and endeavours to pufli him back by force, and to efcape from his hands. This and other fuch lafcivious reprefentations [7] exhibited in the fore-
lafcivious an animal a goat is; and from the propenfity of this creature, and of apes to incontinence, it may be fuppofed that the ancients drew an image to exprefs in their fylvan deities, the force of natural appetite not moderated by education ; as is obfervable in fa vages and in brutes.
-[53 Thole were properly called nymphs, who fupplied moiffure for the vegetation of plants, and to other things ; and were therefore ftyled daughters of the ocean, mothers of rivers, inhabitants of fountains, educators of Bacchus and Ceres. Orpbci Hymn. Nymph.
“ Nvypoa, BvFccl-^g	Flwmvoio,
“ Tipoircpci; ya:r,g imo x-v9s<nv oixi iyjs<rcu,
“	YjCCX.%010 TpOpOl, 'xßcviui, 'arcXvF/ßuc,
“ Kap77c}^0!pCi, AHpMVt0i6i£y (TXoAlcfyop.Cl, CiFvOU,
“ Avjpoyjx^ig, o’7r‘/jXvry^i xsyjxpfisvui, Yji-popoTfor “ llvjFtxKxi, op&hg, Ipoo-oHjjicy-g, iyy:-cri xapoif Cl <Pc(WO[m;vcci, cepcemg, avXceua.hg, 'uscXvoivQoiP And hence arofe the different names and kinds of nymphs; Oreades in the mountains, Hamadryads s in the woods, Naiades in the rivers, Nereides in the fea, &c.
Now the betrayers of thefe wandering inhabitants of the woods and fields, were the Fauns, the Satyrs, and other ruffic deities. Among the poets we may meet with inffances of this; and in Monifancon, tom. i. p. ci. ch. xxv. pi. clxxiii. is exhibited another piece, whofe fubjeft is of this kind.
[63 Ours may be fuppofed a jemale Faun. Such being met with on gems and bas-reliefs; or rather an hermaphrodite.
[7] In Greece the ufe of fuch reprefentations was very frequent in ftatues and pictures. The Cyprian and the Gnidian Venus, and the nine Mufes called Fhe-Jpiadcs, were famous. Pliny, xxxvi. 5. The fame author, xxxv. 10. as we mentioned in the laff note on the preceding plate, obferves, that the celebrated Par-rhafius ufed to paint in miniature obfeene figures (called therefore by the name of libidhies), in lafcivious pollutes; and in c. 9. he mentions that Zeuxis, to form a perfect picture, took five naked virgins to ffudy from. We learn from the fame Pliny, xxxv. 7. that it was a very ancient cuffom in Italy, fubfilting even from the firll foundation of Rome, to paint women naked, even in public places. He fays, that even in his time, there remained on the walls of a ruined temple at Lanuvium the portraits of Helen and Atalanta naked, of fuch beauty, and in fuch preferva-tion, that fome perfon, inflamed by luff at the fight of them, would have carried them off, if the ffucco would have permitted it. In Rome, indeed, at firff, great reffraint was laid upon thefe immodeff reprefentations; but by degrees, manners growing more relaxed, at laff they exceeded all bounds. Propertius, ii. cleg. vi. v. 27, &c. affures us, that the walls even of houfes of good fame ufed to be covered with fuch kind of filthinefs :
“ Quae manus obfeenas depinxit prima tabellas,
“ Et pofuit cafta turpia vifa domo; t( Ilia puellarum ingenuos corrupit ocellos,
“ Nequitiaeque fuaenoluit elfe rudes.
going,
going, and of which fpecimens will be given in the fucceed-ing plates, wherein the painters have employed the whole force of their pencils, to oblige us by that means to commend and admire that art of which at the fame time we could not but condemn the abufe; put us in mind of the fhameful ex~ cefs [8] to which the fury of paffion, fupported and guided by
“ Non iftis olim variabant teCta figuris,
“ Quum'paries nullo crimine piftus erat.”
We find alfo mention frequently made of the moil obfcene pictures, reprefcnting what Elephant is, Philcnis, and other poetefles mentioned by Hefty chius have exprefied in their verfes. Mart. xii. epig. 43. and the commentators upon it. See Pitifcus on Suet on. in Pibcrio, xliii. 2. not. 12 and 13.
[83 Omitting all other examples, Tiberius will fufficiently (how us to what lengths an excefs of lull will go. Suetonius, in the life of that emperour, after having told us that he placed in his chamber an excellent painting of Parrhajius, in which was reprefented At ala nt a in the Aft of complying with Meleager, comes to deferibe his infamous conduct- in the ifland of Caprca ; and fays, that he had feveral rooms adorned with paintings and ftatues exhibiting the moll lafeivious reprefentations; with the books of the poetefs Elephantis, in which the mod; unbridled lewdnefs was painted to the imagination : he concludes in c. 43, with thefe words: “ In fylvis “ quoque ac nemoribus pafiiin venereos locos commentus eft, proftantefque per an-“ tra etcavas rupes ex utriufque fexuspube, Panifcorum etNympharum habitu.”
[9] The painters, and other artifts, under pretext of reprefenting the gods, and their aftions, exprefied with all the vivacity of their fancy the objefts of their own pleafure. Patian, wpog E?J,y,iug, p. 168, &c. upbraiding the Gentiles with their dilhonefty, gives us a long catalogue of many famous painters and ftatuaries, who took a pleafure in painting, under the characters of goddefifes, many favourite women of their own times. Arnobius, Adv. Gent. vi. and Clemens Alexandrians wpbjyvf]. p. 35, fay, that the celebrated Cratina and Phryne were painted naked under the character of Venus. Pliny, xxxv. 10. “ Fuit er Areüius Ilomae. Celebris, paullo “ante divum Auguftum: nifi flagitio infigni corrupiflet arrein, femper alicujus “ amore foeminae flagrans, et ob id deas pingens, fed dilectarum imagine. Iraque “ in piftura ejus fcorta numerabantur.,, The fame Clemens Alcxandrinus, in the book cited above, p. 39, after having faid that the poets, ftatuaries, and painters, had introduced immodeft reprefentations of fatyrs and nymphs only to humour the fenfes ; lofing fight of ancient times, fpeaks thus of his own : Tour people having cli-veßed themfehes of all fhamc, paint in their oven houfes the infamous commerce of the genial ’divinities, who are called daemons ; anel taking delight in certain immodeft pidlurcs, hung up for ornament in their nuptial chambers ; as if incontinence was an cil7 of religion, they lie in heels from vuhich they can fee the embraces of raked Vcnufcs, in or dir to imitate them : Tour other piClurcs arc cither feme little Pans with naked Nymphs, -or certain intoxicated Satyrs, who make an ojlentatious difplay <f their incontinence. In fnc, you are not only not afhamed of feeing expofed in public, figures of the mo ft filthy olfcenity, but ye alfo prefer see them in the mo ft confpicuous places, dedi-
L 2	a	falfe
a falfe religion [9], could lead the blind pagan world [i©J.
eating your own houfes to the reprefentation of your gods, as the great fupporters of lewdnefs ; and painting with equal indifference the atchievcments of Hercules, and the lafeivious manners of your Phylenis.
[10] La Chauffe, Thef. Er. Ant. tom. ii. fed. vii. where he treats de Mutini fimu-lacris, juftifies himfelf and others who have publifhed the obfeene monuments of Gentilifm, by the conduct of the emperor Ehcodofius, and Lheophilus bifhop of Alexandria ; who when they might have deftroyed the ftatues and other monuments of the Gentiles, chofe to preferve and expofe in public the moft obfeene, to expofe that falfe religion to ridicule and infamy ; and to render it by this method the fport and abomination of mankind. See Sozomen. vii. 15. and Socrates, v. 16. Indeed, as La Chauffe has obferved, the moft ferious and refpe&able names, among whom have been many ecclefiaftics of exemplary life, have made no difficulty of exhibiting and illuftrating fuch pieces of antiquity; encouraged by the examples of the holy fathers, who in their works have fpoken with great plainnefs of the obfeenity of Gentilifm. The learned Leonardo Agoßini dedicated to Pope Alexander VIII. his antique gems, among which many reprefent Priapi, Phalli, and naked Venufes.
PLATE
IV.XPlf
PLATE
XVII. M
1 ^ H E twelve piöures which are contained in this and the JL eleven following plates were found in one place [2]. They have all the fame degree of perfe&ion and beauty; and as they are all of the fame kind [3], fo they feem reducible to one fubjetfb [4]. We fhall from time to time offer our remarks
[1]	Catalogue, n. 531. 4.
[2]	On the eighteenth of January, in the year 1749, in the fouterrains of the Torre dell’ Annunciata, at a place called Civita, near which the ancient Pompeii may be fuppofed to have been fituated, was found a room, on the walls of which were drawn, befides thefe twelve pictures here mentioned, thirteen other pieces videlicet, fix pieces of grotefques, with a Cupid in the middle, and feven rope-dancers, all on a black back-ground. A defcription of this room, and its dimen-fions, fhall be given elfewhere. Plates of the dancers, and other pieces of the* fame kind, together with explanations of them, will be prefented in the fecond volume.
[3]	See Pliny, xxxiii. 1. and xxxv. 10. whofe words we have tranfcribed in note [14] of Plate xv. All thefe may with great propriety be claffed with that kind of paintings which he calls Libidinesj and to which we have already reduced. Plates xv. and xvi.
[43 Two fyftems have been propofed, to give a general account of thefe twelve pi&ures. The fir ft, that the room from whence they were taken was a cubicidwi;; or bed-chamber ; the walls of which ufed to be painted with indecent pictures. The fecond, and perhaps the raoft probable, that the room was a triclinium. But on this opinion different judgements have been formed : fome infill:, that it was not the common triclinium, but that fort particularly which was otherwife ftilcd 'venereum. Athencieus indeed, v. ro, p. 207, in the defcription he gives of the great Clip of Geron the tyrant of Syracufe, fays, that befides other apartments dedicated' to pleafure, there was an «(ppcW/ov in' ir, furnilhed with three couches, and adorned with pictures, ftatucs, and drinking veffels. We may fuppofe then that this picture-room of ours might be a place of this kind, deftined for the plealures of love and wine. Others maintain that the room in queftion was a fimple common triclinium, defigned for meals: nay they go fo far as to prove that it was a winter triclinium, and that the paintings bore forae relation to the meals themfelvesv
OIX
on what fhali fcem in each piece to merit reflexion. In this firft there are two female dancers, who reprefent a graceful movement commonly praclifed in the Italian dances [*5]. Their veils are extremely proper, both in’refpedt of colour [6] and finenefs [7], and equally proper are their other habiliments [8].
[5]	They are joining hands, whilft one with her fore-finger and thumb gently lays hold on the middle finger of the other. Lucian dc Saltat. tells us, that the Spartans had a fort of dance which was Legun in the manner of wrellling, by catching faff hold of each other with the ends of their fingers; which they called uKpoyjHct<TiJ.cv. Stephens on the word Xe/poxp/cv, on the authority of Plutarch and Galen, writes, that the touch of the hands, or manutigio (as he tranfiates the word was a fort of exercife in the Palaefira: and dancing, particularly among the Spartans, had a connexion with the Palaefira, being deligned for amufement, and at the fame time to exercife the body. That much flrength is employed in the dance here reprefented, may be conjedlured from feeing one of the dancers with her lips fall clofed. Lucian de Saltaticne, afligning the reafon why thofe who danced kept the mouth Unit, contrary to the ancient cuflom of dancing and finging together, (Gellius, xx. 2.) fays, that dances being introduced in which it was neceflary to turn and wreath the body with greatefl art, and to make many laborious movements by certain rules, and to meafured time, it became impoffible for the dancers to fing without hurting the time, breaking the voice, and making the vocal parts difagree-able : and thence the arts were divided, fome finging, and others dancing, to the cadences both of vocal and inftrumental mufic.
[6]	One of their veils is yellow, the other green with a border of vermilion. Apollonius Tyanaeus, (in Philofl. lib.lv. c. 21. of his life) after having reprehended the Athenians for finging and dancing effeminately, fubjoins: Whence have ye the yellow vefi, the vermilion and the faffron dye ? They called the yeilow veft with propriety crocotai or crocotula, from the crocus or faffron with which it tvas dyed. They particularly reckoned among the garments of women and effeminate men, the green, called vefies herbidae, from their colour and the juice of herbs with which they were dyed. Statius, Tib. ii. fiylv. i. v. 133.
“ Nunc herbas imitante finu, nunc dulce rubenti “ Murice.”
Cvprian. de Difcipl. et Hab. Virg. and Tertullian de Hah. Mulieb. inveighing againft luxury, name particularly the colours of vermilion and green as moft agreeable to the women. Martian. Capcll. Hb. i. de Nupt. Merc, et Philol. fays, “ Floridam “ difcoloremque veffem herbida palla contexuerat.” Of the border, which we fee round this and the other veils, we ffiall fpeak prefently.
[7]	The veil of the firff figure appears tranfparent. Of fuch kinds of garments we fhali have occafion to fpeak fome where elfe. We may obferve now, that this drefs fuited well with the agility neceffary in dancing, being no obftacle to the nimblcnefs of their capers. Pollux, iv. fegm. 104. gives us to underftand, that the dancers whilft performing made ufe of tranfparent veils, Tarentinidiae, from the luxurious cuflom of the Tarentines, from whom they were borrowed. Perhaps
they
which is a kind of filky fubftance gathered from a certain fea fhell, called both by Greeks and Latins Pinna. Procopius makes mention of fuch a fort of wool, and Bafll calls it golden wool. Cafaubon on Athenaeus, iii. n. p. 172. fpeaks largely of the Lana Penna, and its ufe.
[8]	The fir ft figure has a large band or veil upon her head, like a turban, which goes round her temples feveral times. On account of its bignefs and thicknefs, there have been fome who affirmed it to refemble that fort of crown which Hefy-chius calls v/otoikigot (others write it STacvXigot), that is, as he explains it, gzCpcwoi y.zFa.Xci, o&pot. Indeed Johannes Alberti, commenting on this place of Hefychius, makes this remark: “ Refte explicat ccfyo/: faepius enim complicata et convoluta u quae funt, crafla videntur.” Nicander however, in Eufiathius 11. E, and in Athenaeus, xv. 7. p. 678, writes, “ syawXtgici gzpxvu puzKigu 01 sk pcSuvthat they were made chiefly of rofles; and an ancient poet,, cited by Athenaeus: trvxocv xiXigov gipxvov. Athenaeus himfelf does not feem to have been acquainted with their form. See Cafaubon on Athenaeus, xv. 7. and ii. 10. From hence fome will think fuch a conje&ure inadmiffible, it being fufficient to obferve with Ifldorus, that the ancients ufed fillets of wool by way of crowns; “ et in potando mota vino capita vincire “ fafciolis.” See Stuckius, Ant. Conv. iii. 16. p. $66. and Bulenger de Conviv, iii. 24. The fhoes of thefe dancers fhall be explained in the notes on Plate xix.
PLATE
PLATE
XVIII. [']
^”1"^ HIS picture cannot be fufficiently admired; whether .1 we consider the mafterly fkill of defign, the beauty of colouring, or the airynefs of gefture; each circumftance obliges one to acknowledge the charms of the art, and the perfection of the work. This beautiful and delicate figure^2] appears to be dancing [3]. Belides the golden bracelet [4]
[1]	Catalogue, n. 531. 5.
[2]	Some maintain it to be a Venus. Others hold, that it reprefents one of thofe lafcivious female dancers, who fometimes appeared naked. Both thefe conjectures fuit the notion of libidines, under which all thefe pieces have been clafled: but the fecond is mod agreeable to that fydem which fuppofes them to be perfons attending at a banquet. For Atbenaeus, iv. 13. p. 153. and xii. 3. p. 517, upon the authority of Timaeus, relates, that the Tufcans ufed to be ferved at their banquets by young girls naked. On a marble of Tommafini, exhibited alfo by Kippin-gius, we meet with a banquet ferved by naked girls and boys. See Pignorius de Servis, p. 91 and 92. Not only in private entertainments, but alfo in public theatres, women appeared naked. In the fead of Flora, common women undreffed themfelves upon a dage, and performed in fight of the people movements and gef-tures the mod obfcene. Valerius Maximus, lib. ii. cap. x. n. 8. Ladlantius, i. 20.
[3]	The dance favours the fuppofition that it is Venus. Lucian de Saltat.n. 10 and 11, alfures us, that the Spartans in their dances fung fome little airs, in which they invited Venus and the loves to dance with them. Horace, i. Od. iv.
“ Jam Cytherea choros ducit Venus imminente Luna ;
“ JunClaeque Nymphis Gratiae decentes “ Alterno terram quatiunt pede.”
And Apuleius in his Aureus Afinus, lib. vi. fpeaking of the nuptial banquet of Pf) ehe, fays:
.	“	Venus	fuavi	muficaefuper	ingrefla,	formofa	faltavit.”
Dancing in banquets was very common ; Homer, Cicero, Lucian, and others, mention it. Atbenaeus, in lib. iii. cap. xvii. p. 97. remarks, that at all banquets, except thofe of wife and learned men, who knew how to entertain company with literary difeourfes, women were introduced who danced and fung: and in lib. iv. c. ii.
and
and necklace [5], her native graces are heightened by that
wreath of pearls [6], and thofe white ribands [7] which bind
her flaxen [8] hair; by that fine thin veß of yellow trimmed
%
p. 130. defcribing a banquet, he fays: after the choir of muficians, entered the dancers, forae in the habit of Nereids, others drefied like nymphs.
[4]	A very beautiful little bronze ftatue in the Royal Mufeum, reprefenting a naked Venus, has golden bracelets, not on the wrifts, but on the joints of the arms and legs. See Bartol. de Arm. fe£l. ii.
[5]	Virgil, Aeneid i. 655.
-----<f colloque monile
“ Baccatum.”------
and again, Jen. v. 55
--------“ It pe&ore futr.mo
u Flexilis obtorti per collum circulus auri.”
Which is properly the torquis: although the torquis and the monile are frequently confounded. See Scheffer de Torquibus, cap.x and xi.
[6]	Pearls were the proper ornament of Venus, who is faid to have fprung from pearls in a fea-fhell: hence we often read, that precious pearls were prefented to the ftatues of this goddefs. Pliny, ix. 35, and Macrobius, fat. iii. 17. alfure us that a mod beautiful pearl, the companion of that which Cleopatra had diflolved tn vinegar, was divided into two parts to make pendants for a ftatue of Venus. Lampridius writes, that the Emperour Alexander Severus ordered two great pearls, which had been prefented to the emprefs his wife, to be put upon a ftatue of the fame goddefs. Wherefore the ladies who dedicated themfelves to Venus, were very fond of adorning themfelves with them. Propertius, iii. eleg. xii. has the following lines:
(C Quacritis unde avidis nox fit pretiofa puellis,
“ EtVenere exhauftae damnaquerantur opes? u Certe equidem tantis caufa et manifefta ruinis:
“ Luxuriae nimium libera fa<fta via eft.
“ Inda cavis aurum mittit formica metallis:
“ Et venit e rubro concha Erycina falo."
Martial, ix. epig. iii.
“ Splendet Erythraeis perlucida moecha lapillis.”
Cue needs only to read Pliny, ix. 35, to fee to what a pitch of luxury the Roman ladies were arrived in the article of pearls. He mentions having, among other ladies, feen Lcllia Paulina, “ fmaragdis margaritifque opertam, alterno textu fulgen-“ tibus toto capite crinibus, fpiris, auribus, collo, manibus, digitifquc.” See Bar-thol. dc Inauribus, cap. vi and vii.
£7] Albricus de Deorum Jmagin. deferibes Venus with a garland of v hite and red rofes. On medals we find her head adorned with ribands; and fometimes her neck with a necklace of pearls. Vaillant in Famil. Caecil. n. 40 and 43. Havcrcamp on the fame, Fam. Caec. tab. iii. n. 4, 5, 6. Bellor. in Jul. Cacfar, n. 7.
m Servius, on the following line of Aeneid iv.
“ Nondum illi flavum Proferpina vertice crinem “ Abftulerat.'
VOL. I.
M
widi
with an azure border [9], which in flying about conceals but little of her body [10].
writes: u Matronae nunquam datus flavus crinis, fed niger tantum: contra flava “ coma dabatur meretricibus.” So Juvenal, fat. vi. defcribing the Emprefs Mefla-lina, who had proflituted herfelf under the borrowed drefs of the courtefan Ly-eifca, fays:
“ Et nigrum flavo crinem abfcondente galero “ Intravit calidum veteri centone Lupanar.”
Hence the poets give light hair, not only to the ladies of pleafure, as Horace does, addreffing himfelf to Pyrrha, i. ode v.
“ Cui flavam religas comam but to all others who fuffered themfelves to be feduced by their lovers, or in any manner whatfoever loft their honour. Euripides, Eled. v. 1071. attributes it alfo to Clytemneftra infamous for her gallantry with Aegiftheus; Virgil to Dido on account of her amours with Aeneas; and Catullus to Ariadne, in Nupt. Pel. et Ehet. for her flight with Thefeus. The learned, however, have obferved, that the remark of Servius is not well founded. Ovid, fpeaking of Lucretia, Faßor. ii. v.-783, fays:
“ Forma placet, niveufque color, flavique capilli.”
And Virgil of Lavinia, xii. 605.
“ Filia prima manu flavos Lavinia crines.”
See Firaquell. ad Alex. Gen. Dier. v. 18, v. Merctrices flavum, 8cc. Be that as it may, Valerius Maximus, lib. ii. cap. i. 5. fays: “ Quo formam fuam concinniorem “ efficerent (matronae) capillos cinere rutilarunt.” And Servius himfelf, on the authority of Cato, remarks: “ Matronas flavo cinere comas unftitafle, ut rutilae “ eATent.5’ It is not yet determined, whether light or dark hair be the more beau-' tiful. Anacreon and Horace commend black hair and black eyes in boys.
[9^ It has been already obferved, that the women of pleafure were fond of coloured garments. In this pifture we may affirm, that the colour of the hyacinth is ufed, if we agree with Jerom on Ezech. chap. xvi. v. 10. and chap. xxvii. v. 24. in calling the colour of hyacinths azure.
[10] Plutarch. Conviv. quefl. ix. prob. 17. fpeaking of the three parts of dancing (motion, figure, and expreffion), fays: that figure was the attitude in which the dancer remained, for a fhort time, without motion after the dance ; which cor-refponded to the character of the deity, or the bacchant, whom the dancer repre-fented. This dancer then may reprefent Venus, in the aft of difcovering herfelf. And this calls to mind what Curtius fays, v. 1. § 38. that in Perfia the women came into the banquets modeftly drefled ; as the entertainment proceeded, they began to fake off the outward garments and to profane modefly ; at length, growing warm with wine, they flripped themfelves entirely naked ; and that this was praftifed not only by loofe women, but by matrons alfo, and virgins; who were called com-plaifant and genteel for complying with whatever was requeued of them.
PLATE
' (/ ,j

PI. XIX.
PLATE
XIX. [»I
^T"^HE young female reprefented in this piece, may vie I with the preceding in every refpedt. Equally beauti« ful and delicate are the lineaments of the countenance : the hair is lights and the very thin garme7/its [2] yellow, whofe tranfparent drapery rather veils than conceals any part of the bcdy, leaving her quite naked from the waift upwards [3], as
. [r] Catalogue, n. 531. 2.
[2]	Pollux, iv. 95, fpeaking of the dance of the Graces, quotes this verfe from Euphorion:
“ Of>%o[A$vcv yafjuv (pci^s<r<nv c^yjfisvja.,>
According to the corre&ion of Kuhnius, who thus tranflates it:
The Orchomenon, a dance performed in the drefs of the Graces : and remarks, that the worfhip of the Graces was firft inftituted among the Oreo-menii, in Boeotia. Though Horace indeed fays, lib. iv. ode vii.
“ Gratia cum nymphis, geminifque fororibus audet “ Ducere nuda choros.”
Paufanias, on the contrary, writes, that he did not know who firft reprefented the Graces naked; for-the ancient fculptors and painters cloathed them. ' Hence, perhaps, fomehave conje&ured, that the dance of the Graces was reprefented by naked girls, who, in pofitions like that in which this and the preceding figure are feen, only held a large veil, or palla, which, anfwered to the q,u^s<r<riv of the poet. Seneca de Benef. i. 3. fays, „that the Graces were painted, “ folutae ac pellucida vefte.” And Ovid, Faß. v.
“ Conveniunt piftis incinftae veflibus horae whom fome make to be the fame with the Graces. Xenophon, in Conviv. makes mention alfo of the dance of the Graces; and fays, that the banquet was always more agreeable if thofe figures and pofitions were introduced, in which the Graces, the Hours, and the Nymphs are reprefented. Now that the Hours, the Nymphs, and Graces, were painted naked, holding a piece of drapery, like that exhibited here, might be gathered from the defeription which Apuleius, Metam. x. gives of Venus,
M 2	alfo
anu iicr jeez ^4J* J-ue rioana wnicn Dinas ner ioreneaa is Jky-blue : The air that of a dancer [6] : the dißj of the colour of filver^ which fhe holds with her left-hand to her fide, may perhaps have fome relation to the dance [7] ; it feeming highly probable, that the painter meant to exprefs by it fome token by which to diftinguifli the affumed character of the perfon reprefented [8].
v/hofehandmaids and companions they were: “ Qualis fuit Venus cum fuit virgo, “ nudo et inteflo corpore perfe&am formofitatem profefla; nifi quod tenui pallio “ bombycino inumbrabat fpe&abilem pubem.—Ipfe autem color deae diverfus in “ fpeciem: corpus condidum, quod caelo demeat: amiftus caerulus, quod mari re-“ meat.” He explains too how the wind, fporting with her fine veil, blew it gently about. This defcription correfponds very well with our dancer.
[3]	Befides what has been obferved in the notes on Plate xvi, fee Macrob. fat. ii. 10. who writes, that in his time (under the younger Theodofius), it was no longer the cuftom to admit dancers or fingers to banquets naked, or immodeftly habited. Ic continued indeed till the times of the elder Tbeodofius, who forbad it. See the very learned Gotbofredus, I. 10. tit. vii. lib. xv. of Cod. Tbeodof. Alfo Bulenger de Conviv. iii. 30. and Pignorius de Servis, p. 181, See. who give an account of it.
[4]	Venus is called apyuporrfa. from her white feet ; and for the molt part the Nymphs, the Graces, and the Hours, are reprefented bare-foot.
£53 It may be called a Taenia, or Vitta, Virg. Aeneid. v. 268.
“ Jamque adeo donati omnes, opibufque fuperbi <c Puniceis ibant evindti tempora Taeniis.”
Ovid, Met am. ii.
“ Vitta coercuerat negle&os alba capillos.’*
Though flri&ly fpeaking they differ ; the Taenia being a part of the Vitta, Virg. Jen. vii. 352.
--------“	Fit	longae	Taenia	Vittae.”
In Montfaucon, tom. i. p. ii. liv. i. ch. xix. pi. clxii. 3. there is a head of Bacchus, with the forehead bound in the fame manner.
[6J Among other obfeene dances with which the fathers reproach the Gentiles, they mention one called the Venus. Arnobius, iv. adv. Gent, fays: “ Amans fal-“ tatur Venus, et per effe&us omnes meretriciae vilitatis impudica exprimitur imita-“ done bacchari.” See Anguß in. de Civ. Dei, vii. 16, and Jerorn. in Epiß. ad Marc. and in Epiß. de Hilar.
[7]	Pollux, iv. fegm. 103. tells us, that there was a dance called 1vsvotx&ss, in which the dancers carried in their hands plates, or dilhes. This fort of dance fliall be fpoken of in a note on Plate xxiii.
[83 They who maintain that the charafters here reprefented belong to a banquet, difeover in this figure nothing but a fervant maid carrying a plate. Nor do they think her being in a dancing attitude any objection; having learned from Petronius, that luxury and refinement were arrived to fiuch a pitch among the Romans, that
thofe
thole who waited at table performed their leveral offices to the cadences of mufical inftruments. See his commentators on chap. xxxvi. Juvenal, fat. v. v. i20> &c. has the following lines:
“ Stru&orem interea, ne qua indignatio defit,
“ Saltaiitem fpe&as, et chironomonta volanti “ Cultello, donee peragat mandata magiftri “ Omnia: nec minimo fane diferimine refert,
“ Quo geftu lepores, et quo gallina fecdur.1*
Which paffage is thus explained by Voffius, in his Etymologicon, under Chironomus: tc Stru&or, ex pantomimorum arte faltans, cibos menfae infert (unde infertorem “ interpretatur vetus Juvenalis fcholiaftes) idemque in cibis carpendis vel feindendis, ,e certa lege manibus ge^icularur.” Pignorius de Servis, p. 120 and 121, diftin-guilhes thefe offices. Seneca in many pafiages, Martial, and others, fpeak of the art and refinement ufed in carving and waiting at table to the found of inftruments. See Lipfius, Saturn, ii. 2. They ufed to row alfo to a certain ffieafure. See Voffna> jn his excellent traft de Po mat. Cantu, et Viribus Rytkmi.
PLATE
PLATE
XX. [0
O T leis beautiful than the two former, nor lefs indecent, is the picture before us. The young female here reprefented, has all the appearance of a Bacchant [2] : for fhe is naked [3] to her middle \ has her hair loofe, but not difor-dered [4] \ holds in her left hand, above her head, a cymbal furrounded [5] with bells, which fhe feems going to ftrike£6j
[1]	Catalogue, n« 531. 3.
[2]	According to the notion that tliefe twelve pieces reprefent perfons attending at banquets, we might fuppofe that this cymbalifl, or tj'mpanift, call her which you pleafe, appears difguifed in the char after of a bacchant. Sidonius Apollinaris, lib. ix. epifl. xiii. defcribing a banquet, among other perfons who ferved to form the entertainment and mirth, reckons fome women who imitated the bacchants in their drefs and their aftions:
“ Juvat et vago rotatu “ Dare frafta membra ludo:
“ Simulare vel trementes “ Pede, vefte, voce Bacchas
[3I The bacchants are exhibited in antiques generally almofl: naked, juft: covered in fome parts with the fkins of wild beafts, or very thin drapery.
[4]	Ovid, Metam. iv. at the beginning, among the things they were obliged to obferve who prepared themfelves for the orgies of Bacchus, reckons, “ Crinales “ folvere Vittas.” And Virgil, Aeneid. vii. 404.
“ Solvite crinales Vittas, capite orgia mecum.”
On marbles and gems the Bacchants are frequently reprefented in thofe geftures in which Catullus defcribes them:
“ Ubi capita Maenades vi jaciunt hederigerae.”
And Virgil, Aen. vii. 394.
---------“	Vends	dant	colla, comafque.*’
And in the fame airs, appears the figure exhibited by Spon. Miß. Erud. A/M. p. 21. tab. xlvi. with a cymbal in her hands. Our figure is lefs agitated.
[5]	We have already remarked, that this inftrument was called by the ancients tympanum; correfponding to what the Tufcans call cembalo, and we, in common
with

I*I.XX.
with her right, in order to accompany the dance [7] with mu-fie. She has a beautiful necklace round her neck, and a double row of bracelets on each arm, feemingly of pearls [8]:
fpeech, tamburello. Suidas, in Tvyaruvov, writes: This inflrument, which the bacchants carried, was formed of ßins, and was firuck with the hands. The learned diftinguifh the tympana into heavy and light: the former were fometimes of brafs, covered with fkins; and were ufed in war like our kettle-drums: the latter were made of a wooden hoop, covered on one fide with a fkin, refembling a fieve, and exa&ly like our cymbals. There are many paffages in ancient authors to prove it : in Pignorius de Servis, p. 168, &c. in Spoil where juft quoted, and in Mif Rom^ tom. ii. fed. iv. tab. vii. and viii. are collected and explained various forts of drums and cymbals, with plates of metal on fome of them, like this of ours, and with bells on others.
[<5] Suidas, after the fcholiaft of Ariftophanes in Plutus, derives the word Tuparocvov from tu7tJhv to flrike; the light tympanum being ftruck with the hands,, the heavy one with fticks. Others infift, that the word comes from the Syriac, and believe thefe inftruments to have been introduced into Rome by Syrians. See Voffius, EtymoL under Tympanum, and Hoffman on the fame word. We fliall fay a few' words upon this fubjefl, in illuftration of fome pieces reprefenting certain things, relative to the worlhip of Ills; and in the notes on the following plate, we fliall explain the difference between the tympanum and the cymbalum. It has already been, remarked elfewhere, that Agoffmi, Gem. Ant. P. i. p. 30. diftinguifties two forts of light tympana, or cymbals; faying, that the bottom of one kind was of parchment which was ßruck with the palm of the hand; that the other wasßiaken in the air to the found of thofe moveable rattling plates of brafs which are hung round it (as in this pitture"), and in the ancient marbles of the bacchants. On a cymbal exhibited in the prints of Ovid’s tomb, by Barfoli, tab. xxxiii. we meet with bells.
[73 Sidonius Apollinaris, ix. epiß. 13. and Plutarch ix. fymp. qu. 15. already cited, make mention of the dance of the bacchants. Plato, vii. de Leg. and Lucian deSaltat. fpeak of bacchanal dances. Euripides, in Bacchis, v. 377, &c. reckons linging, dancing, and playing, among the attributes of Bacchus. Arißophanes, in AcJoarn. ad. iv. fc. vii. v. 23. among the apparatus of a banquet for the feftivals of Bacchus, names alfo female dancers. See the Scholiaft upon the place. Clemens Alexandrinus, Paed. ii. 4. mentions among other things which he would have banifhed from their feafts, the drummers and minftrels. Arnobius upbraids the heathens with the obfeenities which were committed by fuch women dancing with, inftruments of this fort in their hands.
[8J Befides what has been obferved on Plate xviii, Pliny, xxxiii. 3. fays: “ In-“ ferta margaritarum pondera e collo dominarum auro pendeant, ut in fomno' “ (fome read fono) quoque unionum confcientia adfit.” Seneca de Benefic. vii. 9. alfo declaims againft the luxury of the Roman ladies in the article of pearls. Scae-vola, I. 26. ad Leg. Falcid. fpeaks of the rows of pearls: “ Lineam margaritorunv “ triginta quinque legavit.” Capitolinus, in Maxim, jun. c. 2. mentions the “ Mo-“ nolinum de albis,” or lingle firing of pearls. And iu the Gloffaries we read of rsjwihiwv, quadrifilum gemmarium,
her
ner very thm [ 9 habit is white [_I0J> with a red border [_i ij ;
\
[9]	Jerom in Helv'ul. “ Ingrediuntur expolitae libidinis vi&imae, et tenuicate {( veltium nudae improbis oculis ingerunturnor does the holy father exaggerate. Horace, lib. i. fat. ii. ioi. fpeaking of the women of pleafure, fays:
“ Altera nil obflat: Cois tibi pene videre ell
li Ut nudam.”--------
Seneca de Eeneßc. vii. 9. fays of the matrons: “ Video fericas velles, fi velles vo-“ candae funt, in quibus nihil eft, quo defendi aut corpus, aut denique pudor “ poflit : quibus fumptis, mulier parum liquido nudam fe non elfe jurabit. Haec' “ ingenti fumma ab ignotisetiam ad commercium gentibus accerfuntur, ut matronae “ noftrae ne adulteris quidem plus fui in cubiculo quam in publico oltendant.” Such garments were called malticia. The Scholia!! of Juvenal, on fat. i. v. 66. fays: “ Multicia, vefles molli intextas fubftamine quibus folent uti puellae.” See Demftcr on Rofinus, v. 31. concerning the variety and ufe of all thofe tranfparent veils. The artilts who made thefe delicate robes were called A57fjafoi and tenuiarii. In Rcinefus, clajf. xi. 77. we read: Tcxtrix veßiaria tenuiaria. See the learned commentator on this place.
[10]	Plutarch, in the Roman ^ueßions, probl. xxvi. writes, that the ladies wore
white in mourning. This cuftom was particularly obferved under the emperours; and indeed in all the hillory of the middle age of the empire, white fignified a widow, on account of the continual mourning which fhe wore. Again the Athenians had a Law from Zaleucus, by which it was ordained, that ladies of education and character fliould appear in public clpathed in white, and the-courtefans fliould be obliged to wear coloured-drefl'es. Suidas, in EtoUowv and	The fame was
obferved in Syracuse, as Athenaeus remarks, xii. 4. From the whole it may be concluded, that a drefs of this fort was not peculiar to a dancer, or minltrel. But on the other hand we may remark, that whether we follow the fentiment of Ferra-rius, who maintains that the Homan ladies always drefled in purple, and that it was «afily fuppofed that they ufed white only in mourning (Fcrrarius, p. i. de re veßiaria, iii. 17.); or adhering to the opinion of Porphyrien, on v. 36'. of the fecond fdtire of the firlt book of Plorace (c< Albi autem non pro candido videtur mihi “ dixifle; quum utique poffint et vulgares mulieres, etiam meretrices candidae ellai
fed ad vellem albam qua matronae maxima utuntur relatum ell5,)> we diltinguilh betwixt album and candidwn. Indeed Scf'-vius, on v. 83. of Virgil’s third Georgic, fays: “ Aliud ell candidum elfe, id ell, quadam nitenti luce perfufum : aliud album, “ quod pallori conllat elfe vicinum.” Though, to fay the truth, this dillin£lion is not altogether fatisfaflory. Some, as in the firll place they have engaged to make it appear that it never was a conhant, nor even a common, or general cultom, to wear white in mourning ; fo they have Ihowed that all thefe dillinftions in drefs, between the matrons, the women of the theatre, and thofe of the town, were perpetually confounded by fome abufe. In Turpilius, as quoted by Nonius Marcellus, cap. ii. n. 497. a matron complains, that the courtefans purfued their occupation in the drefs of the matrons. i\nd 'Jkrtullian, Apolog. cap. vi.—“ Video-et inter ma-“ tronas atque prollibulas nullum de habitu diferimen reli&um.,, And more largely dc Cultu Foeminarum, cap. xii. “ Aut quid minus habent infoelicilfimae publicarum “ libidinum viftimae? (^uas fi quae leges a matronis et matronalibus decorameniis “ coercebant, jam certe laeculi improbitas quotidie infurgens honeltiffimisquibufque
foeminis ul'que ad errorem dignofeendi coaequavit.” And this abufe was not re-
and the drapery is well defigned : the fandals [12] are bound with red ribands.
moved before the time of Theodofius the Great, /. x and xi. Cod. Theod. in cit. tit. de Scaenic.: and hence they infer the impropriety of flopping to examine fuch matters as admit no certain conclufion. Laflly, others have thought, that without entering into thefe refearches, and any of thofe matters which concern not the point in queftion, it is fufhcient to fay, that the drefs of our cymbalifl is not fnnply white, but bordered with red; and befides, that it is not a tunic, but only a mantle, or palla: and therefore they will have it, that as Homer, Odyjf.E. fays,
“ Ajyyvpzcv (poifJgy jXcFoc svvvjo mpty'/}.” fo the painter gave to this figure the white mantle. They difcover fome relation to Bacchus in the conjunction of the two colours white and red : for as red was the proper colour of the Bacchants, fo in the Naucratic diftriCt, during the folemniza-tion of the orgies, the priefts were all apparelled in white. Athenaeus, iv. 12. And they conclude, that for the fame reafon which Apuleius, Met. viii. afligns why fome of the miniflers of the goddefs Cybele wore Tunicas albas purpura circumßucnte, our prieflefs is exhibited with a white mantle, bordered with red.
[n] “ Limbus (fays Nonius) muliebre veftimentum quod purpuram in imo ha-“ bet.” And Ifidorus, xix. 33. “ Limbus eft quem nos ornaturam dicimus. Faf-iS ciola eft quae ambit extremitates veftium : aut ex filis, aut ex auro contexta adfu-“ taque extrema parte veftimenti vel chlamidis.” It was alfo called inßita. Horace, i. fat. ii. 29.
“ Quarum fubfuta talos tegit inflita vefte,” on which Acren fays, “ Inflita vscpnrohov, tenuifhma fafciola quae praetextae adjicieba-“ tur.” “ Praetexta (fays Varro de Ling. lat. v.) toga eft alba purpureo praetexta “ limbo.” Young women alfo wore this fort of vefl till they were married ; whence Eeßus : “ Nubentibus depofitis praetextis, a multitudine puerorum obfcaena verba “ clamabantur :,J and hence verba praetextata came to mean obfcene fpeeches. Voffius, Etym. in' Praetexta. See Pollux, vii. cap. 13. where, in fegm. 52. he mentions i/Mijux vripiXsvyM, which were garments of purple, or any other colour, bordered with white. And on the other hand, in fegm. 6 3, he calls garments which had a border of purple ip.a\ia, vsspiTroppvpa. And the Praetexta is fo called by Plutarch, in Horn. Livy, lib. ii. dccad. iii. fays, “ Hifpani lineis praetextis purpura iC tunicis candore miro fulgentibus, confliterant.” See Bayßus de re Veßiaria, ~ ;cap. x.
f 1 2] Of fandals we fhall fpeak in the notes on the following plates.
VOL. I.
■N
PLATE
PLATE XXL bl
r » A H I S figure Coo reprefents a young and beautifully fliap-B ed woman dancing and playing.	The wreach of
ivy [2] with which her undifhevelled hair is bound; the fkin of a panther, or fome other beaft of that kind [ 3 ], which
[1]	Catalogue, n. 531. 7.
[2]	To be crowned with ivy, was cuftomary with thofe who celebrated the feafla of Bacchus. Euripides mentions it in many paffages of the Bacchae, and particularly v. 176 and 177. where Tirefias, exhorting Cadmus to folcmnize the orgies of Bacchus, thus informs him what he has to do:
“ Qvpcrag on/aifleiv, umi v&poov logag
(< Sts‘pxvnv Tf xpc&Ja xivvivoig ßXugyjpt.ua-iv.”
Thy brows with ivy twigs adorn, and wear The fawn's Jleek ßin j thy hands the Thyrfus bear.
Lucian, in Tragopodagra, diftinguilhes the prieffcs of Bacchus from others, folely by t-heir ivy. Bacchus himfelf was crowned with it. Pliny, xvii. 4, et Antiquitus * corona nulli, nifi deo dabatur ; feruntque Liberum patrem primum omnium impo-
fuiffe capiti fuo ex hedera.” Diodorus, i. 17. relates, that the firft cultivation of ivy was attributed to Ofiris, or Bacchus; and that therefore it was firft ufed in his feafts. Ovid, Faß. iii. 767, &c. fays, that the nymphs who educated Bacchus, in order to withdraw him from the fearch of the jealous Juno, concealed him under the leaves of ivy :
“ Cur hedera cintta eft ? Hedera eft gratiflima Baccho.
" Hoc quoque cur ita fit, dicere nulla mora eft. u Nyfiades Nymphae, puerum quaerente noverca,
“ Hanc frondem cunis appofuere novis.
Others aflign different reafons. The reader may confult Plutarch, fympof. iii. qiu 1 and 2. where he difeourfes largely about this plant, and the reafon why wine-drinkers crowned themfelves with it.
[3] Bacchus and his nymphs are cloathed with the fkins of panthers: either be-caufe the nurfes of Bacchus were changed into panthers, or becaufe thefe animals sxt very fond of wine. See Philoßratus, i. imag, xix, and Phornutus de Nat. Deo-
hangs
Tl.XXI.
hangs from the left fhoulder, and eroding her body flies about under her right arm ; and the cymbals [4] which (he holds in her hands, in the adt of founding them by (hiking one againft the other [5]:	are	circumffances	charadteriftic	of	a	bao
rum, in Baccbo, who give other reafons for it. They ufed alfo to wear the fkin of the fawn, which fkins were called K-Cp:$:-z.r Bollux, iv. fcgm. 118. and his commentators on the place. See Buonarroti in Cammeo del trionfo di Bacco, p. 438.
£4] Rubenius de re veßiaria, lib. ii. cap. ult. remarks, that fome absurdly confound the cembalo with the cymbalum ; the cembalo of the Tufcans correfponding to the tympanum of the ancients, as we have already obferved. Indeed Scrvius, on
v.	64 of the fourth book of the Jeneid, writes : “ Cymbala fimilia funt hemicyclis £< coeli, quibus cingitur terra.” And Augufim, on Bfalm exxx, “ Cymbala invi-££ cem le tangunt, ut fonent: ideo a quibufdam labiis noftris ccmparata funt.” Ca~ tullus thus diftinguilhes them, de Berecyntb. et Aty, v. 29.
£‘ Leve tympanum remugit: cava cymbala recrepant.” and Lucretius, ii. 618.
“ Tympana tenta fonant palmis, et concava circum
££ Cymbala-------”
The reader may perufe Pignorius de Servis, p. 163 to 168. Salma fats on Yopifcus in Carin. c. 19. Lampe de Cymbal, vet. ii. c. 1, &c. Span Mifcel. Er.Ant.fe6i. i. art.
vi.	finds fault with Gruter for calling cymbals crota'a : and Pignorius, in the treatife cited above, p. 173. takes notice of Agoftini for having tranflated tympanum by the word crotalo. The crotala are accurately diftinguiihed from other inftruments. Thus Apuleius, Met am. ix. p. 270. fays: cum crotalis et cymbalis. Some have imagined their true form might be collected from a pallage in Pliny, ix. 35. where he fays: “ Hos (margaritarum elenchos faftigata longitudine, alabaftrorum figura, in u pleniorem orbem definentes) digitis fufpendere, et binos ac ternos auribus, femi-u narum gloria eft. Subeunt luxuriae ejus nomina —liquidem crotalia appellant, ceu “ fono quoque gaudeant, et collifu ipfo margaritarum.” Then Pliny fpeaks of long and great pearls, lhaped like vafes for ointment, or (to exprefs it in our own way) like pears or pine-apples: and adds, that thefe pearls were called by the Roman ladies crotalia, or little crotala. The reafon afiigned for that (we arc told) was, that if one of thefe pearls were cut lengthways, it formed a pair of crotala. From a confederation of this fort, Pliny tells us in that chapter, that fome pearls were called tympana: “ quibus una tantum eft facies, et ab ea rotunditas, aterfis plani-<£ ties, ob id tympania nominantur.” And after him, Ifidorus, iii. 21. “ Tympanum
autem dittum, quod medium eft : unde et margaritum medium tympanum dicitur.” This explanation being admitted (as it feems to be a good one), the crotcla diffused from the cymbala only in this refpett, that the figure of the firft was oblong, and like a half pear, the fecond were perfectly round. Generally, however, all thefe inftruments were comprehended under the name of crotala, which were founded by ftriking upon them. Vojfius, Etymol. in Crotalum, derives that word from xpor;oo pulfo. Sarefberienfis, Policrat. viii. 12. tC Croton graece pulfus dicitur: et inde ££ cymbala lie dicuntur : vel muftcum notat inftrumentum, quod in fono vocem cico-C£ niae imitatur.’* Indeed the ftork is called by ?. Sirus, crotalißria, on account of
N 2	chant
chant [6J. The double bracelets are of the colour of gold [7].
the noife it makes in ftriking together the two bones of its beak. Eußathius, on Iliad xi. 195, fays: that the c rot alum was a certain inftrument made of earth, wood, or brafs, which was held in the hands to make a found with. Athenaeus, xiv. 9. mentions it. See Lampe in the place quoted before ; and Pignorius, both as above cited, and in the Mertfa Ifiaca, p. 67.
[5]	Gregory Nyjfenus, in Pfahn. cap. ix. fays, <c *7 ts xv/xCoika	to	xvpCczko'.-
crvyco&>:” The collifon of cymbal with cymbal. In the very fame action in which our cymbalift is figured, of ftriking one inftrument againft the other, are fome women of this kind reprefented, in feveral of Span's marbles, p. 21. tab. xj. xli. and xlii. in the laft of which the handles are two rings, like thofe in the piece before us; in the other two they are made like crofles. In fome marbles we find no handles, but the whole hemifphere is grafped in the hands. See Lampe, ii. cap. g.
[6]	] The ufe of the cymbal and drum in the feafts of Bacchus, is explained by ■Livy, xxxix. cap. 10. “ Eos deducere in locum, qui circumfonet ululatibus, can-“ tuque fymphoniae, et cymbalorum, et tympanorum, ne vox quiritantis, quum “ per vim ftuprum inferatur, exaudiri poflet.” But in general the ufe of thefe in-ftruments in the feafts of Bacchus and Cybele was to accompany the dancing. Lucian de Saltat. Ifidorus, iii. 21. exprefsly fays: “ Difta cymbala, quia cum balle-“ matica fimul percutiuntur. Ita enim Graeci dicunt cymbala ballematica. Ubi “ (adds VoJJius, Etymol. in Cymbalum) ballematica dixit faltatoria, five faltationi “ idonea. Sane pofteriores Graeci ßuKhifiv dixere pro ct.kXz<r9cit. Gloflae Grae-“ co-latinae : /3«AA/£w, falto. Imoquod imprimis ad Ifidori locum illuftrandum facit, *f apud Suidam legas : BaXkfnv, 1 a, xjupEaXu xjv7recv, xoa mp(&> tov vxhvuv Vfgpv cpyfur-“ Qcu.” And hence came the word ballo, dance. Hence perhaps it may feem, that this is a female mufician and dancer, reprefented to us under the character of a bacchant. Nor is it of any confequence that her hair is not diftievelled,’which was one of the bacchanalian chara&ers, as has been elfewhere obferved: fince Bellori, in explaining the piftures of Ovid’s tomb, in tab. xxxiii. where a nymph is exhibited with hair not diftievelled, and crowned with ivy, founding the cymbal whilft fhe dances with a young man who holds a Thyrfus in his hand, fays, they are both defigned for bacchants. And Montfaucon, tom. i. part. ii. /. i. c. xx. PI. clxiii. 3. affirms of a female figure, witfrher hair well bound up, and founding a cymbal, accompanied by a tiger, that flie is without doubt a bacchant. Befides, we meet with many fuch female figures on antiques, which though they are known to be bacchants by other fymbols, yet have not their hair diftievelled. However that may be, the women who played upon inftruments of this fort, and who were introduced at banquets, were called cymbalifiriae. Petronius, cap. xxii. “ Quum f< intrans (the triclinium) cymbaliftria, et concrepans aera omnes excitavit.” Cornelius Gallus (or whoever may be the author of the verfes which bear his name) thus defcribes one of thefe beautiful muficians, El. iv. 7, &c.
“ Virgo fuit, fpecies dederst cui Candida nomen,
“ Candida, diverfis fat bene comptacomis.
“ Huic ego per totum vidi fplendentia corpus “ Cymbala multiplices edere pulfa fonos.
tc Hanc ego faltantem fubito correptus amavi.”
Now as the beautiful Candida of the poet wore her hair elegantly drefled, fo does.
Her
Her drefs [8] merits obfervation. Her yellow [9] fhoes, tied with firings [10] of the fame colour, refemble modern pantofles [11].
this figure too ; and the three alfo in Spon, whofe attitudes are not lefs forced than that of the figure before us.
[[7] Anciently bracelets ufed to be worn upon one arm only : the Sabines wore them on the left: according to Livy, i. n. the Orientals wore them on the right. Ezechiel, cap. xxi. v. 24. At firft the men only wore them, and they were a reward which foldiers received in recompence of their valour, lfidorus, xix.
31.	Afterwards the women began to wear them. Tertidlian de Pallio, cap. iv. “ Armillis, quas ex virorum fortium donis ipfae quoque matronae temere ufurpaf-“ fent, omnium pudendorum confcias manus inferit.” The ladies began with wearing them upon one arm only ; then upon both ; and at length two upon each arm. Pliny, xxxv. 3. fpeaks of the excefs which the Roman ladies were guilty of in adorning every part of their bodies with gold. They ufed to wear thefe ornaments upon their ancles, and then they were particularly called compedes. See Ferrarius de re Vefi. iii. 17. Sometimes at the elbow, and not at the wrifl, as in the above-mentioned bronze of Venus in the Royal Mufeum. They feem then very properly to be called hrachialia, as Pliny, xxvii. 6. Riles them; although the word armillae is indiferiminately ufed to fignify fuch kinds of ornaments in what part of the body foever they were worn. See Voffius Etym. on the word armillae, and Bartkol. de Armillis, § ii. In a pifture of Ovid’s tomb, tab. xi. are two nymphs with bracelets on their wrifts, and on the upper part of both arms.
Befides the ftrips of fkin already mentioned, refembling a band or fafh, which goes over the left lhoulder, and eroding the body flies about under the right arm, (he has thepalla or amiculum, drefles properly belonging to the women of the theatre, and to dancers. The reader may confult Ferrarius, lib. iii. cap. 18 and 19. who wonders why the dancers wore fo many garments, and thofe reaching to the feet; when they ought to be fhort, and eafily manageable. This Palla is blue. Ovid de Arte, iii. 173. among the colours agreeable to women, places the fky-blue in the firft rank :
“ Aeris ecce color, tunc quum fine nubibus aer.”
And a little after,
‘‘ Hie undas imitatur: habet quoque nomen ab undis:
“ Crediderim nymphas hac ego vefle tegi.”
The learned think this to be the colour of fea-water, which refembles that of air. It was properly called cumatilis, Nonius xvi. 1. v“ Cumatilis, aut marinus, aut cae-“ ruleus. Tra&um a Graeco, quafi qui flu&uum fit fimilis: fluftus enim Graece “ jivpc&ja. dicuntur.”
[9] Balduinus de Calc. cap. viii. proves, that the colour of mens fhoes were ordinarily black, of women white. They were alfo red, yellow, or green. Yopifcus, in Aureliane, writes: “ Calceos mulleos, cereos, albos et hederaceos viris omnibus “ tulit, mulieribus reliquit.” The colour of virgin wax is yellow. Apuleius, Met am. viii. p. 260. fpeaking of the priefls of the goddefs Cybele, fays: “ Qui-“ dam tunicas albas in modum lanceolarum quoquoverfum fluente purpura depic-“ tas, cingulo fubligati, pedes luteis induti caiceis.”
[10] lfidorus,
[ioj Jjidorus, xix. 34. “ ObftngilU funr, qm per plantas confuti Amt, et ex “ fuperiori parte corrigia trahuntur, ut conftringantur: unde et nominantur.’' VoJJius, in Obßrigtl’.o, writes: u Antiqui obftrigillos vel obftr'gilla dixere vincula “ focculorum, vel calceos amentatos.”
[ 11] Balduinusy cap. xii. thinks, that at firfl the fandal was open, but that afterwards it was made like a fhoe, in being wholly covered and fattened by a Aring of leather, or fomething of that fort. It differed however with refpett to form and neatnefs; for whereas the fhoe had a longifh peak turning up, and covered not only the foot but alfo the middle leg ; on the other hand the fandal refembled the folea, and was equally neat; in a word, exactly like the pantofle of modern ladies. Sa/-maftusy IS’groniusy and Rubentus do not diftinguifh the fandal from the fhoe; holding that the fandal was always open. We (hall have occafion in feveral places, and particularly in illuftrating the Teprefentation of a fhoe-maker’s fhop, to fpeak more largely upon this fubjett.
PLATE
PI. XXu.
PLATE XXII. [-1
^‘TT^ HIS light and airy figure is covered with long and very X thin purple [2] drapery. Her right fhoulder and arm are bare [3], except that a very thin yellow veil [4.] crofTes
[1]	Catalogue, n. 531. 1.
[2]	Plautus, in the Aulularia, aft. ill. fc. v. introduces old Megadorus defcrib-ing the great inconveniences which large dowries bring with them, and pleafantly exaggerating the intolerable expenfes which the hufband is obliged to incur to fat-isfy the vanity of his wife. He enumerates all the trades which were employed to ferve the luxury of women. Among thefe he mentions the violarii, whom Ferra-riuSy i. de ReVeßiaria, iii. 21. explains to mean, “ eos, qui violae colore veftes “ tingerent.” Pliny, in lib. xxi. cap. vi. fays: “ Violis honor proximus—ex iis “ quae—purpureae—folaeque Graeco nomine a caeteris diftinguuntur, appellata la, <c ut ab his ianthina veftis.” It is not however a true purple, but Ts-optpvpo&fes, as the. letvQov is called by Hefychius. Pliny, xxxiii. 13. writes, that the ancients imitated the blue with violets. Whence Jerom makes the violet colour to be the fame with azure. Virgil, on the contrary, calls thefe violets black. Some have found a myftery in this colour of our nymph’s veil: both becaufe the poets have fabled that the earth frit produced violets to ferve as paflure for the young Io metamor-phofed into an heifer, who was believed to be the fame with Ilis; and becaufe the nymphs of Ionia anciently offered violets to Jupiter. Others, paffing by thefe al-lufions, have obferved with Ovid, iii. de Arte, that the colours of women’s dreffes are as various as the flowers which the earth produces: and that Martial, lib. ii. epig. 39. particularly attributes to women of plealure the purple coloured vefl.
“ Coccin.a formofae donas, et ianthina mocchae.”
[3]	If we may believe Ovid, who certainly deferves credit in thefe matters, the part of the ladies perfon which mod attracted the lover’s eye, was that which joins the fhoulder to the arm. Thus he addrefl'es himfelf to his fair difciples, de Aria-iii. v. 30.7, See.
“ Pars humeri tarnen ima tui, pars fumma lacerti
' “ Nudafit, a laeva confpicienda manu.
“ Hoc vos pvaecipue, niveae, decet------.”
Catullus, in Nupt. Pel. et Fbet.
“ Non contecta levi velatum peftus amictu,
“ Neq tereti flrop.hio luctantes viivda papillas
the
the arm juit above the elbow, and going over the brealt and hanging upon the left flioulder, flies about loofe behind. The long narrow leaves [5] which bind her light hair, the pitcher [6]
•where he diftinguifhes the fine veil which covered the bofom, from the zone which bound it. Periphanes, in Plautus, Epid. ad. ii. fc. ii. fpeaking of the luxury of the ladies, who every year invented new modes of drefs (“ quae vefti quotannis “ nomina inveniunt nova”), mentions a great number of female garments, and among them calthulam et crocotulam. Nonius thus explains them : “ Calthulam et “ crocotulam: utrumque a generibus florum tranflatum, a caltha et croco.” Now Virgil gives the caltha the epithet of yellow, Eel. ii. 50.
“ Mollia luteola pingit vaccinia caltha,” fpeaking of the nymphs who wove various forts of flowers together. And here the union of the yellow with the deep blue or violet, which agrees to the drefs of our nymph, deferves to be remarked. It has been obferved however by fome, that Varro in No?iius explains the calthula (according to the correction of Ferrarius, lib. iii'. cap.'xx. for it is commonly read caßula) as follows: “ Palliolum breve— “ quo nudae infra papillas praecinguntur, quo mulieres nunc eo magis utuntur, “ poftquam fubuculis defierunt.” And hence they infer, either that the calthula differed from the caßula ; or that, however, this defeription ill fuits our picture. Whence others have had recourfe to the fupparum, of which, as we have obferved elfewhere, Lucan, ii. 263, fays:
--------“	humerifque	haerentia	primis
“ Suppara nudatos cingunt angufta lacertos.”
And Varro calls it a woman’s garment, quodpedus capiebat. See Manutius de Tunica Romana. But, however, this is not fatisfactory ; and Ovid's Fafcia lata3 Art. am. iii. has alfo been rejected.
“ Quas tegat in tepido fafcia lata finu.”
The capitium has alfo been mentioned, of which Varro de Ling. lat. iv. 30, writes: “ Capitium ab eo, quod capit peCtus.” And the fame author in Nonius: “ eae “ peCtore ac lacertis erant apertis, nec capitia habebant.” See VoJfnis3 de Vit. ferm. i. 29. But it is manifefl:, that the uncertainty is dill the fame. Laftly, it has been advanced, that it may in general be reduced to the palla, or any other upper woman’s garment, girt in this manner the better to fhow her equipment for her office; or perhaps merely through the fancy of the painter. It is fufficient however to read the two feenes of the Aulularia and Epidicus above quoted, to be convinced of our ignorance in the article of ancient drefs. The refearches and controverfies of the learned upon this head have only produced greater confufion and uncertainty, even in thofe parts of drefs which we meet with very frequently in bas-reliefs and ftatues.
[5] They feem to be of reeds, or fome other fuch aquatic plant. This circum-ftance gave rife to a conje&ure, that it might be a Naiad. Thefe nymphs were in Bacchus’s train: and Tibullus iii. el. vi. v. 57. lings thus:
“ Naiada Bacchus amat. Ceffas, o lente minifter ?
“ Tempera: annofum Martia lympha merum.”
But this opinion has met with obflacles.
[6j) Antiquaries call this veffel a Prefericulurn, although Feftus gives a different defeription of it, and calls it exprefsly “ Vas aeneum fine anfa, patens fummum,
which
which fhe holds in her right hand, the cUJh or bafon [7] in her left, and in which there are three figs [8], appear to be fo many diftinft marks of her chara&er [9]. She has a bracelet of a golden colour on her right arm [10], and fandals on her feet [11].
\
f< ut pelvis.” See La Change, tom. ,ii. fehl. iii. tab. iii. And Montfiucon, tom. ii. liv. iii. ch. iv.
[7]	Apuleius, Metam. ii. “ caenarumque reliquiis difcus ornatus.”
[8]	Bacchus was believed to be the firft cultivator of figs; whence the Lacedaemonians gave him the name of Sux/faj Athen, iii. 5. Paufanias, i. xxxvii. writes, that Ceres firffc gave the plant to Phytalus her hoft.
[9]	From the whole of our remarks fome have concluded, that fhe may have, fome relation to the Bacchanalia, in which it was ufual for every body to mafic, and dHguife themfelves under various forms: and that it might be meant to reprefent her here, offering the firff fruits of figs to Bacchus. Others difeover in her nothing more, than an attendant at a banquet. Others again challenge her for a dancer; of which opinion mention will be made in a note on the following plate.
[10]	Befides our obfervations on this fubjeft in various places, the reader may confult Buonarroti ne Vafi di Vetro, pag. 199.
[113 Sahnafus on Tertullian, de Pallio, upon the word Calceos, remarks, that there was the fame difference between the calceus and the folea of the Romans, as between the	and	m	of	the	Greeks; and adds, that calceus ftriclly.
denotes that fort of flioe which covered the whole foot; the folea covered only the foie, leaving the upper part of the foot open to view. Gellius, xiii. 20.. defines the folea to be “ omnia id genus, quibus plantarum calces tantum infimae tegun-(( tur; caetera prope nuda et teretibus habenis vinffa funt.” They belonged properly to the women, Manilius, lib. v.
“ Femineae veftes, nexae fine tegmine plantae.”
And in general the poets called them fimply Vincula. Tibullus, cl. v. lib. i. exaggerating the fervices which the poor lover pays to his miftrefs, fays:
“ Vinclaque de niveo detrahet ipfe pede.”
Vo Ls I»
PLAT E
P L A T E
XXIII. to
r ^ HIS nymph, with regard to the fubjedl, feems to be JL the companion of the preceding; though fhe differs in certain infignia, which diftinguifh her from the other in point of character. The chaplet appears to be formed of the blades of corn [2] ; the veft is white [3], and the veil of a full green [4] : in her right hand fhe holds a bajket, and
[1]	Catalogue, n. 530.
[2]	Some people allow nothing except the (talk of the privet to have been ufed in convivial chaplets. Blades of corn had relation to the festivals of Ceres, of which Ovid Amor. iii. el. x. 3 6. fays:
“ Deciderant longae fpicea ferta comae.”
[3]	White was the ufual drefs in the feftival of Ceres. Ovid. Faß. iv. 619.
“ Alba decent Cererem: vedes Cerealibus albas
“ Sumite.”
In banquets too, for the mod part, and on other joyful occafons, white drefles were made ufe of. See Stuckius Ant. Con. ii. 26. And at the meals of the emperours and of the Roman nobility, the attendants were dreft in white. See Suetonius in Domit. and his Commentators. Among the colours in requeft with gentlewomen, Ovid, de Art. iii. v. 189. reckons albenles rofas ; and v. 191. he fays:
“ Alba decent fufcas: albis, Cephp, placebas.”
‘Tibullus, iv. cleg. ii.
“ Urit, feu Tyria voluit procedere Palla :
“ Urit, feu nivea Candida vede venit.”
{[4] It may be faid to refemble the colour of leeks, which is the fame with that of young corn. The leek was famous among the devices of the Circenfian parties. The paffion of the ancients for the Circenlian games, and their prepofledions in favour of the parties, which were didinguilhed from each other by colours, are circumdances well known. See Panvinius, i. 10. Gracv. Tbef ix. p. 98. This didinftion of colours and parties took place not only in the circus, but alfo in the amphitheatre, and upon the dage. Caßiodorus, lib. i. epifl. 2, 27, and 33. See alfo Bulenger de Circ. cap. 48 and 49. To fuch a length was this madnefs carried, that in their banquets the waiters were didinguifhed by the devices of the abovementioned parties. Seneca, epiß. xcv. and de Brevitate Vitae, cap. vii. Peironius, cap. xxviii.
in
Pl.XXUL
f^S.Zanifiorrviru'iJü ftisi&ifir.
in her left a difh [5]. Her veft like that of the preceding figure flows loofe and ungirt [6]. She has not however like
and his commentators. Ferrarius, i. de Re Vefliaria, iii. 4. thinks, that from the cufiom of diftinguilhing fervants by the various colours of the Circenfian parties arofe that of drefling our footmen in liveries ; and it is probable, that the military uniform owes its rife to the fame original. Laftly, the laws of the emperours made to reprefs and reflrain in fome meafure the exorbitant expenfes the Romans incurred in decking and maintaining the charioteers of the circus, and the women of the theatre, may be feen in tit. v, vii, and ix, of b. xv. of the Theodojian Code\ where the reader may confult the very learned commentator. Rut the laws availed little: this party rage (till continued. It is obferved by hifiorians, as a remarkable circumftance, that Marcian was raifed to the empire by the parties of the circus. See the Cbron. Alexand.
[5]	Some people have difcovered in this and the preceding figures two dancers. Rollux, iv. 103. fays: that the dance called Cernopborum was performed by dancers, who held in their hands veffels, which they called Kspvcc. Atbenaeus, xi. 7. alfo fpeaks of the Cernopbora ; and Cafaubon writes thus: “ Fictile vas fuit multos “ cotylifcos in fe continens, quos fefto die quodam fruftibus omne genus implebant, “ et ex religionis avitae ritibus ad facra deferebant: proprium id fuit minifierium “ eorum, quos vocabant cernophoros.” Nowfince he fays that the Cernophori carried fuch veffels with fruit; amd fince Pollux, Hefychius, and Athenaeus, inform us, that many dances were performed with things of this fort in the hand, it may upon fome grounds be advanced, that thefe two women are dancing with the difh,, vafe, and bafket in their hands. See Meurfius in Orcbcßra, at the word
[6]	The feeing of this and the preceding figure with their garments loofe, made fome object to the opinion of their being two maid-fervants at a banquet, becaufe it was contrary to the known cufiom of convivial attendants, who were always pmecincli and alte cindi. See Stuckius Ant. Conviv. ii. 22. and Pignorius de Servis, pag. 104. where he obferves, that our deacons aflilt and minifter at the Lord’s fupper in garments loofe and flowing to the feet, on purpole to difiinguifli them from fervants. To this obje&ion it is anfwered, firft, that all thofe who attended at banquets were not fervants, and that even thefe fometimes wore their garments loofe. See Apuleius Met. ii. />. 53. Plautus Poen. ad. v. fc. v. and the Commentators. Secondly, that although both men and women ufed commonly to tie the tunic about the middle with fome fort of girdle, perfons of greater delicacy and refinement wore it loofe. Thus Pedo Albino-vanus, fpeaking of Mecaenas, to whom this cufiom was imputed as a fort of effeminacy, lays:
“ Invide quid tandem tunicae nocuere folutae,
“ Aut tibi ventofi quid nocuere finus And addreffing himfelf to him :
“ Lydia te tunicas juflit lafeiva fluentes “ Inter lanificas ducere l'aepe fuas.”
Ovid alfo, Art. Amat. iii. 301.
“ Haee movet arte latus, tunicifque fluentibus aura'.
“ Excipit”---------
O 2
her,
her, fandals on her feet, but flippers [7] ; and has her right arm and fhoulder naked to the bread: [8],
To which correfpond the fluitantes a minus of Prudentius (on which paffage fee Gronovius ii. obf. 7. and on Phacdrus v.fab. i.): indeed the tunica recinda, oxfoluta, of which Ovid, in Amor, and Arte Am. makes frequent mention, was the proper drefs of women of pleafure. Moreover, others have advanced, that the veil of the figure before us, and of the other its companion, cannot with certainty be called the tunica ; but that it ought either to be reduced under that fpecies of drefs fliled the tunica palliata, which ferved both purpofes of tunica and pallium at the fame time, as Hefychius and Pollux explain it in Efomide (faying that it was the vefl worn by comedians and fervants; that it had only one fleeve with a palliolum joined to it, and was called efomis, from its not covering the fhoulders): or elfe, that it ought to come under the general name of pallafoluta, fuch as (to omit all other jnftances) we meet with in the ancient monuments of Bacchus and his attendants; and thofe veils of a different colour from the vefl may be looked upon as fajeiae pedoris aut burnerorum, which were entirely agreeable to the character of the attendants at banquets. See Albert. Rubenius de Re Veftiaria, i. 13. It will here not be improper, once for all, to obferve, that it ought to occafton no furprife, if, in thefe notes, fo many different conje&ures are advanced without our being able for the moll part to form any decifion. As thefe notes contain nothing but the fubftance of difeourfes held by the academicians whilfl they were obferving the pictures, fo very few matters have paffed without controverfy. Thus, at the fame time that the plates were prefented to the learned world, with fhort and fimple explications, it wras thought proper alfo, for the end already mentioned, to join to them the reflections of each perfon, without depriving others of the free enjoyment of their own opinions.
[73 Balduinus de Calc. cap. xiv. pag. 139. fays: u Baxeae et crepidae integu-<( menta receperunr, quae fi talum excipias, pedes totos operientand in cap. xvi. pag. 164. he diflinguifhes the foccus from the crepida in this, that the former covered the whole foot, the latter difeovered the heel, as in the piece before us ; but Nigronius and Rubenius make the crepida always to have been like the foleay open in the upper part.
The Latins called Gripping the arm to the breaft, expapillare braebium. Fcjhts, l< expapillaio brachio, exerto; quod quum fit, papilla nudatur.” And Nonius, “ expanillato brachio quafi ufque ad papillam renudato.” Albertus Rubenius, in lib. i. cap. 17. writes: “ ut toga dexterum humerum excludebat, ita “ ftola, exclufo quoque eodem humero, in finiflrum brachium rejiciebaturbut this feems to clafh with the affertion of Horace, who fays: “ Matronae (whofe “ habit the jlola was) praeter faciem nil cernere poffis.” See Ferrarius in Analcd. cap. 24.
PLATE
PLATE
XXIV. [■]
THIS picture, not inferior in any refpcdl in beauty or perfedtion to the reil of its companions, exhibits to our view a female figure dreft in a white tunic [2] and an upper veil of blue, with a red edging [3]. Befides the pendants of pearls and the fandals, the red riband which binds her forehead, and fallens the yellow veil [4] which inclofes her light
[1]	Catalogue, n. 53l.
[2]	Of the ufe of white cloathing among the women we have already fpoken in feveral places. It may fuffice to remark here, that Peace was habited in white. Tibull. lib. i. el eg. x. at the end :
“ At nobis, pax alma, veni, fpicamque teneto,
<f Perfluat et pomis candidus ante finus.”
[3]	Th is figure is fo modeft and fo decently clad, that it cannot be claffed among the Libidines, a character very agreeable to the two preceding pieces. The contrary however has*been maintained; and even Venus herfelf has been difco-vered in this figure, which conjecture (hall be explained prefently.
[4]	Many were the modes in which the women dreffed their heads, and many the forts of veils with which they covered their hair. This bandage, tied upon the forehead, feems to be a fimplc taenia, or fillet. Tcrtullicm de Veland. Virg. cap. 17. writes:	“ Mitris, et lanis quaedam non velant caput, fed conligant, a fronte
“ quidem proteflae: qua proprie autem caput eft, nudae. Aliae modice linte-“ olis, uec ad aures ufque demiflis, cerebro tenus operiuntur.” See Rain, de Pileo et cet. cap. tcg.feft. vi. who, in explaining the different fignifications of the mitra, will have it fometimes to be the fame with calantica, and that they both anfwer to our hoods, in covering the whole head. Junius is of opinion, that the calyptra denoted in general every fort of covering for the female head. Others infift, that it belonged properly to queens. Turnebus explains the caliendrum to mean the calyptra of the goddefies. Euflathius ad Iliad. 5. fays, that the Kp/jo-pvev was a covering of the head, which defeended to the fhoulders, and was bound about the head with a fillet: Saidas therefore calls it Kilci/.ohoriuov, though he afterwards confounds it with the pMp-ytcv, or veil. Menagio, in Orig. della ling. Ital. dciives caffia (the hood) from fcaphium, ufed by Plautus and Juvenal in the fame fenfe, as lie infills, upon the authority of Turnebus.
hair,
hair [5], is worthy of obfervation. The little bough with hanging fruit, feemingly citro?ts [6], which fhe has in her right hand; and the fceptre [7] of the colour of gold [8],
[5]	It is remarkable, that all thefe female figures, from tab. xvii. to the prefent, have light coloured hair. It has been obferved, that perhaps this circumftance ought to be attributed to the black back ground ; as the painter could not make the hair black upon fuch a ground.
[6]	Orpheus, quoted by Clemens Alexandrinus in -z^pojp. among other things confecrated to Bacchus, reckons:
(i MvM r;- •yjyjoxo', xc/.T'.a. veap Ecrnspi^cxv ?\.iFvpct)voev Now that thefe apples of gold were nothing but citrons, Athenacus, iii. 7. very plainly tells us, on the authority of Juba king of Mauritania, who, fpeaking of citrons, affirms that fruit to have been called by the people of Libya, the apples of the Hefperides, which were brought by Hercules into Greece, and faid to be of gold on account of their colour. For their rarity, they were not made ufe of for food in the early times, as one of the guefts in Athenaeus declares to have been the cafe among their anceftors; and Plutarch attefts the fame of the firft age after they were difcovered ; but they were preferved in boxes, to keep cloaths from being damaged by the moth, and to give them an agreeable fmell. It is therefore no wonder that the Spartans offered them to the gods, as Timachides, quoted by Athenaeus, obferves, and that they were dedicated with particular folemnity to Bacchus, who was celebrated as the author of all fruit. See Spanheim de Uf. and Pr. Numifm. differt. iv.
[73 The upper part of it was adorned with a frieze like a little capital, on the top of which there is a globe. We often meet with fuch kind of fceptres, ornamented in the fame part with fuch friezes. The fceptre of Jupiter had an eagle on the top of it, Paufan. v. 11. and of the fame kind was the fceptre prefented by the Tufcans to king Tarquin, which afterwards remained with the confuls. Juvenal, fat. x. v. 38. The fceptre of Juno, which Paufanias, ii. 17. mentions, had a cuckoo at the end of it, under the figure of which bird Jupiter firft enjoyed his filter. In the Iliac table, Ofiris and Orus have fceptres terminating in hawks heads, and that of Ifis in the flower of the lotus. Laftly, on a medal in Agoflini, dial. v. Cybele has a fceptre very much like that before us. The fceptre in the early ages was not only an enfign of gods and kings, but alfo of triumphant conquerors, as we may often obferve in medals. Now fome infiff, that the lady here reprefented carried the fceptre, on account of her bearing fome relation to Bacchus. Indeed in Ptolemy’s Bacchanalian proceffion, defcribed by Athenaeus, v. 6. there is a woman, who bears in one hand a crown, and in the other paQov <pomx.<&, which may with good reafon be called a fceptre: and in feveral ancient monuments we find Bacchus with a fiaff in his hand, in the form of a fceptre, which was alfo called Baculus. Sueton. in Nerone, cap. 24.
[8]	Some have thought this fceptre to be the enfign of the goddefs of peace, who on more than one medal is exhibited with a bough in one hand, and a fceptre, extremely like that which this lady carries, in the other ; whom fhe refembles too in the habit (lie wears, and in her head drefs. It is added, that peace might very well find a place in a triclinium, whether becaufe as Euripides, in Bacchis, v. 417» &v* fings of Bacchus:
which
which fhe holds in her left, are her chara&eriftics [9] ; al-
<c O ^oupoov 0 Ai&> irons,
“ XuipH fjLSv QuXtoitcrtv,
<c (LA« S’ cXCo$o]Hpotv ctprr
“ VCiV, KH^o]pc(pOV QiOCV.”
-Bacchus, fan of Jove,
Delights in banquets, and in peace. jR//V peace
Barent of riches, nurfe of youths--------
Or becaufe Horace, lib. i. ode xxvii. recommends peace at feftivals, and forbids quarrels, which he fays become only barbarians; glancing perhaps at the feaff of the Lapithae. It is agreed there is no improbability that this figure may reprefent Peace, every fort of fruit being in general her chara&eriftic; but it is remarked, that the bough which on medals is found in the hand of this deity, is ordinarily believed to be olive. The golden apples gave rife to two other conje&ures about this figure: fome being of opinion it is Juno, others Venus. Thofe of the firfl opinion had in their eye what Athenaeus, cap.xiup. 83. mentions of Afclepiades, who relates, that the earth produced the tree which bore this fort of fruit, upon the nuptials of Jupiter and Juno, to whom alfo the mythologies particularly affign the apples of gold. The fceptre is the fpecial fymbol of Juno, the queen of the gods; and Ihe is very often reprefentcd with it in antiques. The diadem or fillet, which furrounds her forehead, is given her both by artifis and poets for the fame reafon, Apuleius, Met. x. The yellow veil correfponds with the flammeum or fcarf, or that which brides ufed to throw over their heads; and therefore proper for Juno, the deity who prefides over nuptials. The azure upper-veft agrees to the goddefs of the air; Juno being ftiled by Orpheus, Hymn, in Junon. otspopofä&‘. Thofe of the fecond opinion have been equally happy in attributing the whole to Venus: for Athenaeus, p. 84. quotes the verfes of an ancient poet, who, fpeakingof the apples of gold, or of citrons, fays:	'
“---------They tell us, that in Cyprus' iße
“ Nought but the citron Venus planted.”
The fceptre is 110 inconfiffency in the hands of Venus, fhe being frequently called a queen by the Greek and Latin poets (as indeed all thegoddeffes were); and fome-finnes we find her reprefented with a fceptre. It has been already faid elfewhere, that the blue garment was, by Apuleius, attributed to Venus, as fpringing from the fea ; and from what has been obferYed above, the head-drefs is no way incon-fiftent. Now according to either of the conjectures, that the room in which thefe pictures were found was a cubiculum, or triclinium, either of thefe goddefies were properly fituated, if this piece hath any relation to nuptials. It has however been remarked, that Venus and Juno are confounded with each other, and indeed mean the fame deity, where nuptials are concerned: and the women ufed to oiler vow’s and facrifices to Venus to obtain good husbands for their daughters. See Nat. Com.
ii.	4. And on the fuppofition that our figure might be Venus pronuba, or maritalis, it has been faid, that the fceptre was a very proper enfign of that dominion which the wife enjoyed in domeftic affairs: hence, as foon as the bride entered the houl'c of her husband, the keys were configned to her. Fefius under Clavis. The reader may confult Arifiophanes, Condon, v. 182, &c. And to this purpofe the cuffom of the Egyptians may be remarked, among whom the wife ruled in the private con-
though
though not flieh as fuffice for our entire information, and to remove all doubt [io].
cerns of her husband, and he in the marriage ceremony promifes to obey her. See-Laurcntius de ßponf. et Nupt. cap. ii. We may add farther, that the other figures of the preceding plates (which are indeed not very indecent) correfpond with this conje&ure.
[9]	There have not been wanting fome who will have this figure to be a dancer.. Yet others obferve, that figures being put into dancing attitudes is no proof that they are really fuch; but that it is rather an artifice of the painters to give an air of lightnefs to their figures, where they are not {landing upon a ground. And indeed the women of falhion generally minced their fteps in walking as if they were dancing. See Ovid, Art. iii. 300, &c. and Burman on the paflage.
[10]	All thefe conjectures have a plaufible appearance ; but none of them can pretend to certainty: and as the libidines, the conviviay and all the other conje&ures. lucceflively advanced, fo thefe lafl: have not efcaped great opposition ; it being im-. poflible ever to form a fyftem which will hold in every refpedU efpecially on the whimfical fancies of painters.
PLATE
rr. w,
PLATE
XXV. CO
n^HE centaur, whofe upper part is bronze, and lower S part afh-coloured [2], has his hands tied behind him, and is in a pofture of running. Upon his back he carries a half-naked bacchant, who holds him by the hair [3] with her left hand, and feems about to pufh him with the ftaff of her
[1]	General Catalogue, n. 529. 4.
[2]	Virgil, (Georgic. iii. ^.83.) fpeaking of the colour of horfes, fays:
“--------Honefti
“ Spadices glaucique ; color deterrlmus albis,
“ Et gilvo.”
Where Servius remarks, gilvus eß color melinus \ but Ifidore, xii. 1. explains it more clearly to be color melinus fubalbidus, the colour of honey, but whitißi. The gilvus feems to be the fame with the cinereus, or afli-colour, which is called by the Greeks <0-71-o&ica@j, and	Ifidore, in the place quoted above, feems
to have made this colour the fame with the dofinus ; for, fpeaking of the colour of horfes, he fays: “ Dofinus di£tus, quod fit color ejus de afino: idem et cinereus. “ Sunt autem hi de agrefli genere orti, quos equiferos dicimus, et proinde ad urba-“ nam dignitatem tranfire non poffunt.” Hence, perhaps, the painter has made life of this colour, in order to exprefs the favage and ruftic nature of the centaurs; or elfe to indicate the weaknefs implied in his being bound by a woman. Accordingly Virgil fays:
-------- {{ color deterrimus albis,
“ Et gilvo.”
Upon which Daniello remarks, others are called Dofolini; thefe are of two forts, grey and forrel: the firfi are of no value, and the fecond are efieemed very hllle. Galen, de ufu Partium iii. obferves, that thofe are fpirited horfes which have white feet. But we fhall examine the opinion of Virgil upon the white colour of horfes, in note [73 upon Plate xxvi.
[3]	The hair of the centaur is light, as is alfo that of the bacchant; hers is difhevelled and fpread abroad, as if blown back by the wind ; in a direction contrary to that in which the centaur is galloping.
Vol. I.	P	thyrfus
thyrius [4], which file carries in her right. The connexion which the centaurs [5] had both with Bacchus [6] and Ve-
[4]	It is by this mark that we difcover the woman to be a bacchant; there is no other particular that will ferve to diftinguifh her, for the dilhevelled hair is common to all the nymphs.
[53 Ixion, becoming enamoured of the queen of heaven, and forgetful of that gratitude which he owed to Jupiter for his generous entertainment, had the aflur-ance to attempt the violation of Juno : the goddefs, by the advice of her hufband, placed before him a cloud exa&ly reprefenting herfelf: from this union there fprung a fon, who was fo proud and aukward, that he was the averfion both of men and gods. The care of his education was committed to the nymphs upon Mount Pelion in Theffaly, and by them he was named	From the unnatural union of
this man with the mares of that place, tvere thefe monfters produced, with the upper parts of men, and the lower parts of horfes. In this manner the ftory is related by Diodorus Siculus, iv. 69 and 70. ; and elegantly defcribed by Pindar, Pytb. Od. ii. Galen, de ufu Partium iii. undertakes to make it appear, that fuch a fort of union is wholly repugnant to nature, concluding that every thing is allowable in poets. Many endeavour to make a true hiftory out of the fable: Tzetzes will have it, that a queen of Egypt, in order to deliver herfelf from the importunate defires of one who was her husband’s gueft, made a Have whofe name was Aura fupply her place. Palepbatus, on the other hand, thinks, that certain young men of a place in Theffaly, called Ne<p;-Ay, who were the firft that rode on horfe-back ; by purfuing fome bulls occafioned their being thought half men and half horfes, and gave rife to this fable of the centaurs •, or as the word fignifies, ftrikers of bulls. Others affirm, that the bippoccntaurs were nothing more than the. firfl who broke horfes, and made ufe of them in battle, and for that reafon were called i7T7Tox.iyjcpig. Finally, the contefl between the ancient Greeks and Romans, the facred and prophane writers, concerning the phyfical or fabulous exiftence of fuch monfters, is well known; of this fee the learned Bocbart, Hieroz. P.\\. lib.\i. cap. x. It is faid, that Caefar’s horfe had his fore-feet refembling thofe of a man. Pliny, Nat. Hiß. viii. xlii. and Suetonius, Caef. c. lxi. Paufanias alfo, v. 19. mentions a piece of ancient fculpture, in which a centaur is reprefented with the forefeet of a human form, and the hind-feet only like thofe of a horfe. In all the ancient monuments, however, which are now extant, the centaur is conftantly reprefented as in this pifture.
[6] In antiquities which relate to Bacchus, we often meet with this god drawn upon his'car by centaurs: it may luffice here to mention the beautiful Cameo, in the Carpegna Mufeum, illuftrated by Buonarroti, who affigns the two principal reafons of this connexion of Bacchus with the centaurs: the firft of thefe is, that they are feigned to be very fond of wine ; whence Nonnus, in Dionyf. xiv% 2.66, fays, concerning one of them:
“ K<xi Uccjvpajv zocKv	moOov	civov.”
He is much more greedy of fweet wine than the fatyrs.
The fecond reafon is that which Sarisberienfis Policrat. i. 4. gives; that even Bacchus himfelf is reckoned among the pupils of the centaur Chiron.
nus
nus [7] is fufficiently notorious; and the remains of antiquity furnifh us with fubjefts refembling [8] this pi&ure, which [9]
[7] The centaurs are feigned to be as intemperate in luA as in wine; and as we have before obferved, that under the figures of fauns and the like, the crafty in-fnarers of the nymphs are defigned to be reprefented; whence that of Horace,
iii.	ode xviii.
“ Faune, Nympharum fugientum amator fo perhaps, under the forms of centaurs, their fierce and brutal ravifliers are intended to be exprefled. The fabulous hiflory of thefe monflers will furnilh us with many inflances of this. Befides the violence attempted by the drunken centaurs at the marriage of Pirithous, which has been already deferibed in the notes to Plate ii.; befides that well known and impudent attack of Neffus upon Dejanira the wife of Hercules in fight of her husband, and for which he was Ihot by him with an arrow ; Diodorus Siculus, iv. 12. tells us, that Hercules alfo put to death the centaur Omadus for having ravilhed Alcione the filter of Euryltheus: Apollodo-ras, iii. 9. relates, that the virgin Atalanta killed the centaurs Rhetus and Ileus who had a defign upon her challity: and Ptolomy Hephaeßion, in Pholius, cod. 190. reports, that the fyrens were called centauricidaey becaufe they had Hain many centaurs who were enamoured of them. If then the centaurs were attendants upon Bacchus, and fo prone to intemperance in wine, and fenfual pleafures, it is eafy to conceive why Acragas engraved bacchants and centaurs together upon his drinking cups. See Pliny, b. xxxiii. c. 12. and why upon a gem in the Carpegna Mufeum, mentioned by Buonarroti, p. 436, a centaur is reprefented with athyrfus in his hand, and a bacchant upon his back, who is Aruggling to get loofe from his arm, with which the monfler embraces her.
j[8] In a group at the Villa Borghefe, explained by Maßfei, among the Statues, t. 72 to 74, a centaur is reprefented with his hands tied behind him, and Cupid feated upon his back, crowned with ivy, and taking hold of him by the hair. A cornelian, in the Barberini Mufeum, mentioned by La Chauffe, Lhef. Erud. Antiy. tom. i. fed. i. tab. li. has the fame fubjeft, excepting only that Cupid is not crowned with ivy. Maffei and La Chauffe explain thefe pieces allegorically, by the power which love has over all, even thofe whofe minds are of the moft rough and lavage nature.
[9] Some perfons are of opinion, that this pifture is of the lame kind with the centaur above-mentioned at the Villa Borghefe : and as in that group the fculptor has reprefented Cupid, as having bound the centaur, and triumphing over him, and Bacchus, who is fignified by the fymbol of the ivy; fo the painter of this piece has exprefled the fame thought by a beautiful bacchant. To this purpofe Tibullus, eleg. i. 8.
tc Ipfa Venus magico religatum brachia nodo “ Perdocuit multis non fine verberibus.”
And Propertius, iii. 23.
“ Vindlus eram verfas in mea terga manus.” to exprefs the Mvilh patience of lovers in bearing with the imperious behaviour of their miftrefles. Others, however, will have it, that in this pi&ure fome bacchanc is probably reprefented, who is beloved by the centaur, and rides upon his back in the fame manner as Achilles in Philoßratus, Icon. ii. 2. and in Tzetzes, chil. vii.
P 2	indeed
indeed has a great deal of beauty and expreliion. The height of the pidlure is one palm, the breadth five palms.
194. is represented riding upon his mailer Chiron. And if Ihe guides him by his hair, with his hands tied behind him, and pulhes him only with the but-end of her thyrfus, not to kill him, but only to direct him according to her will; it Ihould feem that Ihe is in an adlion fuch as is expreffed by that thought of Ovid, epifl. ix. v. 73, 74. where he fays of Hercules, when he was under the command of the beautiful Iola:
“ Inter Ioniacas calathum tenuifle puellas “ Diceris, et dominae pertimuifle minas.’* and v. 81, 82. (if indeed thefeverfes be Ovid’s):
“ Crederis, infelix, fcuticae tremefattus habenis “ Ante pedes dominae procubuiffe tuae.”
Others in general remark, that Pliny, /. xxxvi. c. 5. reckoning up the fine pieces of Sculpture which were at Rome in his time, obferves, that among the moll beautiful of thofe which were collected by Afmius Pollio, there were “ Centauri Nym-“ phas gerentes Archefitae.” They add moreover, that a certain mythologill, relating how Neflus in carrying Dejanira over the river Evenus would have ufed violence towards her, remarks, that the centaurs ufed to place themfelves at the banks of rivers, to carry over women and afterwards abufe to them.
/
PLATE
hl
PLATE
XXVI. M
TH E handfome female centaur [2] who is fo elegantly figured in this picture, "carries upon her back a girl cloathed in yellow drapery [3]: fhe is eafily difcovered to be a bacchant by her thyrfus, which fhe holds in her left hand; and by her hair, which is partly loofe, and partly tied up in a
[1] N. 529. 1. in the catalogue.
[23 The firfl: who reprefented female centaurs was Zeuxis. This excellent painter was much inclined to novelty, and did not employ his pencil upon trite fub-ie&s, but bellowed the whole of his art on thofe which are uncommon and lingular : fuch is the chara&er which Lucian gives of him. After deferibing minutely 2 picture of his, reprefenting a female centaur giving fuck to her young ones, he concludes that this piece was principally admired for the novelty of the invention, and for the fubjeff, which had not before been treated. From this palfage it Ihould feem we may infer, not only that Zeuxis was the firh who painted this fubjeft, but that it was alfo his own invention. Indeed Philoßratus begins the third chapter of his fecond book upon pictures (where in deferibing the female centaurs he feems to have this fame pi&ure in his eye) with thefe words: “ you would fuppofe that the breed “ of centaurs fprung from oaks and beeches, or rather from thofe mares only with “ whom they fay the fon of Ixion was concerned; from which union came cen-taurs of a double nature: but thefe have mothers of the fame fort; they have “ wives alfo, and children, and dwellingsas if it were new, and unknown before, that the centaurs had females among them. The ancient poets make no mention of them. Ovid, Met am. xii. 404, &c. feems to have been the lirli' Latin poet who has fpoken of them:
“ Multae ilium petiere fua de gente: fed una tc Abllulit Hylonome : qua nulla uitentior inter “ Semiferos altis habitavit femina fylvis.”
[3] This colour alfo is fuitable to the garments which the bacchants Wore. Non-ms, Dionyf. xiv. v. 160. fays, that Bacchus, when he was changed into a girl, appeared in yellow:
<c M/pjAij y^ozo7TS7r?^ fg «mot (pc+aßo
knot
knot [4]. In the centaur, beiides the green drapery which defcends from the left {boulder acrofs the loins [5], it is ob-fervable, that her ears are {harp, and refemble thofe of a horfe [6], that the brute part is extremely white [7], and that
C4H Virgil}	defcribing Dido as dreffed for hunting, Aen. iv. 138. fays:
--------“	Crines	nodantur in aurum.”	'
to roll up their long hair, and to tie it in a knot, was charafteriflic of the Germans. Thus Seneca, epifi. exxiv. “ Quid capillum ingenti diligentia comis ? quum ilium ** vel effuderis more Parthorum, vel Germanorum nodo vinxeris.” Tacitus, de mor. German, cap. xxxviii. fays, that this is the diflinftive mark of the Suevi, who inhabited a great part of Germany. Juvenal alfo, fat. xiii. v. 164, 165, mentions the blue eyes of the Germans, their yellow hair, and their locks twilled into a knot. Martial, Spcfiac. epig. iii. calls the hair tied in this manner, “ crines in no-“ dum tortos:5’ and Seneca, de Ira. iii. 26, “ in nodum coaftos.” Now there are fome who think, that to wear the hair twilled in this manner is proper to the bacchants ; becaufe this kind of head-drefs approaches to the ferpentine knot which Horace, b. ii. ode xix. attributes to them ; this way of plaiting the hair refembling the knot into which ferpents naturally fold themfeives. Upon this fubjefl fee alfo Heinftus upon Ovid, epiß. ix. 86. and Art. iii. 139. Now Caßellanus, de Feß. Graec. in A tower, and Buonarroti, Medaglioni, p. 55. are of opinion, that to wear the hair either entirely dilhevelled, or in locks flowing over the neck, is fo effential to the bacchants, that they never have their hair tied up : but it has already been mentioned, that this was not always obferved by the artiAs; and, to omit other in-Aances, in the piftures of the Royal Mufeum we meet with women who have their hair tied up, and whom we know to be bacchants by their thyrfus, or fome other mark. See Muß. Rom. tom. i. fed. ii. tab. ix. and xi. However, the true Maenades had their locks dilhevelled, as we are informed exprefsly by Euripides, Virgil, and ' Ovid.
[53 The centaurs were ufually cloathed with the Ikins of wild beads, as we have feen Chiron was. Ovid, Met am. xii. -u. 414, fpeaking of the beautiful female centaur Hylonome, fays:
“ Nec nifi quae deceant, eleffarumque ferarum,
“ Aut humero, aut lateri praetendat vellera laevo.”
[6] Lucian, in deferibing the piflure executed by Zeuxis, tells us, that the female centaur refembled in her lower parts a beautiful mare, fuch as the Theffalian mares generally are; that the upper parts were thofe of a woman, extremely beautiful in every refpeft except her ears, which refembled thofe of fatyrs. Philoflra-tus indeed does not make this diflinftion: “ The female centaurs, fays he, if it “ was not for the horfe-part, would very much refemble the Naiades: if we con-<( fider both parts of them together, they are like Amazons.” In the pifture before us indeed the ears, with more propriety, are thofe of a horfe ; not of a goat, fuch as thofe of the fatyrs fhould be, and as we have already feen in two fauns, tab. xv. and xvi, and in a fatyr, tab. ix.
£73 Rhiloßratus, in the fequel of his difeourfe upon female centaurs, mentipns coats of three different colours, and fays, “ fome of thefe centaurs are joined to
{he
flie has a feftoon which Teems to terminate in two fmall handles, at the ends of which are two little buttons; one of thefe handles (upon which are two firings or ribands) The holds with her left hand over her head, the other with her right, which pafles under the girl’s arm, as if fhe was going to faften her with it [8]. If we will not allow this compofition to have
“ white, fome to bay mares ; in others a very fair woman rifes from a black mare.-'* Daniello, in his comment upon this paflage of Virgil, Georg, iii. v. 82.
--------“	color	deterrimus	albis
“ Et gilvo which he tranflates:
--------“	il	bianco	e’	peffimo,	e’l	cervatto
writes thus: “ in the fird place we mud remember that horfes are not like many other things called red, white, or black ; but the firfl are called bai, the fecond “ leardi, and the third morelli.” After having fub-divided thefe three principal colours, he fubjoins, “ How can it be faid that white is the word colour of all’, “ if the fecond place, both for beauty and goodnefs, be generally allowed to “ it? The poet feems to contradict himfelf, when in the Acneid he com-“ mends white horfes, and fays, that they fnrpafs the fnow in whitenefs, and the wind in fwiftnefs; whereas, here he fays they are the word. It ought, however, <( to be confidered, that in the Aeneid he is not fpeaking of a dallion, whereas in “ this place he is deferibing one that is mod perfeft; and in order to have a hand-“ fome and perfect breed of horfes, both the dallions and mares ought to be either “ of a dark or bright bay.” Whether this be diffident to reconcile Virgil with himfelf and others, or whether we mud have recourfe to Servius's didin&iori between albus and Candidas, or to any other confideration, let others judge. See ehart, Hieroz. p. i. lib. ii. c. 7. Thus much is certain, that white horfes have always been in efteem. Thus Homer, Iliad, x. 437.
“ Asvx.o]epoi	Phciv	cx.v-y.oiia	oyoio/P
“ More white than Jhow, and like the winds in /peed.'” which is imitated by Virgil, Aen. xii. 84. :
“ Qui candore nives anteirent, curfibus auras.”’
Who alfo, Aen. iii. 537, &c. affirms, that fnow-white horfes, candore nival/, are proper for war and triumphs. Servius, upon v. 543, fays, “ qui autem triumphat, “ albis equis utitur quatuor.” Propertius, iv. cl. i. 32, derives the cudom of ufing white horfes in the triumphal car from Romulus:
“ Quatuor hinc albos Romulus egit equos.”
But Livy, v. c. 23, and Plutarch, in the life of Camillas, affirm, that the fil'd who ever ufed fuch in triumphs, was Camillus.
[8] Thofe garlands, which hung from the neck over the bread, and were called-vno^viAiodns, of which Plutarch,. Sympof. iii. qu. i. makes mention, and Atkenacus, xv. p. 678 and 688, were fo named, (according to fome whom they quote, but whofe opinion however they difapprove) from Pvy.<^y, becaufe they placed the feat of the foul in the heart. Buonarroti, upon the Cameo reprefenting the triumph of
been.
been the creature of the painter’s imagination [9], it is not eafy to comprehend the meaning of it [10].
Bacchus, p. 447, produces a bas-relief, in which is Mark Antony habited like a Bacchus, with a necklace, fuch as we have in this picture. Schefferus alfo, de Torquibus, cap. xi. Graevii Thcf. xii. p. 940. is of opinion, that necklaces of this fort anlwered to the Bhalerac: we will here tranflate his words, becaufe they will ferve to illuftrate what has been faid : Between the Phalerae and the Torques there feems to be alfo this difference ; that the latter hung from both fides of the neck over the breaß, whereas the former came from one fide of the neck wider the oppofite arm, like a belt. There are fome figures upon Trajan's pillar with ornaments which I take to be Phalerae ; and a Bacchus in a marble bas-relief at Romepubli/hed by Guari-noni and others. Women formerly wore chains of gold, and military men f ill wear them in this manner, probably in imitation of the ancient Phalerae.
[[9] It may have reference in general to the Centauri Nymphosgerentes of Afinius Pollio, or to fomething of that kind.
[ho] As from the coupling of Neptune with Ceres when he was changed into a horfe, ihe brought forth a horfe ; fo it has been fuppofed, that from the coupling of a man with a female centaur, an offspring whofe form was entirely human might be feigned to have been produced : and accordingly it has been concluded, that the girl whom our female centaur carries upon her back, is her daughter. This opinion has alfo been fuppofed to be confirmed by a picture of Zeuxis's. Lucian lays, that the centaur holds one of her children in her arms, fucking at the human bread; as infants do ; while the other hands like a foal under her belly at the mare’s dugs below. And then he adds, “ of thefe two infants one is favage like its fire, “ and at that tender age is already terrible.” Hence it is concluded, that of this centaur’s two children painted by Zeuxis, one was entirely human, and the other part human and part horfe. But this conjecture meets with powerful objections: and’ Gronovius has corrected the paffage of Lucian fo as to have this fenfe, “ both “ the one and the other infant was, at this tender age, already become fierce and “ terribleand thus vaniflies all doubt and fufpicion of any difference between them.
PLATE
ri.xsvic.
PLATE XXVII. M
f g H I S centaur, though perhaps he may Teem to one who JL judges from the countenance only, to be reprefented by the painter rather as an elderly man than a youth, has however no beard [2]; his hair on the contrary is rough and difordered [3]. By the thyrfus which he carries over his
[1]	Catalogue, n. 529. 2.
[2]	The centaurs are commonly figured with beards: Nonnus, Dlonyf xiv. m 264, thus defcribes a centaur belonging to Bacchus:
“ Ysui KcccririV K$vjocvf>@y> syoov (pPi<rcrxo'av wr^y.”
<c A centaur with a rough and brißly heard.
And Zeuxis painted his centaur’s hufband “ A«cnev roc wo7.\a,” according to Lucian's account. But it does not therefore follow, that they are not fometimes alfo reprefented without beards. The centaur in Plate xxv. is of this kind : and in a cornelian in Muf. Rom. tom. i. fed. i. /. Hi. there is a young centaur without a beard, with a fpear upon his (boulder, and a helmet on his head. That which is here figured has an old meagre face, but without a beard. This centaur has been taken for an hermaphrodite ; and in confirmation of the opinion, this paffage has’been quoted from Pliny, xi. 49. “ Sicut hermaphroditis utriufque fexus: quod etiani “ quadrupedum generi nccidiffe Neronis pri'ncipatu primum arbitror. Ofientabat “ certe hermaphroditas fubjuges carpento fuo equas in Treverico Galliae agro reper-“ tas: ceu plane vifenda res elfet, principem terrarum infidere portentis.” But the fex of our centaur is fufficiently plain in the original. Whence others are of opinion, that this was defigned by the painter to exprefs their weaknefs and incontinence. See Galen de ufu part. lib. ii.
[3]	No fmall doubt has anfen whether this centaur has horns upon his head ; of fuch Nonnus, Dionyf. v. v. 615. fpeaks, when he is relating the ftory of the centaurs w'ho fprung from Jupiter in the illand Cyprus, at the fame time when he would have debauched Venus, who fhunned his embraces:
“ Tzjpwy svxsoccwy	yA-c	(pCJty.”
---------Hence	the two-colour cd race
Of horned monßers fprung.
commonly tranflated bicolor, of two colours; here it might be ren-
Vo l. I.	fhoulder.
fhonlder, and the cymbal which is hung upon it by a firing tied in a knot, he is eafily known to be a bacchant [4]. The horfe part is a bright bay [5]. He is teaching a young lad,
dered with more propriety, of two /kins, figures, or forms, for xpcce fometimes iignifies the ikin, or furface of the body. From a careful examination of the picture, it is plain, that the artift has fcrupuloully drawn the rough and difordered hair with theutmofl exa&nefs.
[43 The celeftial centaur in Hyginus, Aftron. Poet. iii. 37. has a bottle, or winebag, hanging from his right arm; and a fpear (the iron point of which is not wreathed with leaves, but naked) upon his Ihoulder : Proclus calls this Svp(roXoI%cy, others limply thyrfus. The Scboüaß upon Germanicus, on the article Centaurus, thus defcribes him: “ Quidam arbitrantur tenere in finiftra manu arma, et leporem ; “ in dextra vero beftiolam, quae S'/jpiov appellatur, et ßupa-uv, id eft, utrem vini ple-“ num, in quo libabat diis in facrario.” Either on thefe accounts, or becaufe Manillas, Aßron. i. 407. fays:
“ Et Phoebo facer ales: etuna gratus Iaccho “ Crater: et duplici centaurus imagine fulget:” many have been of opinion, that the celeftial centaur was an attendant upon Bacchus. But Ovid, Faftor.v. 379. exprefsly affirms, that it is Chiron. Germanicus, in his tranflation of Aratus, article Centaurus :
“ Iiic erit ille pius Chiron, juftiflimus omnes “ Inter nubigenas, et magni doiftor Achillis.” and Hyginus, ii. 38. are of the fame opinion. From all that has been faid, there may arife a doubt, whether the painter intended to reprefent the wife Chiron among the bacchants, from the mere caprice of his own fancy, or to /how that even wife men are the friends of Bacchus. Upon this fubjeft fee Plutarch, in the life of Cato.
QJ Ovid, in the paffage before cited, thus defcribes the centaur Chiron :
“ Nofle minus quarta promet fua fdera Chiron “ Semivir, et flavi corpore miftus equi.”
But as the colour of the horfe in the piece before us has a tendency to red, it cannot properly be called flavus, which is the colour of honey ; and from thence perhaps comes the Germany?//', and the Italian falbo: though others derive it from fulvus, which is a dark yellow, or tawny j and to which they fay it correfponds. On the other hand, it cannot properly be called badius, which is a colour between red and black, and agrees with the chefnut, according to that of Pajfo :
“ Bajo e caftagno, onde bajardo e detto.”
For this reafon we have called it bright bay [bajo chiaro\, as there are different /hades of this colour, according as it is more or lefs charged. Bay horfes are in general of a good fort: See Bochart Hieroz. p. i. lib. ii. cap. vii. where he has a long and learned differtation upon the colours of horfes. Daniello, in his comment upon this paffage of Virgil, Georg, iii. v. 8a.
------- “ honefti
“ Spadices glaucique.” fays, that the colour of the former of thefe refembles that of the date, or fruit of the palm; which is a dark bay, or chefnut : the latter is the colour of the bark of thofe fallow twigs with which the vines are tied and faftened together, and may with propriety be called a bright-bay.
whom
whom he holds with one hand and fupports flightly with one leg, to play upon the lyre [6]. The colour of the drapery which hangs down from the left flioulder of the centaur, and that of the young lad, is purple.
(j53 This indrument agrees well with the conje&ure that this centaur is Chiron; .he, as we have already obferved in the notes upon Plate viii., being extremely fkilful in playing upon it, and having taught Achilles the full grace of the indru-ment. There are fome indeed, who think it dränge to fee the lyre in the hand of a bacchant; fince it is well known that it was invented, or at lead: was particularly made ufe of by Orpheus, who was torn in pieces by the bacchae, for the oppofition that he made to Bacchus. Ovid> Met am, xi. 16. in his defcription of the murder of Orpheus by the bacchae, oppofes their indruments to the lyre:
---------“	inflato	Berecynthia	tibia	cornu,
“ Tympanaque, plaufulque, et Bacchaei ululatus “ Obdrepuere fono citharae.”
To this it is anfwered by others, that although Hyginus, Aßron.Poet. ii. 7. among the different opinions which he enumerates concerning the reafon of Orpheus’s death, fays, that it was done by the command of Bacchus, \tho was enraged with him becaufe he had not been celebrated by him ; yet Ovid tells quite another ffory, and relates, that Bacchus himfelf avenged the murder of Orpheus, by transforming thefe barbarous women into trees:
“ Non impune tarnen fcelus hoc finit effe Lyaeus, te Amiffoque dolens facrorum vate fuorum,
“ Protinus in fylvis matrcs Edonidas omnes,
“ Quae fecere nefas, torta radice ligavit.”
We learn alfo from Diodorus Siculus, i. 23. and others, that it was Orpheus himfelf who brought over the orgies of Bacchus from Egypt into Greece. Other arguments are alfo produced in defence of this opinion; and it is obferved, that it is by no means unufual to fee the lyre in the hands of the bacchants, and particularly of thofe centaurs who draw the car of Bacchus. Some beautiful antiques of this fort may be feen in Montfaucon, tom. i. part. i. /. iii. c. 17. pi. lxxxvi to Ixxxviii.
CL*
PLATE
P L A T
xx viii.io
f | ^ HIS picture greatly exceeds the three former its com-
JL panions, though they have beauty and elegance in them, and feem to be of the fame hand. Every thing in the centaur, who is a female, is full of grace and delicacy, and deferves particular attention. The union of the human with the horfe part is certainly admirable : the eye readily diftin^ guilhes the foftnefs in the fair complexion of the woman, from that brightnefs which fhines upon the white coat of the bead; but it would be puzzled to determine the boundary of each [2].
[1]	Catalogue, n. 529. 3.
[2]	In the three others this part is executed in a mafterly manner : but nothing can exceed the exquifite art with which the flefli of the woman is made to pafs in-fenfibly into the hair of the horfe in this picture. Lucian, in his Zeuxis, fed. vi. fpeaks thus concerning this part of a piece executed by him: “ the union of the “ two bodies, or the place where the horfe is fet on to the human part, is not to “ be perceived; the tranfition from the one to the other is fo nice as to elude the “ fight, neither is it poflible to difeover where the one begins and the other ends.’* The whole fkill of the artifl ought to be employed in this union; as Philoßratus obferves in his Chiron, Icon. ii. 2. ‘‘To paint, fays he, a horfe united to a man is “ nothing extraordinary ; but to blend them together, and to make each of them “ begin and end in fuch a manner as not to be able to difeover where the human “ part terminates, this, in my opinion, fhows the great painter.” The delicacy, and the mafierly touches which we fometimes meet with in thefe pi&ures, confirm us in the opinion that many of the painters were not ignorant of the art, but were generally carelefs, and did not always take the trouble of corredfing their firfl fketches; as they might eafily have done, fince we may fometimes obferve feveral layers of colours upon the flucco.
The
PL
The pofture of the left hand, with which flie touches the firings of the lyre [3], is elegant; and equally graceful is that by which fhe fhows herfelf defirous of touching with one part of the cymbal [4] which fhe holds in her right hand, the other part, which, with a fancy truly great and pi&urefque, the ar-till has placed in the right hand of the young man ; who embraces the woman clofely with his left, which paffes under her arm and appears again upon her fhoukler. The drapery of the youth is purple ; and that of the centaur, which hangs from her arm and flies behind her, is yellow:	the	head-
drefs [5], her bracelets, and her necklace [6], all deferve our
[33 It is in every refpeft like that in the foregoing piflure. See note [1 ij upon Plate viii.
[4]	Thefe cymbals are of a gold colour, as are indeed thofe alfo in the foregoing pictures. Dicaearchus, de Graeciae ritibus, in Athenaeus, xiv. 9. p. 636, writes thus: “ the crembali are inflruments much in ufe, and are proper for dances,
or to accompany ladies in finging ; if they are (truck by the fingers, they make an ** agreeable found. There is mention made of thefe in a hymn to Diana :
“ And others fing ; while in their hands they hold u The brazen crembali, wafh’d o’er with gold.”
Some are of opinion, that thefe inflruments are the fame with the caßancts : others ■confound them with the tympana: others again with the cymbals. See Cafaubon upon Athenaeus, v. 4. and Spon. Mifc. Er. Ant. fi6l. i. art. vii. tab. xliv. p. 22. However this may be, it is fufficient for us if thefe inflruments of brafs ufed to be gilt. Ißdore obferves, that they w’ere made alfo of different metals melted together, in order to improve.the found.
[5]	See Ovid, Met am. xii. 409 to 411, where he defcribes the pains which f/y-lonome took in dreffing and adorning her hair, in order to appear more beautiful in the eyes of Cyllarus.
The artifice of the painter in giving an ornament to the neck, equally worn both by horfes and women, is excellent. Virgil, Aen. vii. 278. fpeaking of Lati-nits’s horfes, which were prefented to Aeneas, fays :
“ Aurea pe&oribus demiffa monilia pendent.”
Lipßus, de Milit. Rom. v. dial. xvii. is of opinion, that the Rbalerae w'ere dif-tinguifhed from the torques, or necklace, by their hanging loofe over the bofom: “ Phalerae demiffae ad pe&us pendebant; torques flringebant magis, et ambiebant *( ipfum collum.” Juvenal, fat. xvi. v. ult. fpeaking of the prefents which the foldiers received in reward of their valour, fays:
“ Ut laeti phaleris omnes, et torquibus omnes.”
And Silius Italiens, xv. 255, alfo makes the fame diftin&ion :
attention.
attention. The back-ground of this, and the three preceding pidtures, is blue.
- - ■ — “ Phaleris hie peftora fulget: tc Hie torque aurato circumdat bellica colla.”
Schejferus, as we have remarked in another place, will have the phalerae to be the fame with the baltei. It is not however agreed among the learned upon what part of the horfe thefe phalerae were worn: fome infilling upon it that they were an ornament of the forehead, and the fame with the frontalia of Pliny : others that they hung over the chefl, and therefore correfponded to the monilia of Virgil: others again, that they were the entire furniture of the head, back, and chert.
PLATE
PI. XXIX.
PLATE XXIX. [■]
f" ff ^ H E pi&ures [2] which are engraved in the two parts of 1 . this plate have' a great deal of beauty and grace ; they are alfo in a pretty good manner, and the colouring is excellent. They reprefent two grand and lofty feats, whofe workmanfhip feems to be executed in a mafterly manner, and with great neatnefs: without doubt, v/e may fafely call them two thrones [3] with their footßools [4.] : the whole is painted of a
[1]	Catalogue, 11.4(55.
[2]	They were taken outof the fame place, Augud the 31ft, 1748, at Refina.
[3 J Homer didinguifhes three kinds of feats, 3pov(&,	and	The
throne belonged to thofe on whom they had a mind to bedow fome mark of honour or didin&ion ; and was fo high that it was neceflary to put a low (tool before it for the feet to reft upon. The clifmus was not fo lofty as the throne, and the back of it was not like that upright, but fomewhat leaning, in order to eafe the back by reding againfl it. The diphrus was a fimple bench, or (tool, fuch as was ufed by the vulgar. <Telemachus, Horn. Ody/f. i. 130. places Minerva upon a throne, whilffc he contents himfelf with a clifmus; a diphrus, on the contrary, is affigned, Odyjf xvii. 330. to Ulyjfes, when he appears before the fuitors in thechara&er of a beggar. See Odyjf. xix. 63. and in, 112. Thus Eufathius, upon Odyjf. iv. “The “ throne is a fuperb feat with a foot-dool, which is called Bpr,ws from BprpucrGoci to <e fit down. The clifmus, or couch, is much ornamented, and is ufed to recline upon. “ Of thefe the diphrus is the meaned.” Athenaeus had before made the fame ob-fervation, lib. v. cap. iv. p. 192, where he feems to make Spc\(& the fame with Stpvjvvg. Hefychius makes rJhH<rp& and Spo'/gr the fame. See alfo the Etymologicon under KA/cr^,©^, and Pollux, iii. 90. and x. 47. The didin&ion indeed between thefe three kinds of feats is not always obferved by Homer himfelf. In Iliad xxiv. he exprefsly makes the throne the fame with the clifmus; for after having faid, v- 5*5-
tf Autik c/.TCO Spcva xjuif he fubjoins, v. 597.
“ ES’ SV XÄKTVM	zAiV	«V
gold
gold colour [5]. The firft of them belongs to Venus [6] r the dove [7] upon the cufoion [8] is a certain fign of it 3 and
and in the feventh Iliad, he makes He&or fit upon a d'tphrus. It is alfo well known* that the Creek authors, when they are writing upon the affairs of the Romans, call the curule chair	Saidas,	under the word 0poy©n, obferves, that, by
throne is fignified the regal dignity. Indeed, except to gods and heroes, the throne was given to none but royal perfonages, who \yere reckoned of the fame rank with them. In a bas-relief, produced by Montfaucon, tom. i. /. ii. ch. vii. pi. xxvi. we may obferve a throne refembling thofe which are here reprefented; and by a trident and othfcr fymbols, known to belong to Neptune. In feveral medals of both Fanjlinas in Mezzabarba there is a throne with a peacock upon it reprefenting Juno, with this motto, 1 vnoni reginae. Nothing is more frequent than to reprefent deities by means of their fymbols. Inftances of this may be feen among others, in Mez-zabarbanino in Antonio Pio, and in Numif. max. mod. Ludov. xiv. tab. xix. Confute Paufanias, viii. 30.
[4] When a throne is mentioned in Homer, the foot-ftool is generally fubjoined in thefe or the like words:
“ vito ch SpYjVVt; zeocriv rjsvP Paufanias, v. 11» defcribing Phidias's Olympian Jupiter, fays: “to wroGvipM 5s to ** voto tx A i(&> Toig wocriv, vtto tow sv tjj A tJpc/i VMXxumv Spcavtovthe fool under the feet of Jupiter, which is called by the Athenians bpaviov. See Buonarroti upon medallions, p. 115. where he concludes, with Chimentslli, that the foot-ftool was efteemed an honour peculiar to gods and iiluftrious perfonages. Some critics are of opinion, that the foot-ftool was the diftinguilhing mark of the throne j which, if it was without this, was no longer called a throne, but a feat of fome other kind : and they found their opinion upon the paffages quoted above from Athenaeus and Euftathius, who define a throne to be a feat with its foot-fool; which they think is confirmed by the epithets of fublime and lefty, which we find often given to it, and by other reafons of the fame fort.
Cdl Thus Virgil, Aen. x. ltd.
--------“	Solio	turn	Jupiter	aureo-
“ Surgit.
Homer alfo, Iliad xiv. 238. calls it “ ypvosov Bpovov," and often gives it the epithet of TtcoXx, latlahix, beautiful, haildfomely worked, as thefe are which are here reprefented.
[dj In the Pervigilium Veneris, aferibed to Catullus, we read:
“ Cras Dione jura dicit fulta fublimi throno.”
[7]	It is well known that doves were facred to Venus. Ovid, Metern, xv. 386. gives them the epithet cythereidas; and in another place, fpeakingof this goddefs r “ Perque leves auras junffis inve&a columbis.”
For the fame reafon doves are called paphiae by Martial, viii. epig. xxxviii. Ful-gentius, Mythologie, lib. ii. 4. fays: “ in Veneris etiam tutelam coin mb as ponunt, “ quod hujus generis aves fint fervidae.” See Munckerus upon that paffage. In the Etymojjgicon we read that the dove is called zzipigspot, wapet to wspxrcroog spay, from her loving extremely, and for that reafon is facred to Venus. Phornutus, in Venera, on the contrary, will have it, that this goddefs delights in birds, and especially in doves, for their purity.
the other ymbols correlpond : lince both the feßoon which is held by the Genius in his right hand, and which feems to be of myrtle [9], and the feeptre [10] which the other Genius has in both hands, are attributes of this goddefs[n]. The cloth which covers the back of the feat and the pofts, is of a changeable green [12] ; and the cufhion is of a deep red [13]. The'
[8]	Voftus, Eiym. in Puhinar diftinguiflies the Pulvinus from Pulvinar; and will have it, that the firft Was a culhion, and the fecond a pillow: but this diftinc-tion is not always obferved. Apuleius, Met am. x. 336, thinks that the pulvinar, ftrictly fpeaking, belonged to the gods only, Augitfiin, de Civ. Dei, iii. 17. feems to make pulvinar the fame with lecüßerniwn ; that is, with the bed or couch itfelf, upon which they placed the ftatues of their gods at the folemn entertainments which were made in honour of them. Servius, upon Georg, iii. 533, fays: “ Pulvinaria,
proprje le&uli qui fterni in quibufdam templis confueverunt.” And Acron upon Horace, i. 17. “ Pulvinaria dicebantur lefti deorum.” Others diftinguifh them as a part from the whole. Many make leäißernium the fame 'with a feat or throne ; that indeed might be meant by the thrones of the goddeffes, for whom at facred entertainments feats were placed, and not couches; according to the ancient cuftonj of women fitting at table, not reclining upon couches. Valerius Maximus, ii. j. attefts this of Juno and Minerva. But however this may be, cufhions were certainly ufed among the ancients, not only as pillows to reft the head upon in beds, or couches, but like wife to fit upon, and to put under the feet.
[9]	It is well known that the myrtle was facred to Venus. Thus Virgil\ eel. vii. .
“ Formofae myrtus Veneri.”
The reafons may be feen in the mythologifts. At Rome they worlhippcd Venus murtia, or myrtia, fo called from myrtus.
[10]	We meet with a great variety of feeptres upon antiques. See Mont fan con, Supplem. t. i. pi. xxi. and xxviii. Maffei, Race, di Statue, t. xxvii. And Admir. Rom. Antiq. tab. xxviii, We have before had two in this work ; one in the hand of Jupiter in Plate vii, and another in the hand of a woman in Plate xxiv, different from this, and from each other,
[11]	Homer, in his Hymn to Venus, gives this goddefs the empire over all plants, animals, men, and gods. How fuitable the feeptre is to her, has already been ob-fsrved in note [7] on Plate xxiv.
.[12J Homer, Odyjf.u 130. fpeaking of Minerva, fays that Tclemachus:
“ Avjyjy cf sg B^ovov Htrsv ayoov \mo Taju -ar^cto-crag.”
“ He led the goddefs to the fovereign feat,
“ Her feet fupported with a ftool of ftate.J> PorE.
In the Iliad, xxiv. 644,	.	.
--------u	Kcu	prfsa	vsO'Xi
Uc^(pvpi Sjji&oite-Hv, (yopirui r £$V7rc-cQs Tonr/feng.”
“ With that Achilles bad prepare the bed, u With purple foft, and fhaggy carpets fpread.” Pope.
Atbenacus obferves, ii. 9. p. 48. that Homer diftinguiflies Aiju and orßa, making the former plain, becaufe they were <gpoojj.d]ci K&jwjsgci, placed underneath ; the layer hand feme and dyed with beautiful colours, becaufe thefe were zespogpupuija, placed
Vol. I.	R	fecond
lecond throne belongs to Mars; this is apparent from the helmet [14], with its creß and plume [ 15].	Theyß/>/<^[i6]
which one Genius fupports with his right hand; and the fef-toonj feemingly formed of gräß\yp\ which the other Genius
on the outfide. Eußathius upon this paffage fays, that pylex, properly fpeak-ing, were “ ßu.7f]ix. tjam]tot, vj v(poxr[jLct]ci, tj xut uX?m$ tu wspt^poojxujoc, xui wuv\u “ ta (Sufu : All forts of garments, or tapeßry that were dyed.”
[13d Cicero againft Ferres, v. 11. ‘‘Lexica ottophoro ferebatur, in qua era't “ pulvinus perlucidus rofa farftusthe painter probably defigned to reprefent tins cufhion as tranfparenr, and filled with rofes, which were particularly dedicated to Venus. Fulgentius, Myth. ii. 4. Jerom, in his epiftles, fays, “ Hi norunt, quod “ flos Veneris rofa eft, quia fub ejus purpura multi latent aculei.”
[14] Albricus, de Deorum Imag. in Marte, among other arms both offenfive and defenfive, attributes to Mars galeam in capite. In medals and bas-reliefs he is con-ftantly reprefented with a helmet on his head. He was the god of arms and war. Diodorus, v. 74. affirms, that the invention of all forts of armour was afcribed to him. Pliny, vii. 56. however aflerts, that the Spartans were the inventors of the helmet: and Apollodorus, 1.4. writes, that the Cyclopes firft formed it for Pluto, who, notwithftanding, is never reprefented with a helmet on his head. Mars however is mod frequently feen with a helmet, a fhield, and a fpear.
£15] It is painted of a blood-red colour, with propriety enough. Thus Virgil, Aen. ix. 50.
--------<c	criftaque	tegit galea aurea rubra:1*
and v. 270.
---------“	ipfum	ilium	clypeum,	criftafque	rubentes.11
It is called by Pollux, i. cap. x. vciyjvQtvcCcip^. The Carians Were the firft who made ufe of it ; Pliny, vii. 56. Whence it is called by Alcaeus Ao(p@~> Kagoitgr. At firft the fkins of animals were ufed for helmets; for which reafon the creft was ftill made of horfe-hair. They often added to this, three upright feathers, higher a great deal than the other parts. See Potter's Grecian Antiquities, iii. 4. Polybius, vi. 21. fays, that the plume ferved both for an ornament to him who wore it, and for a terror to thofe who looked upon it, by making the perfon feem taller and more majeftic.
[16J Thus Virgil, Acn. xii. 332.
“ Sanguineus Mavors clypeo increpat.’*
This fort of fhield is peculiarly called clypeus. Varro fays, it is round and concave. Ovid compares the eye of Polyphemus to a fhield of this fort: t( Unum eft in media lumen mihi fronte, fed inftar f< Ingentis clypeiP Met am. xiii. 851.
So does Virgil, Aen. iii. 637. Homer, II. v. 453, calls thefe fhields <e svx.vx.Xxs “ oarTT^oigP The firft who made ufe of them were the Argives, in the battle between Proetus and Acrifius. Paufanias, ii. 25. See Potter in the place quoted above.
[17]	Grafs is one of the peculiar attributes of Mars ; and it was from hence, according to fome, that he was called Gradivus. Servius, upon Aen. i. 296, fays: Mars appellants eft Gradivus a gradiendo in bello—five a vibratione haftae— “ vel, ut alii dicunt, quia a gramine fit onus.’1 And although Hefiod, in his
holds
holds in his left, conhrm the fuppoiition. In all the four Genii [i 8] we may obferve their double necklaces, their bracelets, and the rings upon their legs, all of a gold colour [i 9] ; and their attitudes, which are all of them beautiful and graceful [20]. The connexion between Mars and Venus [21], be-
Tbeogony, will have him to be the fon of Jupiter and Juno ; yet Ovid, on the other hand, gives him no other origin but this: he relates, in theFaßi, v. v. 231, &c. how Juno, being chagrined at Jove’s having produced Minerva without his wife, and thinking that this might be an example very injurious to wives would needs try herfelf to produce a fon without the afliftance of her husband: the nymph Chloris fet her at eafe, by fhewing her a flower, which by the touch of it only made women pregnant: Juno plucked it, and thus became the mother of Mars.
[18]	The loves are here with propriety employed in bearing the fymbols of Mars and Venus; of whom, as Orpheus fays:
---------“	vroivjss
tc AOavajci vf];pssvjcS	EptojcgP
“ Th’ immortal race of winged Cupids fprung.”
Of the genii and their miniftry we fliall fpeak in the notes upon the next plate.
[19]	Concerning the wearing of fuch ornaments as thefe by boys, fee Schefferus de Torquibus, and Bartholims de Armillis. Ambrofe, de jejun. cap. xiii. finds fault with the extravagance of giving fuch ornaments even to the Haves who waited at entertainments.
[20]	Thefe two pictures being companions, we cannot but obferve a contrail between the attitudes of the genii in the two thrones.
[21]	Nothing is better known than the ftory of the adultery of Mars and Venus. Thus Laftantius, i. 10. “ Mars homicida, et per gratiam caedis crimine ab Atheni-tx enfibus liberatus, ne videretur nimis ferus et immanis, adulterium cum Venere u commifit.” Such was the excufe for his amours: Vulcan the husband of Venus being informed of them by the fun, made a very fine net in which he caught the two lovers; and thus expofed them naked and bound to all the afiembly of the gods. Homer has given a pleafant defcription of this adventure in Odyjf. viii. And after him Ovid, Metam. iv. 171 to 189. and de Arte Amandi, ii. 5dl to 590.:
“ Fabula narratur toto notiflima coelo,
“ Mulciberis capti Marfque Venufque dolis.”
In Admir. Rom. Antiq. are two moft beautiful reprefentations of this fubjeCt, engraved and explained in Montfaucon, tom. i. p. i. liv. iii. ch. ii. p. xlvii and xlviii. We meet with Venus vifirix armed with the helmet, fliield, and fpear of Mars, not only on medals, but on gems and other antiques; which are brought together by Montfaucon in the place quoted above, pi. civ. and cv. In one of the pictures of this collection, Mars is reprefented embracing Venus, with his armour lying about him. Plutarch, Inß. Lacon. obferves, that the Spartans worlhipped Venus armed. Thus Leonidas, in his beautiful epigram upon Venus in armour:
“	zv)m	Tctvjcc	tyjxpiv, to Kvfcpaa,
“ Ev5i£wr«/, xsvtov	(psptsttu	ßap'Gy ;
“ Avjov Apj yvp.vri '/cap cc<pco7rXi(rcts, h St XtXHTrjoit “ Kat vi^'j atrGpumcig cttAu puhjri'y tTruyngP
R 2
tween.
tween the loves and arms [22], is well known. The height of the whole is eleven inches and a half, the breadth two feet and a half.
“ And wherefore Venus wear thefe ufelefs arms?
te Mars fell a viftm to thy naked charms.	....	;
u The peerlefs goddefs that unarm’d fubdu’d
“ The god of war, what mortal had withstood ?”
Whether it be that \yomen admire in others that courage which (fetting afide cli<* mate and education, that fometimes render them fuperior to their fex) they are not ufually capable ‘of themfelves: or whether ambition prompts them to attach therm* felves to men of courage, in order to partake of their glory, and to be partners iij their fame”; or for the pleafure of triumphing’over thofe who triumph over others; or for what other reafon it may be: this is certain, ;that military men difpute the preference with all others, if not in the hearts, yet at leaft in the fociety of the ladies; and if they are not always beloved ‘by them, 'they are however generally well received. On their parts alfo, they are accudomed to pafs with the utmöd; eafe from drift and fevere difeipline to relaxation and pleafure ; from fiercenefs and daughter to all the foftnefs of love.-	•	,	'!
“ De duce terribili faftus amator erat,” fays Ovid of Mars. Hidory will furnifh us with many other examples of this. >
[22]	The obfervation is not new, that the poets can never fing of Mars without introducing Venus ; as if a’r'ms could not be feparated-from the company of love., Among the many reafons which are given for this, one is, that there are no wars in which the women have not fome concern. It is well known however, that irt the heroic ages the rape of women was, if not the only, yet at lead the principal and mod frequent caufe of wars. Before the famous war which was occafioned -by the rape of Helen,' there were others fought upon fimilar accounts with equal fury* Horace, fat. lib. i. 3. 107. affirms this in general. Duris and Callißhenes in Atbe-naeus, xiii. p. 560, defeend to particulars. Herodotus, lib. i. cap. iv. writes, that the Perfians affirm women to have given rife to all the wars between the Greeks and-Afiatics: he adds, moreover, that thefe rapes were committed by unjud men ; that the avenging of them was the bufinefs of madmen ; and that men of prudence1 would not‘have paid any attention to them:' becaufe thefe women would not -have, been carried off, -if they had-not been inclined to it'themfelves ; dich injuries,-being done only to the willing.
PLATE
P1.5XX.
XXX. [«]
PLATE
THE pictures .comprifed in this [21 and feveral fucceed-ing plates, are all in the fame tafte. They reprefent winged boys, or Genii [3] as they are called ; fome of which are exerci/ing themfelves in dancing and mufici others' playing fome childifli games \ fome are employing themfelves in.art's of different kinds, whilft others are taking the amufeme^ts.of hunting or fißdng. In the firfl part of this plate, one of the boys is in a pofture of dancing [4], and hQldsän his hand a
[ij Catalogue, n. 466. 4. 467.. 3.
[2]	Thefe pictures were found .at ltefina, with the two former, September the 7th„ 1748. _	•••-.-•
[3]	Some have conje&ured, that .the painter intended by thefe little boys-to--ref prefent the education of children, and their various exercifes. Others havethoughtj that the genii .of thofe employments to which they are deferibed here as applying themfelves, are exprefled in thefe pieces : this conje&ure will be treated at large in a note upon the following plate.
[4]	Dancing has been held in very great efteem, and commonly pra&ifed by al-mod all nations. With regard to the facred and convivial dances of the Jews, Exod. xv. 20. and xxxii. 6. fee Spanheim upon Callimachus, Hymn, in dpol. v. 12. and in Dian. v. 266. Lucian, zrspi ocQrr,<r&tells us, that the Indians as foon as they rofe in the morning wordiip.ped the rifing fun, dancing, and imitating by their manner the motion of that planet; and that they did the fame in the evening to the fitting fun. He adds moreover of the Ethiopians, that they never fought without a dance ; and that they did not fo much as throw a dart without fil'd making a leap» in order to drike a terror into their enemies. But not to infid upon other nations, the Greeks, a mod wife and polite people, .certainly edeemed dancing a commendable ereife, and worthy of every one who would be thought well bred. Pindar iilfo, among the excellencies of Apollo, reckons dancing : and another poet fays.: :
• f-------—“.	TsoPcp.	is re,.’’
~	4	“	Joins
• Joins in the dance the lire ot gods and men.
Athenaeus, i. 18 and 19. They were indeed of opinion, that the dance was produced along with love, the firft author of all things; that the heavenly bodies alfo danced, and that men took the hint from them; and therefore at firft; they were introduced only in honour of their gods. See Meurftus upon Arißoxenes, Elem. Harmon. and Benedetto Averani in Ant hoi. Dijfertat. xviii. However this may be, among the firft and principal matters which they made their children learn, were mufic and dancing: the firft in order to form the mind.; the fecond to make the body a&ive, and eafy in all its motions, and the limbs firm and robuft : Socrates was of this opinion, who not only beftowed great commendations on thofe who danced gracefully, but would learn himfelf, although he was now far advanced in years. Xenophon, in Convivio, Diogenes Laertius in Socrate, Plutarch de fanitate tuenda, Athenaeus, i. 17. and xiv. 6. p. 628, and Lucian, zvepi oyx^crswg, are all likewife of opinion, that dancing is of fervice to make young men ready at martial exercifes: thus Socrates in Athenaeus, cap. vi.
“ Oi Ss xppeig ■m.KKiqoi Snag TipMtnv, apigoi
tC El/ VS0?.EjXM -----
“ He at the facred rites who dances well,
“ Will in the feats of Mars no lefs excell.”
And not only Homer commends the dexterity of Merione, who, at the fame time that he was an excellent dancer, knew how to defend himfelf againft the fpear of Aeneas; but there were many other heroes who excelled in the dance: among whom Pyrrhus the fon of Achilles cultivated the art fo far as to become the inventor of a dance, called from him Pyrrhic. See Lucian, vsspi opxyp-eug. Arißoxenus in Athenaeus, xir.
6.	630. attributes the invention of this fort of dance to Pyrrhicus the Lacedaemonian. The Spartans it is well known were not only very ftrift warriors, but rigid to an excefs in the education of their children. It is related of them, by Plutarch, vssspi zsaileov ctyuyyg, at the beginning, that they impofed a mulft upon their king Archidamus for having taken a little wife; becaufe, faid they, fhe will produce dwarf kings. The fame author, in his A7votpQApctfcc rwv sv roig ActKutriv cXo^uv, Writes, that Eteocles, one of the ephori, refufed to deliver fifty boys to Antipater as hoftages, becaufe they would be ill educated out of their own country ; and offered twice as many women, or old men, in their room : neither could he be induced by the fevereft threats to give up his opinion. It was alfo one of the laws of Lycurgus, that all the boys fhould appear before the ephori once in ten months, and, if they were found to have been very negligent of their bufinefs, fhould be corrected by them. See Laurentius de Natalit. et Conviv. cap. iv. And, yet this people who were fo attentive to the care of their youth, efteemed dancing to be a neceffary part of a good education. Athenaeus, in the place quoted above, c. vi. tells us, that every body at Sparta learned the Pyrrhic dance as foon as they were five years of age : and then proceeds to mention other forts of dances which were in ufe among them. The fentiments of the Romans upon this fubjeft, were totally different from thofe of the Greeks; they efteemed dancing difhonourable and ridiculous ; by no means becoming perfons of reputation. Cicero, pro Muraena, fays: “ nemo fere “ faltat fobrius, nifi forte infanit: neque in folitudine, neque in convivio honefto.
Intempeftivi convivii, amaeni loci, multarum deliciarum comes eft extrema fial-*e tatio.” And although dancing was for fome time in fafhion among them, info-much that children of both fexes, of good and even noble families, went to fchool in order to learn to dance ; yet perfons of gravity always difapproved of it, as an
cleft
cleft filch [5] : the other is fitting to his head, with both his
abufe. See Macrobim, Saturnal. iii. 10. After the time of Cicero, the ancient feverity of difcipline was again relaxed. Thus Horace, iii. Od. vi.
“ Motus doceri gaudet Ionicos
“ Matura virgo.”---------
See alfo Averani, Dijf. xviii and xvii. Though we fhould not admit therefore the diftinftion between grave and ferious dances, fuch as were in ufe among the Lacedaemonians, and thofe foft and effeminate dances, fuch as the Ionian and the like : yet it muft be acknowledged, that even in Homer, II. xxiv. 261. Priam reproaches his fons, for being
--------“ a foft and fervile crew,
“ Whofe days the feaft and wanton dance employ.” Pope.
And it is probably this fort of dancing, which thofe laws that forbad it, and the fathers who condemn it, intend. If indeed the dances were all become bacchanalian, as Athenaeus, cap. vi. obferves they were in his time ; or in general refem-bled thofe which Ambrofe, de Jejun. cap. xviii. has defcribed ; they were not without good reafon condemned.
C5Ü “ KosJizAcv ihuig 0 (ryfopcsv!^ xa.\up.@>, xoa xd]a(rKsvci^o[j.£v<&‘ svrijfsc, cogs tc 5h Tig avjov Soirciy; Tcag %sp<ri, Ka.9a.7rsp xpojov avrcjsKoc'jA “ The crotalum is “ properly a reed flit, and ordered in fuch a manner as to found when any one “ fhakes it in his hand like a clapping.” Thus the Scholiafi upon Ariflophanes, in Nubibus ; and after him Suidas in KfijaXov. Macrobius, fatumal. iii. 10. finds fault withthe cuflom of the Romans in fending their fons and daughters to the daneing-fchool ; in the words of Scipio Africanus : 'The fons and daughters of gentlemen learn to dance with perfons of the moß infamous char afters. When it was told me, / could not believe that men of fafhion would have their children taught fuch things. But when I came into the dancing-fchool, / faw more than five hundred boys and girls j and among them a young gentleman, the fon of a candidate for a high office in the flate, not lefs tha?i twelve years of age, dancing with crotala, a dance which the meaneft Jlave could not praftife with decency. Such were the boys who danced with crotala. If they always meant cleft canes or flicks, it would be clear that the boy in this piece Was preparing for a lewd dance. Rut although crotala are difiinguifhed from cymbals and tympana by Clemens Alexandrinus and others, it is however certain, that inflruments of feveral different forts are fignified by this name, as we have observed before; and therefore it cannot be affirmed with certainty, that the crotala mentioned by Scipio and others, which were made ufe of in 'inmodefl dances, are the canes reprefented in thefe pictures. However, allowing that thefe authors aflually defigned to fpeak of canes or flicks of this fort; we may flill reply, that they were extremely proper, on account of their fimplicity, for the dances of boys and girls, which might be merry and chearful, without being obfeene. However this may be, fuppofmg that Clemens Alexandrinus fpeaks of cleft canes, the origin of fuch an inflrument is owing to the Sicilians, to whom he aferibes the invention of thofe crotala which he diflinguifhes from cymbals and tympana. The crotala which are in a woman’s hands in Spon. Mifcell. Erudit. Ant. tab. xliii. p. 21. feem to be fomewhat different from thefe.
hands.
hands, a wreath [6] of myrtle [7], with-' which the former alfo is crowned.
The fecond jdivifion pf the plate contains alfo two boys i one of thefe has in his hand a cleft ßick; the other carries upon his left fhoulder a long fpear, towards the point of which'is an apple, or ball [8]; and in his right hand
[6]	Clemens Alexandrinus, Stromat. vii. fays f ‘f there are in the church, as well “ as in the games, garlands for the conquerors, both men and boys.” There are in Spon. Mifc. Er. Ant. p. 228. many boys at different kinds of plays: one of thefe is putting a garland upon his head, and holds a bough in his hand as a fignal of viftory. On a medal of the Heracleots in Fabretti, Column. Trajan, pag. 1 y q. there is a Hercules, who is crowning himfelf, to exprefs perhaps that true merit may render juftice to itfelf. It may then be fuppofed, that the boy in this piece is crowned by himfelf, as having already come off conqueror in the dance. But fince his companion is alfo crowned, we may fuppofe with more probability, that he is putting on the garland in order to prepare himfelf for the dance ; the cuftom of wearing the garland on this occafion being well known. The affion of the firft boy merits attention ; for he is ftretching out his hand towards the fecond, as it were to give him a challenge ; this affion being the fignal when any one had a mind to fight with another, (promittere manum, Statius ufes in this fenfe, and the Greeks (xvajHvsa-Qa.t); on the contrary, to keep his arms hanging down by his fide, in which fenfe Theocritus has yfi^a-q ava.o-yftv, as a fign that he refufed the challenge, or as a declaration that he was vanquished ; as Fabcry Agoniß. i. 8 and 9, obferves was the cuftom among the Athletae, particularly in boxing, and the pancratium. Athenaeut alfo, xiv. pag. 631, writes, that in the gymnopaedica young lads danced naked; imitating in the pofitions of their hands and motions of their feet, the exercifes of wreftling, and the pancratium.
[7]	Crowns of myrtle belonged to the Cupids, fons of Venus. In general, the myrtle is the emblem of mirth and pleafure ; from its poffeffing the fancied property of making any one laugh who holds it in his mouth, though he has no inclination for it, according to Arißophancs: he therefore who chofe a life of chaftity abhorred the myrtle. See Laurentius, Variafacra Gentil. cap. iii.
[8]	Some are of opinion, that this is one of thofe fpears which they ufedjn dancing, to preferve their balance. Others think it to be a miffile fpear, like the pha!aricay deferibed by Servius upon the ninth book of the Acneidy and by Ißdorey xviii. 7.; thefe between the point and the wood, which was of a confiderable length, had a round ball with lead in it, to increafe the weight; or elfe a javelin, arrow, or fome fuch inftrument for darting. There are fome who will have it, that by this boy not a dance, but rather an txx.ov]i<rpoi was intended to be reprefented, which was one of the five gymnaftic exercifes comprehended in that well-known line in the Anihologia, i. 1. Epig. viii.
<( AhjjLOi, -asooMKHr^, ckrjtcv, c&Kovja, 'tzcüe.yF and which conftituted the famous pentathlon. But this corije&ure has its difficulties: it may therefore molt reafonably be fuppofed, if indeed this bears any relation to
he
he carries an inßrument hung by a firing [9].
the Pyrrhic dance mentioned above, that it was a dance performed by boys, with a fpear and other arms in their hands; inflead of which they afterwards carried canes or reeds, thyrfi, and lamps, exprefling now no longer a battle as before, but the aflions of Bacchus. See Athenaeus, xiv. p. 631.
[9] Some will have it, that this is a quoit, not fuch as is defcribed by Lucian (Avayapcng, 7] rzrs(>i yv^vcca-iwv), but of another kind, mentioned by Eußathius, which had a thong, orfome other firing, faflened in the middle of it, in order to throw it with the greater eafe. Others think there are in the painting two diftinft pieces hanging by the fame firing; and affirm that they are thofe weights which dancers held in their hands, and were called a^psg: thefe, as they are defcribed by Pan-fatiias, were of an oval form, and had little handles, through which they put their fingers to hobd them. See Potter’s Antiquities, ii. 21. Laftly, others fay, that it is a fort of crotalum, or perhaps a cymbal (they will likewife have the inflrument Which he carries on his fhoulder to be a thyrfus), remarking in general the three forts of dances which were mofl in ufe among the ancients, the tragic, comic, and fatiric; of which again fome were grave, others gay ; fome performed with armour, others without. See Scaliger de Com. & Trag. cap. xix. Gfonovii Phcf. Graec. viii. p* 1522, and Averani in AnthoL dijf. xyi.
Vol. L
S
PLATE
PLATE
XXXI. [']
IN Number I. of this plate [2] we have two boys as before ; one of them carries in his hands two tibiae, or flutes [3], which being, as is well known* in great efteem,
£1] Catalogue, n. 466. 2 and I.
[2] Thefe pittures were found at Refma, with the two foregoing ones.
[3] Of the invention of the tibia fee p. 38. n. [5]. Authors are full of the .great efteem in' which this inftrument was held among the ancients. We learn from Atbenaeus, iv. 25. p. 184. that there was not any people in Greece, who did not learn the art of playing upon .it: and in the fame author, xiv. 2. p. 6iy* an ancient poet calls this art vrs^Holujuv, moß divine.. Indeed there feems to have been no aflion among them, facred or prophane, ferious or gay, .chearful or mournful, in which they did not employ this inftrument. Not to mention particularly the many occafions upon which it was ufed, the cuftom of the Lacedaemonians is worth remarking; inftead of trumpets and other martial inftruments of mufic, they made ufe of thefe in war. Befides Polybius, Plutarch, Athenaeus, and others, who make this obfervation, 'Thucydides, in book v. relates, that the Lacedaemonians, who were fo famous in war, did not ufe the horn and trumpet in battle, but the flute. Mar-tianus Capclla, lib. ix. fays the fame of the Amazons. Pollux, iv. 56. affirms, upon the authority of Arifiotle, that the Tyrrhenians not only fought, but fcourged their criminals, and even dreffed their meat, to the found of the flute. With regard to the education of youth, we learn from Plato, in Alcibiade, and from Arißotle, de Rep. viii. 6, that among the Greeks, playing on the flute was one of the arts that were learned by their noble youth: though the cuftom, by the influence of Alcibiades, was afterwards aboliffied in Athens. Thus Gellius, xv. 17. “ Alcibiades “ having been educated by his uncle Pericles in all genteel accompliftiments, among “ others/ Antigonidas, a famous mafter on the flute, was fent for to teach him on “.that inftrument, which was then much in requeft: but, having put the flute to “ his mouth and blowed, obferving how it diftorted his face, he threw it away and “ broke it. When this was noifed abroad, the inftrument went quite out of falhion “ among the Athenians.” The Mythologifls relate, that Minerva did the very fame thing for the fame reafon. But Arißotle, in the place quoted above, is of opinion that Minerva caft off this inftrument, not fo much becaufe by puffing out her cheeks it made her appear deformed, but rather becaufe this inftrument was not calculated
and
A- Da*tn*nȊn sa/lf
and much ufed among the ancients, are frequently met with every where ; he is playing upon them both at once [4]: they have flops [5], fuch as thefe inftruments are ufually furnifhed with. The other boy is in a poflure of dancing, or hopping upon one foot [6], and carries upon, his fhoulder a {lender flick or cane [7].
to improve the mind. Plato, de Rep. iii. banilhed it from his republic, becaufe it carried the mind out of itfelf, and moved the violent paflions. The Romans in general made no great account of finging, playing, and dancing, but efteemed them all unworthy of a grave and ferious man, as we obferved a little above.
[4^ Thus Theocritus :
“ A7]g 7<rol 1 TU'j Nvp.<pccv, S^vjjLCtg avKoiciv ancai C< AOV Tl fJLOt.”
And Augußin, trad xix. in Joan.-(i fi unus flatus inflat duas tibias, non potefl unus “ fpiritus implere duo corda, fi uno flatu tibiae duae confonant?” And- Martial, xiv. 64. :
tf Ebria nos madidis rumpit tibicina buccis,
“ Saepe duas pariter, faepe monaulon habet:”'
Th tmonaulon, or Jingle tibia, was called Tityrina according to Athenaeus, iv. p. 17 & and 182. though Hcfychius and Eußathius fay,-that the reed with which the fhep--herds pipe or whiftle, is properly called	;	and	that	from hence, the fhepherds-
theinfelves were called Ttjvpoi. Sec Bartholimis de Tib. Vet. i. 6. In fine, the cuftom of blowing two flutes at once was very common, and we often meet with inftances of it on antiques. Montfaucon, tom. iii. p. ii. /. v. ch. ii. is of opinion that the two flutes were feparate, and that the two pipes united in the mouth of the player, who held one of them in each hand. Pet. Vidorius, Ihr. led. lib. xxxviii. cap. xxii. will have it, that the right and left handed tibiae fo much ufed in the theatre were fo called, becaufe the one was held in the right hand, and the other in thp left; both of them being-1 fitted to the correfpondent part of the mouth : and that they made ul’e of the expreflion cancre tibiis dextris et fmißris, when they blowed two flutes together. See however Bartholinus, i. 5. who obferves, that there are forne antiques upon which two flutes may be feen to iflue from one pipe, which was put into the mouth ; and Averani, Antkol. dijf. ix. who-produces the different opinions concerning right and left, equal and unequal flutes.
[5]	We often meet alfo with flutes which have thefe pegs, ferving to vary the modulation, by opening or clofing the holes of the infirument according as there was occaflon for it. See Bartholinus de Tib. Vet. lib. i. cap. v.
[6]	To dance upon one foot was called o&ymXioi<Jiv, Pollux, ix. 12 1. and they ufed to contend who could thus leap highefl: or oftenefl ; or one leaping in this manner, ufed to purfue and endeavour to overtake the others who ran from him on both feet. See Mcrcurialis de Art. Gymn. ii. 11.
[7]	Some will have it that this is a leaping pole, to balance the body in dancing : others, that it is a fhepherd’s ftaff, to fignify that the boy is dancing after the ruflic manner. -
S 2	The
The fir It of the two children in Number IL carries upon his fhoulder a long flick, which feems to be fplit at the upper end of it [8], with a ring or clafp in the middle. The other boy holds a lyre [9]; and whilft he gracefully flrikes the firings, accompanies the mufic with dancing [10].
[8]	This, fay fome, may be a cleft flick, like the crotalum ; and the'ring ferved (becaufe the flick was not fplit to the bottom) to keep it from fplitting any farther. They fay, moreover, that it may perhaps bear fome relation to dancing, either to balance the body, or to reprefent a bacchant, or other like chara&er. Pollux, iv. 105. fays, that one kind of dancing was “ to o-%iga; tkxjHvf fijfilia t rah ere; this Teems however not to be a crotalum.
[93 The mufical inflruments among the ancients were either wind or firing in-flruments, or fuch as were played upon by flriking. See Voffius de Quat. Art.Bopul. cap. iv. Of this third kind were the tympana, cymbals, and in general all the different forts of crotala ; the inflruments indeed which were played upon by flriking were not of much ufe in mufic, being better fitted to make one diflinft found than any harmony. The inflruments in mofl requefl were the tibia and cithara (the flute, and harp, or lyre): and a poet in Athenaeus, xiv. p. 618. fpeaks of their playing in concert. The Greeks taught their children to play chiefly upon thefe two. Thus Pbrynicus in Athenaeus, iv. p. 184. “ a tx]cvi p.zvjoi <rv KtOupi^eiv Tssoji, <e o-vKhv]'	“	you	have not learned him to play either upon the harp or
“ flute.” In the Alcibiades of Plato, Socrates fays: “ you have learned grammar, “ yourexercifes, and to play upon the harp; but you would not learn upon the “ flute.” Mufic made a part of the education even of the heroes. The fkilfulnefs of Achilles upon the harp is well known. ‘Theocritus, Idyll, xxiv. 107. fays of Hercules, that befides other mailers, he had Eumolpus Philammonides, of' whom he learned the art of playing upon the harp. The ufe and efficacy of the harp was efleemed the fame as that of the flute. Athenaeus, xiv. p. 62J. fays: “ the brave “ Lacedaemonians fought to the found of the flute ; the Cretans to that of the “ harp.” The liarp was alfo ufed in the country, and by fhepherds, as well as at banquets, and in palaces, Homer, Iliad xviii. 526 and 569. Odyff. xvii. 270, and elfewhere. It was made ufe of in finging both the actions of heroes and the follies of lovers, Homer, Iliad ix. 189, and iii. 54. Quintilian, ix. 4. fays: “ Pytha-“ goreis certe moris fuit, et cum evigilalfent, animos ad lyram excitare, quo effent *c ad agendum erefiiores; et cum fomnum peterent, ad eandem prius lenire mentes,
“ utfi quid fuiffet turbidiorum cogitationum, componerent.” Not the Pythagoreans only, but whole nations, efpecially in Greece, fancied that the found of the flute, but flill more that of the harp, had power to heal the plague, and many other difeafes; nay, that it could excite and afluage by turns the paflionsof men, and even of beafls. The reafons for this, as alfo inflances of it, may be feen in Plato, Plutarch, Athenaeus, Cicero, and others.
[10] Mufic is either vocal or inflrumental. Pollux, iv. cap. xiii. adds dancing alfo, confidering it as a part of mufic ; though others make it a part of the palaefira. In general, ;mufic, comprehending alfo dancing (which undoubtedly is a companion to it), was held in the highefl efleem by all civilized and polifhed nations. Polybius,
lib.
lib. iv. Writes thus of the Arcadians, who boafted that they were the oldeft people in the world: “ the Arcadians, though they were extremely fevere in all their iC other cuftoms, yet taught their children mufic from their very infancy, till they “ were thirty years old, choofing that their boys and youths fhould celebrate every “ year in the theatre bacchanals, with Tinging and dances, to the found of the u flute. Among this people a man might be ignorant of any other art without “ difgrace; but not to underftand mutic, was a great difhonor.” Indeed, throughout all Greece, not to know how to dance, play, and fing, was a difgrace. At banquets the harp was introduced, and the guefts were expefled to fing to it. Cornelius Nepos relates, that the not being able to play on any inftrument was reckoned a reproach to Themiftocles; and that dancing, finging, and playing upon the. harp and flute were reckoned among the excellencies of Epaminondas: he fubjoins, “ haec ad noftram confuetudinem funt levia et potius contemnenda : at in Graecia “ utique olim magnae laudi erant.” And, though at firil among the Romans, t( mos fuit epularum, ut deinceps qui accumberent canerent ad tibiam claro-“ rum virorum laudes, atque virtutes,” according to Cicero, Tufc. Quaeß. iv. at the beginning ; and though the Roman ladies brought up their daughters to finging, dancing, and playing upon the harp, as Plutarch in Pompeio, Sallufi in Gatilin. and Macrobius, fat. iii. io. obferve of Cornelia the daughter of Metellus; yet thefe accomplishments were by no means approved and commonly received ; but on the contrary, were found fault with by grave and wife men ; unlefs we fhould fay, that it was not the ufe, but the abufe of mufic, which was condemned at Rome. See Averani, Anth. Dijf. xviii. Wherefore Cicero, de Leg. ii. admits mufic into the city ; “ cantu, voce, ac fidibus, et tibiis; dummodo ea moderata Tint, ut “ lege praefcribitur.” The Romans had alfo their college of Libicines and Fidi--eines, eftablifhed by Numa with the other colleges of artifls: and Ovid, Fqfl.yu 657, &c. fays :
“ Temporibus veterum tibicinis ufus avorum t( Magnus, et in magno femper honore fuit:’* becaufe the tibia was ufed in all the facred rites, in public entertainments, at banquets, and on many other occafions. The muficians themfelves were however in no efteem. It is difputed whether they were Romans or foreigners, ilaves or freemen. However, if they were citizens, they were of the feum of the people, mercenary and vicious ; infomuch that they who lived fplendidly, but at another’s coft, were faid proverbially tibicinis vitam vivere, and mufice vitam agere. See Bartholinus de tib. ii. 7. and iii. 1. Ilcnce it came to pafs, that although the Romans made ufe of mufic, yet it never arrived at that efleem among them which it had obtained in Greece: and we may fairly fuppofe, that if the profeflors of the art were vicious themfelves, they could not produce virtuous effe&s in others. On the contrary, they were not perfuaded, like the Greeks, of the great power of mufic upon the mind. Cicero laughs at Damon in Plato, for being afraid left the City itfelf fhould be altered if the kind of mufic which they were accuftomed to received any change; whereas Cicero, on the other hand, was of opinion, that when the manners of a city changed, the mufic would alfo change along with it. Polybius, in the paflage referred to above, obferves, that the inhabitants of Cynaetha, a city of Arcadia, could ne'ver accuftom themfelves to mufic, becaufe their climate and natural difpofition were fuch as to render them incapable of having either dancing or in-firumental mufic. Whether the Egyptians ever cultivated this art is a doubt. Diodorus, i. 80. fays plainly, that they paid no attention either togymnaflic exercifts,
or
or to mufic ; becaufe they looked upon the former as of no ufe to the body, the latter as injurious to their manners. But this does not appear to be wholly true, fince we read of Mofes in Philo, that he learned the whole art of mufic in Egypt. However this may be, mufic and dancing were exercifed in Rome by girls of Memphis, as Petronius calls them, and by Egyptian boys. The two other fatyrids, Horace and Juvenal, fpeak of Syrian tibicens, who were called Ambubajae in Syriac. See VcJJii Etymolog, in Ambubam, and Spanheim upon Callimachus, Hymn, in Del. v. 253. And here we may obferve, that in general at Rome the minftrels were the lowed: of the people, and that they employed the very "word: and mod: (hamelefs of thefe at their entertainments. Under the emperours, luxury being increafed, dancing, playing, and finging became common; but were found fault with, not only: by the fathers of the church, but by the heathen philofophers.
«
PLATE
FI.XXXJ1.
J'. S.IambürnJcutyf.
PLATE	XXXII. CO
THE attitudes of the two beautiful and delicate figures reprefented in the firft pi£ture [2] of this plate, in a tafte not inferior to its companions, are really fine, and extremely graceful. One of the boys fupports upon his left flioulder an inftrument of feveral firings [3], which he touches with his right hand [4], and dances at the fame time. The
£1] Catalogue, n. 466, 3. and 4<58. 3.
£2] This pi&ure was found the 7th of September, 1748, atRefina: the other was found Augult the 13 th, of that year, in the fame ruins, but not in the fame place.
[3]	Athenaeus, iv. 25. p. 1,82, 183, reckons up many forts of mufical inftru-ments with firings. Pollux, lib. iv. cap. ix. f. 59, &c. alfo gives us a confiderable number. They both mention among the reft the triangle. Socrates in Athenaeus, calls this inftrument <f>pwyiov. And one of the guefts in this author fays, that one Alexander Alexandrinus played fo well upon this inftrument; that, having exhibited in public at Rome a fpecimen of his art, the Romans became fond of this mufic even to madnefs. This is all that we know of the’triangle. The inftrument reprefented in this pi&ure may very well be called by this name, though it wants the third fide. The trigonum is diftinguifhed by Athenaeus from thtfambuca, which is defcribed by Porphyry to be “ a triangular inftrument, with firings unequal both in length and “ thicknefs.” See Bulenger de Pheat. ii. 45, 47. Graev. the'f. ix. p. 1056, and Spanheim upon Callimachus, Hymn, in Del. ^.253. In the hand of a lady, in Spon, Mifc. Er. Antiq. p. 21. tab. 48. is a ftringed inftrument of a triangular form, and clofed on all the three fides. Spon gives this account of it: “ Citharam cernis, “ triangular! forma, qualis defcribitur in epiftola, quae Hieronymo tribuitur, de ge-“ neribus muficorum: tom. ix. epiß. xxviii. Cithara autem inquit, de qua fermo eft, “ ecclefia eft fpiritualiter, quae cum xxiv feniorum dogmatibus trinam formam ha-“ bens, quafi in modum A literae,” &c. Indeed all ftringed inftruments may be reduced to the cithara, with which we may obferve in particular, that not only the lyre, but the tefiudo alfo, and the barbiton, are confounded by the poets, though in reality they were different inftruments.
[4]	Stringed inftruments ufed generally to be played upon with the pleflrum, as we have feen in the Chiron, and as we may alfo obferve in the lady above-mentioned
other
other boy leems alio dancing to the lame muhc, and is holding in each hand two nails [5]; unlefs thefe alfo be inftru-ments which make a fort of muhc by linking them together [6].
In the fecond pi&ure three boys are playing together in this manner [7]: one of them holding a rope with both his hands tied at one end to a nail fattened into the ground, endeavours to draw it towards him ; whilft another of the boys draws the rope the contrary way towards him with one hand, and in the other holds a rod or fwitch : the third has alfo in his hand a fwitch, and feems going to hit the firft boy with it [8].
in Spon: there are numberlefs paffages in the Greek and Roman poets which attefl: it. Plutarch, in his Laconic Apophthegms, near the end, tells us, that the Spartans,, who were ever religious obfervers of ancient cuftoms, punilhed a harper becaufe he did not make ufe of the pledrum, but (truck the firings with his hands. There was more art however required in playing with the fingers, and perhaps the tone was thus rendered more pleafing.
[5]	Some fufpeCt that thefe nails are fymbolical, and defigned perhaps to repre-fent fome myftery of love, or fome more remote and fublime fecret. Others however do not think there is any thing fo recondite in them.
[6]	Others are of opinion, that thefe are not nails, but little bones, or'fome fuch thing, which made a found by being (truck together ; and think they may be con-fidered as-a fort of crumata, Kfapaja. The inftruments in the hands of fome young men in Spon, tab. xliv. p. 21, and which he calls crumata, are however different from thefe.
[7]	Plutarch, in his treatife upon the Education of Children, (hows, that boys ihould be permitted to intermix plays proper for their refpe&ive ages with their (tudies. It was the bufinefs of thofe who had them under their care to make them play at fuch games as might contribute either to render their bodies more fupple and robufl, or to form their minds. There are two treatifes upon the plays of children among the ancients, one by the learned jefuit Bulenger, and the other by the celebrated John Meurfius.
[83 Pollux, 1 x. cap. vii. when he is defcribing the various games in ufe among the ancients, fays, fegm. 112, “ the dielcißinda was ufually performed in the pa-“ laefira, though fometimes in other places. There were two parties of boys who <( dragged one another in oppofite directions; and they who drew the other party “ to their fide got the better.’' In fegm. 116, he adds, “ the fcaperda is this: they
place in the midft a perforated (take ; through the hole they put a rope, to each “ end of which a boy is tied, with his back towards the (take ; he who can by “ main force draw the other to the top of the flake is conqueror: and this is called u crxM7rsp$av iXicHvP Homer, Iliad xvii. v. 389, &c. defcribing the contention between the Greeks and Trojans about the body of Patroclus, compares it to thofe who are playing at this game; Euflathius upon this paffage, deferibes the Elcißinda
and fcaperda, and makes this only a part of the firft. Meurfius diflinguilhes the elcißinda from the dielcißinda, but they feem to be the fame game, as Jungermannus has obferved: and it is remarked by Hemßerhuys, that when they played with a flake, it was called fcaperda, when without, it was called elcißinda or dielcißinda. Plato alfo, in his Theaetetus, fpeaks of this game. See Mercurialis Art. Gymn. lib. iii. cap. v. See alfo Cafaubon upon Perfius, fat. v. where he deduces the common proverbial expreffion ducere funern contentiofum, orfunem contentionis, from the elcif-tinda. Pollux, in the fame chapter, 115. defcribes the Schoenophilinda thus: “ Several boys fat down in a ring : one of them having a rope fecretly laid it down “ by another ; if he did not difcover it, they beat him whilft he ran round the ring ; “ if he found it out, he who laid down the rope was beaten himfelf.” It is not eafy to determine to which of thefe games that which is here reprefented may be referred; or whether to both of them together, or to fome other different from either.
VOL. I.
T	PLATE


PLATE XXXIII. M
IN both pictures [2] of this plate are ftill reprefented the plays of children. In the firffc there is a little carriage [3] with two wheels [4] ; it has a pole [5], at the end of which is a round piece of wood [6], to which are fattened two boys ferving for horfes, and guided by a third boy who holds the reins with both his hands, and adts as charioteer [7].
£1] Catalogue, n. 467. 2andi.
[2]	They were found in digging at Refina, in the year 1748 : this the 31 ft of Auguft, and the other on the 7th of September.
£3] It exaftly refembles in form the chariots which were ufed in the Circenfian games, as we fee upon marbles and coins ; and differs from others which were clofe even on the fides, and from thofe which were in the form of a calk, clofe all round ; figures of which are often met with upon medals and intaglios.
[43 The carriage with two wheels was ufually called 3ij^oxov by the Greeks: among the Romans we find alfo the birota or birotum. For the race they moft commonly ufed two-wheeled carriages; and VoJJius thinks thefe were called cifium, from caedo, 2.s it were half a currus or carruca, which had four wheels, as had likewife the rheda, the pilentum, the petorritum, and the carpentum fometimes; that they made ufe of it chiefly in the city, and to travel in afleep, and at eafe. The cifium correfponds to our calcifies ; and in fome ancient monuments is furnifhed with bars as ours are. See Schefferus de re Vehicul. ii. 17, 18, &c.
(53 The ancients ufed as many poles as there were pair of beafts to the carriage. Thus Ifidore, xviii. 35. “ Quadrigarum currus duplici temone erant.” And Xenophon, Cyrop, vi. “ the carriage of Abradates had four poles and eight horfes.” The carriage was called biga or quadriga from the number of beafts that drew it. They went as far as fixteen : for Xenophon fays, that Cyrus's chariot had eight poles, and confequently it rauft have been drawn by eight pair of horfes: Cyrop. vi.
“ Kvp'&J 3s /<W TO TsJ^VfJLOV uvjts OCpjJLU, TUxjsvOrjOSV COS 010V TS H7] KCil Oxja^VjJLOV TZroiWCCtrQotl,
• “ ocqs oxjui falser/ ßoew ocFhv tuov pifxpivuv to kcFJootocJcv oixYipM.” Edit. Hutch, p. 429. [63 To this piece of wood was faftened the yoke, or a rope called Kpar^ov. See Suidas in Apm-psvovjse. Hefychius and Eufiathius upon Iliad vi. 476. underftand by kpirpov the rope which was fometimes made ufe of inftead of a pole.
The
PI. XXXJ1J.
The other pi&ure exhibits three boys diverting themfelves at a play commonly called hide and feek\_8]. The attitudes of thefe three little figures are all elegant and exprellive [9].
£7] The Circenfian games being in the greareft efteem, boys were freely accuftom-ed by their fathers to this play. See Rhodiginus, led. ant. lib. xviii. cap. xxvh-Photius in Nomocanone, tit. xiii. c. xxix. reckons among prohibited games ncmox. jguXtvciy Equeßres ligneos, as they are called in /. iii. cap. de Aleatoribus. Balfamon, in his comment upon this paffage of Photius, fays, that a doubt has arifen about this play called %vXivov nnrmav, and fome are of opinion that it was “ a game which “ ufed to be played at by boys, who in driving the chariot made ufe of men inftead 0 of horfes.” But he goes on to fay, that it was fuppofed by others to be another fort of play. Pollux, x. fegm. 168. fpeaks of a carriage (ocpM^ig, apu^tov) with which children ufed to play and divert themfelves.
£8] Pollux, lib. ix. cap. vii .fegm. 117. thus describes this game: the Apodidraf cinda is thus played at: “ One fits in the middle, (hutting his eyes, or another f( keeps them clofe covered, whilft the reft go and hide themfelves; he then gets “ up, goes to feek thofe who have hid themfelves,. and is to find each of them in “ his place.” The Mvia. xjxXkyi, fee Pet. Vidorii var. led. I. xv. c. 16. and pvivha refembled this. The firft of thefe is thus defcribed by Pollux, lib. ix. fegm. 123.; “ In the Mvia %<*Xktj, ['brazen fly] the boys blindfold one of their companions,. “ who turns himfelf about, crying out, I will hunt the brazen ßy: the others an-“ fwer, Tou may hunt it, but youfloall not catch it; and in the mean while whip him “ who is blinded till he catches one of them.” Hefychius and Euflathius alfo make mention of this game,, and of the Mviv$u. Pollux, fegm. 113, feems to have defcribed feveral different forts of Miuvlcu, in thefe words (according to the emendation: of Iiemßerhuys, which we have in great meafure followed): “ The Minvla, is when “ any one (hutting his eyes calls out. Take care of yourfelf: and if he catches any “ one of thofe who run away from him, he makes him be blinded in his ftead. Or i( thus: he who has his eyes (hut is to feek for the reft who are hid, or elfe endea-“ vour to lay hold on them, till he touches one of them: or he is to guefs which of a his companions it is who points at him with his finger.”
[[9] One of the boys is (landing within a light room, covering his eyes with his hands, and with his back turned to the two others to give them an opportunity of hiding themfelves. Another, who is already hid behind the door of a darker room, feems to be watching with a fufpicious eye, only juft putting out his head ; whilft the third is in a pofture of going haftily to hide himfelf; and fearing left he (hould be obferved by the firft,. turns his head back in order to fee whether he looks..
T 2
PLATE
T E XXXIV» W
OF the three boys who are reprefented in the firft picture [2] of this plate, one holds in his hands a maik [3] ; at fight of which (though it is not one of the mod ugly and horrid of thofe which the ancients made ufe of [4]) ano-
[1] Catalogue, n. 470. 3. and 468. 1.
[2] This was found the 24th, and the next the 13th of Auguft, 1748, in digging at Refina.
[3]	It is faid, that the countrymen gave the firft idea of malks, by befmearing their faces with the hulks of grapes at the vintage, perunfti faecibus ora, Hör. de arte Poet, or by covering them with the bark of trees:
“ Oraque corticibus fumunt horrenda cavatis. Virg. Georg, ii. 387. Others make Thefpis, Chaerilus, Aefchylus, or Mefon to be the inventor of the malk. See Scaliger, poet. i. 13, Bulenger de Tb eat. i. 2. and ~ Marefc hot tus de Perfon. id Larv. cap. ii. We lhall have occafion to fpeak of this invention when we come to exhibit thofe pi&ures in which different forts of malks both tragic and comic are reprefented.
[4]	The moft horrid malks that were in ufe among the ancients were thofe which they called yopFnu, or yofomoc. They are mentioned by Pollux, Hefychius, the author of the Etymologicon, by Suidas in VopFiu, and are put among the tragic mafks. They were fo called from the Gorgons, who had a countenance fo horrid that it was immediate death to every one who looked upon it. See the Scboliaß upon Ariflo-phanes in Ranis, and Suidas in TopFcvsg. It is related, that when Aefcbylus firft introduced them upon the ftage, the women with child mifcarried at the fight. See Marefcbottus, in the treatife above quoted, cap. i. The malks called iJ.opyoAvx.au, or [jL0gy.0Avx.tu, were alfo terrible. Hefychius calls tragic masks in general by this name : and various derivations of the word are given. Bulenger, in the place before cited, derives it from ycpyoFsvav, which he explains with Pollux, to be the carrying of the play upon a mormo ; or inclofure of nets fet upon a carriage. In this carriage, as we learn from Lucian, and the Scholiafi upon Ariftophanes, the mafqueraders went about, jelling upon others, and remarking their defers. Pinelli, in the appendix to Argoli upon Pawvinius, de Lud. Circenf. ii. 2. v. yopyoAvKsiov. Graev. thef ix. p. 544, thinks that this word is derived from Mormo, a woman who was fo very ugly and deformed that every body was frightened at the fight of her. A Commentator
ther
P.S.Lamborn satlp.
ther of them being affrighted, is in an attitude no lefs beautiful and elegant than natural and expreflive [5] : in the mean time a third is reprimanding the firft, and aflifting the fecond. The other picture reprefents two Genii [6] working as car-
upon Pollux, x. 167. conje&ures, that thofe masks which reprefented the figure of a wolf were properly called by this name. This partly agrees with the conje&ure of Euftatbius, Iliad xviii. p. 1150, who derives the word from frighting one as a mormo and wolf doth. However this may be, it is fufficient to our purpofe that the words Moppto and MoppoXvicna. were made ufe of by nurfes to frighten children. See ‘Tzetzes, biß.v. 22. Thus in Theocritus, Idyll, xv. 40. a mother, as a bug-bear to her fon, fays, a poppoo Stzxm	Clemens	Alexandrinus, Strom. /. vi. alfo fays:
“ Many are terrified at the philofophy of the heathens, juft as children are at u pcppoXvKia, or bug-bears. “ Hence the po^poXvKHov is taken in general for any “ thing which terrifies children, and particularly for thofe ugly masks, either tragie te or comic, at the fight of which they are affrighted,” according to the Scboliaß upon Arißophanes in Pace. See the fame aflerted in the Etymologicon, in Acbarn. dr* Equit. and by Suidas in MogpoXvx&ai. Of the fame fort with thefe were the masks called by the Romans lamiae, manias, manduci, and the like. Thus the Scboliaß upon Perfius, fat. vi. v. 56. “ Maniae dicuntur indecori vultus perfonae quibus “ pueri terrentur.” And in general Juvenal, fat. iii. 175.
------“ perfonae pallentis hiatum
“ In gremio matris faftidit rufticus infans.”
Becaufe they had ufually wide mouths and horrid teeth ; they are called by Lucilius, oxyodontes, and by Accius, diflortae oribus. Figures of them may be feen in Ficoroni upon rtiasks. There were alfo masks made to refemble nature, only with a little of the caricature: fuch was that of which Martial, lib. xiv. epig. 176. fpeaks: u Sum figuli lufus rufi.perfona Batavi:
“ Quae tu derides haec timet ora puer.”
See Marefchottus, in the treatife quoted above, cap. i. and Argoli upon Panvinius, lib. ii. cap. ii. v. Manduci, Graev. tbef. ix. p. 348. That which is here reprefented, and at fight of which the boy is frightened, may very well be looked upon as of this kind.
[5]	Every thing in this boy is deferving of our attention, there being no part of him which is not expreffed with grace and propriety..
[6]	What was the theology of the heathen concerning the nature of the genii, will be feen in a note upon the next plate : we need only obferve here, that they imagined all the aCtions of every perfon to be regulated by a genius, who from the inllant of his birth to his death directed him entirely : and agreeable to the quality of the ruling genius (for they fuppofed their difpofitions, powers, and underftand-ings to differ) w'ere the aCtions, inclinations, and genius (as we now commonly ex-prefs it) of every one. See the excellent treatifes of Plutarch upon the Genius of Socrates, of the Oracles, and of Ifts and Ofris. Thefe lines of Menander are well known :
u Atravji ^otipoov ajv rco ysvepevoo u Airavj^ e$v pi•ftfkv/©-' an ßta.'>
f enters
Renters [7j ; we may obierve in the ihop their tools [oj, a
“ Each at his birth his proper daemon hath,
“ Who is his conftant guard and guide till death.”
Cenforinus de die natali, cap. iil. fays: “ Genius eftdeus, cujus in tutela, utquifque “ natus eft, vivit ; live quod ut generemur, curat; five quod una genitur nobifcum ; “ five etiam quod nos genitos fufcipit, ac tuetur; certe a Genendo Genius appella-“ tur.” He then goes on to fay, that it was the opinion of Euclides that every one was accompanied by two genii \ a good one which induced the human mind to act well, and an evil one which induced it to ill; as Servius alfo remarks upon thefe words of Virgil, “ quifque fuos patimur manesothers however will admit of two genii, only where the mafter of a family had a wife. But to come more home to the fubjett of this picture : Philoßratus, I. Imag. 6. writes thus: “ MqP'.a Egdijsg “ TpvFcccnv, h	ctvjuy pyßav paarig. Nujufflvvi yocp ovj z&uihg &jot yiFvovjca’ to Svvjjov
uTfav yju^spvuvjsg’ zsoKKot, tcoAA« oov eputnv uyQpam,oi.,i <( See the loves are ga-“ thering apples; marvel not if they be many, for they are the fonsof the nymphs, “ and govern all human affairs. They are many, becaufe the purfuits of mankind “ are various.” With regard to thefe Genii we may obferve alfo, that the focieties of arts (of which we fhall fpeak in the following note) had each of them their tutelary deities ; who were the prote&ors of their trades, and are called in infcriptions Genii. Thus in Reineßus, cl. i. n. i6j, we meet with this infcription : “ genio. “ collegi. tibicinvm. romanorvm. Q_. s.p.p.” In Gruter, p. iy5, we read,
“ TIBICINES. ROMANI. QVI. SACRIS. FVBLICIS. PRAEST. SVNT. --------- COLLEGJO.	TI-
“ BICINVM. ET. FIDICINVM. ROMANORVM. QVI. S. P. P. S. TI. IVLIVS TYRAN-
“ nvs, &c.” In Reineßus again, cL\. n. 302. “ genio. colleg. cent.” (the cen-tonarii belonged to the company of carpenters) and». 160. “ genio. collegi. “ peregr.” The learned Heineccius is of opinion, de Coll. Opif. § vi. tom. ii. ex. ix. that the carpenters worfhipped particularly the deity Sylvanus; becaufe there is an infcription Silvano dendrophoro.
[7]	The manual arts were called spFota-tcti, as Dr. Hammond obferves upon Pit. iii. 8. where St. Paul gives them the name of xaXa spfa, honourable employments: he fays alfo, Phejfal. iii. 12. “ that the bufy-bodies Ihould work with quietnefs, and “ fo earn their living.” Schefferus, in Ind. Gr. ad Ael. v. B«imrcr©>> rsypij. diftin-guiffies between the mechanic and the more mean or fedentary arts (/Savoiwoi mi-hppioi). See alfo Kuhnius in add. Among the Lacedaemonians there was a law of Lycurgus, prohibiting them from applying to ferviie arts, even to agriculture itfelf, for which they had Haves, called helotes. Plutarch, Inß. Lacon. Among the other nations of Greece however, their youth were differently educated; for they moft commonly learned fome manual art, if they were poor ; or if they were rich, applied themfelves either to agriculture, merchandize, or fome other like employment. In Athens very wife laws were inftituted upon this head: iirft, every one was forbidden to be idle, and was obliged to give an account to the magifirate of his applying to fomething. Laertius in Solon. But then no one was permitted to exercife two arts at one time ; becaufe he who undertakes a great deal, generally executes every thing badly. See Petit, ad Leg. Attic, v. 6. Laftly, artifts of reputation were maintained at the public charge, and had the principal places afligned them both in the theatres and affemblies of the people. See Petit, in the place quoted above. The Egyptians feem to have applied with the greateft afliduity to the mechanic arts ; it was an eftablifhed law among them, that the fon Ihould follow the employment of his father, or fome of his relations: they fpent little time in learning, and at-
law [9], and a work-bench, with a crooked iron [10], or
tended only to thofe things which might be of ufe to them in the mechanic arts. See Diodorus, i. 80 to 82. Herodotus indeed, ii. 42. writes, that next to the priefts, the foldiery were in greated edeem among the Egyptians; and thefe were forbid to apply themfelves to manual arts, which in general were little prized among barbarous nations. Among the Romans, at the commencement of their (late, Romulus forbad the citizens to exercife mechanic or manual arts, becaufe they depreff-ed the fpirit, and oppofed the end which he had purpofed, to form a warlike people : he would have none therefore but flaves and foreigners employed in them. Dionyfius Halicarnajfenfis, Ant. Rom. lib. ii. Numa on the other hand, defigning to extinguifti the military ardour, and to introduce civil difcipline among that rude and fierce people, edabliflted the arts in Rome, and founded feveral companies of the mod ufeful and necelfary trades, among which that of the carpenters was one. Plutarch in Numa. Thefe focieties underwent a variety of fortune, as well during the reigns of the kings, as under the commonwealth, and the emperours; being fome-times aboliflied, and afterwards re-edabliihed. The hiftory and political reafons for thefe changes may be feen in Heineccius, Exercit. de Coll. & Corp. Opif. The fir ft idea however of contempt for the mechanic arts, which Romulus had imp refled upon the minds of the Romans, was never entirely erafcd: they ever retained the name of fervile; were looked upon as not becoming a gentleman, and were ufually exercifed by flaves and foreigners, or by the lowed and meaned of the people. Livy, viii. 20. “ Opificum vulgus, et fellularios, minime idoneum militiae genus.” Cicero, deQffic. i. 42. “ Opifices omnes in fordida arte verfantur; nec enim quid-*( quam ingenuum poted habere officina.” Seneca, epiß, lxxxviii. didinguiflies from Pojidonius four kinds of arts, fuch as are mean, dedicated to pleafure, puerile, and liberal; and fays: “ Vulgares et fordidae opificum, quae manu condant, et ad “ indruendam vitam occupatae funt, in quibus nulla decoris, nulla honedi fimulatio “ ed.” There is however no reafon why the neceflity which there was for thefe arts (hould not have gained for the companies of artids many exemptions and privileges, even at Rome. See Pancirollus dejur. immun. I. vi. Alfo Gothofrcdus, Cod. jfußin. I. xi. tit. xiv. and Cod. Theodof. I. xiv. tit. ii. Out of Rome indeed, in Italy and elfewhere, efpecially in the Greek cities, many of thefe companies flou-rilhed, and the arts W'ere in the highed edeem. See Cicero pro Archia. As to the company of carpenters, it was one of the mod confiderable both at Rome and elfewhere : it comprehended the fabri tignarii, centonarii, dendrophori, dolobrarii, fca-larii, who are all mentioned in the .marbles preferved in Gruter, Reinejius, and other collectors. They alfo record the fet times of holding their aflemblies, for making bye laws concerning their trades and the affairs of their company. Pancirollus in Append, ad Not. Imp. Occid.
[8]	Pollux, x. 146. reckons up many of the tools which w’ere ufed by the carpenters : in feveral marbles of Gruter, and in twro 'of Montfaucon, tom. iii. p. ii, pi. 179. almod all of them may be feen engraved.
[9]	Pliny, vii. 56. attributes to Daedalus not only the invention of this inffru-ment, but of the whole art of the carpenter. Hyginus, however, fab. xxxix. affirms, that Perdix, the nephew of Daedalus, was the inventor of the faw, and took the hint front a fifh’s back-bone.
[to] Befides the work-bench, the carpenters among the ancients had their canter'd, horfes, or tredles, upon which they placed the boards which they wanted to
hold-fall to keep the boards Heady in working them. Under the work-bench is a hammer [i i], and a box, perhaps to put their tools in, as is the cuHom Hill with our carpenters. A bracket is fixed againll the wall, with a veflel upon it, perhaps containing oil for the tools [12].
faw. In the Glojfiaries we read, c anther us, -hx^uXKy^ jAVj%civix.(&j. See Vojfius, Etym. in Cantherius. On a marble in Gruter there is an instrument like the iron which is painted in this piece.
.£11] The hammer belonged to the fmiths, and all the workers in metals, as well as to the carpenters: we often fee Vulcan with this inllrument in his hand. In an infcription we read Malleatores monetae. See Vojfius in Malleus.
[12] See Pliny xvi. 40 and 43.
*
PLATE
AHanncrnuirz sculp.

PLATE XXXV. [0
TH E picture [2] which is here engraved in the firfl: number of this plate is particularly valuable, becaufe it offers to our view feveral things of which very obfcure mention is made, or none at all, among ancient authors; namely, of implements of hufbandry [3]. The ruftic prefs [4] which is here reprefented, deferves to be remarked with particular at-
£1] Catalogue, n. 468. 4 and 2.
£2] This pifture was found on the 13th, and the next on the 17th of Auguft, 1748, in digging at Refina.
[3]	It is well known in what efteem agriculture was held by the ancients. Not^ to mention the Jews and the heroes, kings themfelves in general throughout the eaft applied themfelves to rural works: nay, we learn from Herodotus and Aclian, that he who underflood bed how to cultivate the lands, was preferred before others to the dignity of king. B.omulus himfelf, though he forbad his citizens the exercife of every mechanic art, neverthelefs allowed them the ufe of agriculture. Dionyf. Halicarn. Ant. Rem. lib. ii. Cato gives the reafon of it: “ Ex agricolis et viri for* f< tiffimi, et milites ftrenuiflimi gignunturand inflances of thofe who went from the plough to the di&atorfhip, and from the command of armies returned to cultivate their farms, are fufficiently known. Varro, Columella, and Pliny have given catalogues of all the writers, Roman, Greek, See. who have treated of rural affairs: among whom, befides the two famous poets Virgil and Hcfiod, it is a pleafure to ob-ferve two illuflrious commanders, Xenophon and Mago; and feveral kings alfo, as Geron, Ptolemy Philometor, Attalus and Archelaus. The company of Capulatorcs was famous at Rome, and in the Provinces. They who had charge of the oil-preffes are fuppofed to have been called by this name in Cato, Columella, and Pliny. Heineccius, Exercit. lib. ix. § xxiii. explains them to be: “ Qui tor* “ cularibus, vino oleoque exprimendo praeerantand makes mention of fome marbles in Gruter and Reinejius, where they are named. Other inferiprions mention the company of Vinarii, or Vintners; as the fame Heineccius, § xii. and xx. obferves. Lampridius de Alex. Scv. cap. xxxiii. writes of this emperour: that he eflablifhed the company of vintners. But concerning the paffage in Lampridius, we fhall fpeak in note [20].
Vol. I.	U	tendon:
tention: two large timbers fixed upright in the ground [5], and fattened together at the top by a crofs beam equally large and rude [6], fome other crofs parallel timbers [7], and feveral
[4]	The prefs was called torcular and torcularium, a iorquendo; and not only the inftrument itfelf, but the place alfo where the vintage was held had this name. Popma de Inßrumento Fundi, cap. xi. By the Greeks it was called Xr,v(&; whence the name of Bacchus Avjvai^, of a bacchant A?jw$, and of the feaff of Bacchus Avjvaicn: the dance alfo on that occafion, in which the vintage ufed to be reprefented, was called therefore $7nXqvi(&>. See Joannis Meurfii Qrcbeflra in this word. Gronovii Fhef Graec.yiii. 1253. The ufe of the prefs was the fame as it is now, to fqueeze grapes and olives; and, as far as comes to our knowledge, the writers de Re Rufiica now extant, make mention of no more than two forts of preffes, one which was worked by a fcrew, and the other by weights. Vitruvius, vi. 9. does not feem to admit of any others: “ ipfum autem torcular, ft non cochleis torquetur: fed vefti-“ bus, et prelo premium:” and then he goes on to affign the meafures proper for thefe two forts of preffes, without hinting at any other. There is a paffage in Pliny, xviii. 31. very much to the purpofe, where, fpeaking of the laws relating to the vintage, he gives an account of the different forts of preffes, and the time of their invention: “ antiqui funibus, vittifque loreis prela detrahebant et vecdbus.” Of thefe Cato fpeaks in chap, xviii. “ Intra Cannos inventa Graecanica, mali rugis “ per cochleas bullantibus, palis affixa arbori della, a palis areas lapidum attollente “ fecum arbore, quod maxime probatur.” Of thefe Vitruvius and Columella mud be underdood to fpeak : “ Intra xxii. hos annos inventum parvis prelis, et mlnori “ torculari, aedificio breviore, et malo in medio decreto, tympana impofita vinaceis, “ fuperne toto pondere urgere, et fuper prela condruere congeriem.” All thefe, however, may be reduced to the two before mentioned. Indeed, to this day, the board which preffes the grapes or olives, is either moved by a fcrew, or by long planks with weights hung at the ends of them. Cato de Re Ruß. cap. xviii. de-feribes the manner in which the ancient prefs was condruded : but his defeription is fo obfeure, that, as Turnebus obferves, a learned and ingenious architect is wanting in order to underhand it: and Popma, after having attempted to explain it, defiled, from a confcioufnefs of not being able to illudrate it by words. It is certain, however, as Pop?na alfo remarks, that the prefs deferibed by Cato is different from Vitruvius's, as well as from that which is now in ufe : nor does it in any refpefl refemble that which is here painted ; this of ours being extremely fimple, and his compound and intricate enough.
[5]	Cato, in the place quoted above, fays: “ There fink an hole in two dones, a ferving for feet or bafes; in thefe holes place a couple of upright podsPopma explainspedicinus to be a flender worked foot or bale, into which the pod was inferred. VVe may obferve that Cato directs the beams and pods to be of oak or fir: “ arbores dipitefque robudas facito, aut pineas.”
[63 Thus Cato: “ Over the pods place a flat timber, two feet wide, one foot te thick, and thirty-feven feet long ; or if you have not one piece big enough, put <c in two.” Probably he means this crofs timber, which is neceffary in all preffes.
[7] In ferew preffes there is ufually only one prelum, or tranfverfe board, which comes down upon the grapes to prefs them : in thofe which are worked by weights, though there be in them likewife only one board to fqueeze the grapes, yet other
wooden
wooden wedges [8], form the whole machine. The hammers [9] which the two Genii have in their hands, and with which they are ftriking the wedges on the oppofite Tides, let us into the bufinefs they are about, and the ufe of the crofs timbers and wedges [10]. In the wooden vat [11] the grape-[i2] may be diftinguilhed 3 and by the red liquor which runs through ;
tranfverfe boards are alfo neceffary, which, by being prefled one upon the other, make the whole weight ultimately aft upon that plank which lies over the grapes. This was called in Latin prelum, quafi premulum. See Vojf. Etym. upon that word. The Greeks called it tcttmv, or totuov, and op@~>. See Harpocration. Cato, cap. xviii. fays: “ Inter arbores, medium quod erit, id ad medium collibrato, ubi porculum (( figere oportebit, uti in medio prelum refte fitum fiet. Lingulum cum facies, de “ medio prelo collibrato, ut inter arbores bene conveniat, digitum pollicem laxa-** menti facito.” Popma explains the lingula to be “ noviflima pars preli, quae in-“ ter duas arbores reftas inferitur in modum linguae.” In the prefs which is here painted,’ upon fuppofttion that all the crofs timbers ferved for prela, they ought alfo to be called by that name, according to the explanation which we Ihall give prefently.
£8] Cato alfo mentions cuneos, but his feem to have been defigned for a ufe different from that in which thefe are employed. In the neighbourhood of Portici a prefs refembling that which is here painted, is ufed at this day ; only inftead of wedges they ufe wheels to prefs the crofs timbers together.
[9]	From the form of thefe hammers fome have conjeftured, that they rather ferved here to cut off the hufks of the grapes, as is the cuftom among the vigner-ons ffill: thus Varro de Re Ruß. i. 54. “ Cum defiit fub prelo fluere, quidam cir-<c cumcidunt extrema et rurfus premunt; et rurfus cum expreffum circuincifitum ap-t( pellant ; ac feorfum quod expreffum eft fervant, quod refipit ferrum.” But the attitudes of the genii {how that this is not the cafe.
[10]	The mechanifm of this prefs may be thus conceived: let us fuppofe the crofs timbers to be loofe at the two ends, which are fitted into grooves made all along the infide of the two upright pofts, fo that the tongues or ends of the crofs timbers may freely rife and fall perpendicularly. The wedges placed in oppofite direftions between the crofs timbers being knocked in by the hammers of the genii, by coming clofer together, prefs upon the crofs timbers in fuch a manner that their whole force is ultimately employed upon the laft, which lies over the grapes, crufhes them, and preffes out the juice.
[ 113 The bed, or that part of the prefs into which the grapes were put, was anciently called forum. Thus Popma : “ Forum eft pars torcularis in quam uva “ defertur, ut prelo fubjiciatur.” Varro, de Re Ruß. i. 54. calls it forum vi/iarium. See Index Script. R.ei Ruß. by Gefner, under the word Forum.
[12]	Varro, i. 54. fays: “ Quae calcatae uvae crunt, earum fcopi cum folliculis u fubjiciendi fub prelum, ut ft quid reliqui habeant mufti, exprimatur in eundcin “ lacum.” Columella, de Re Paß. xii. 29. fays: “ Ante quam prelo vinacea fub-il jiciantur.” Concerning the word Vinacca, fee Gefner in the Index quoted above.
U 2	the
the trough [13] into the veiiel[i4.J underneath, we know the muft [15]. The veflel which is apart from the prefs upon a lighted furnace, with a Genius who is ftirring the liquor in it with a wooden ladle [16], exprefles the cuftom of boiling the rauft [ 17].
[13]	In the prefles which are now in ufe, the forum (which modern vignerons call the bed), the trough, and the veflel or vat into which the liquor runs, are all of them the fame as in this.
[14]	We have already feen, in note [12], that Varro calls this lacus. Thus alfo Columella, xii. 18. “ Turn lacus vinarii, et torcularii, et fora.” Urfinus reads tor-cularia: Gefner remarks, “ potuerunt tarnen efle etiam lacus torcularii a vinariis “ diverfi.” It is mentioned alfo by Ulpian, /. xxvii. § xxxv. ad L. Aquil. where Budaeus thinks we ought to read laccum. See Cujacius, x. obf. ix.
[15]	Mtißwn in Latin fignifies properly any thing new. Thus Nonius: “Muftum “ non folum vinum, verum novellum quicquid eft, refte dicitur.” Whence Naevius fays: “ Utrum eft melius virginemne, an viduam uxorem ducere ? Virginem, ft “ mufia eft.” Thus Cato, cap. cxx. “ Muftum ft voles totum annum habere, in “ amphoram muftum indito, et corticem oppicato, dimittito in pifcinam, poft xxx. “ diem eximito. Totum annum muftum erit.” See Columella, xii. 29. who calls that which had been prefled one day by the fame name. The ancients feem to have diftinguifhed three forts of muft. I. Protopum: thus Pliny, xiv. 9. “ Protopum “ appellatur a quibufdam muftum fponte defluens, antequam calcentur uvae thus alfo Hefychius and Pollux. II. Lixivum: thus Columella, xii. 27. “ Lixivum, h. e. “ antequam prelo preflum fit, quod in lacum mufti fluxerit, tollito.*’ Gefner will have this to be the fame with the wpoTporrrov 3 but if the grapes were trod before they were prefled by the prelum, it fhould feem that they were different. III. Tor-tivum: which is, “ quod poft primam prefluram vinaceorum circumcifo pcde ex-“ primitur.” Columella, xii. 36.
[16]	The flick with which the genius is mixing or ftirring the muft in the kettle, was called rutabulum. Thus Columella, xii. 20 and 23. “ Rutabulo ligneo agitare, “ permifcere;” when he is fpeaking of boiling the muft : and in chap. xii. upon the fame fubjett : “ fit puer, qui fpatha lignea, vel arundine permifceat.”
[17]	The Greeks ufed to boil their wines: whence in Athenaeus, i. p. 31. the
poet Aleman calls the wine of the five hills near Sparta uttv^ov, that is, as Athenaeus explains it, “	cyjMvjc yap s^ßcig civoignot boiled-, for they generally ufed
boiled wines. The Romans, in order to make wines refembling the Greeks, particularly the Coan, boiled the muft, or mixed it with fea-water. See Cato, c. xxiv. and cv. Pliny, xiv. 8. and Palladius, xi. 14. Pollux, vi. 17. among other fweet wines, reckons one which was called sipyjpca, which is a wine boiled to fweetnefs, “ C7r:f sgiv oiv©->	ng	ykvzvj'/jjathough afterwards he confounds the sßrya,
or boiled wine, with the ciwjxski, or mulfum, which is wine adulterated with honey. He mentions alfo the X^xiov (called by Hefychius, and alfo by Galen, M;9. Bspan. lib. ii. by the fame name), which he deferibes to be muß boiled to fzveetnefs. Pliny, xiv. 9. joins the.sß/jpa and cnpaiov of the Greeks with the fapa of the Romans: “ Siraeum, quod alii hepfema, noftri fapam appellant, ingenii non naturae opus eft.
No
No lefs beautiful or interefting is the other pi&ure, which prefents to us the fhop of a ßooemaker: two Genii are fitting upon ftools[i8], by a table, at work [19] [20]; a fmall round inftrument [21] lies upon the table; there is a fhelf
e: mu Ho ufque ad tertlam partem menfurae deco&o. -Quod ubi faftum ad dimidiam “ eft, defrutum vocamus.” If then the muft was boiled to one half, it became de~ frutum ; if two thirds of it were boiled away, fapa ; if one-third only, it was called caroenum.	(< Caroenum cum tertia perdita, duae partes remanferint,” fays Palla-
dia, xi. 18. See Gefner in the index before quoted in Carenum. The manner of boiling the muft in order to make thefe wines is defcribed by Columella, xii. 19, he. where what he fays at the beginning is worth our attention, on account of this pi&ure:	Muftum quod defluxit, antequam prelo pes eximatur, fatis de lacu in
“ vafa defrutaria deferemus, lenique primum igne, et tenuibus admodum I ignis quae “ cremia ruftici adpellant, fornacem incendemus.” They ufed, in order to give their wines fweetnefs and fragrancy, to put in apples and fpices; and to make them keep, they mixed tar, turpentine, chalk, allies, and the like. Columella, Pliny, and Palladius, in the places quoted above. As to what relates to the wines in the neighbourhood of Vefuvius, fee Strabo, v. p. 243 and 247, and Pliny xiv. 1. and 6, where, concerning the wines of Pompeii, he has thefe words: “ Pompeianis fum-<( mum x. annorum incrementum eft, nihil fene&a conferente. Dolore etiam capi-<( turn in fextam horam diei fequentis infefta deprehenduntur.” The praifes which Martial, iv. ep. xliii. gives to the wines, and the fruitfulnefs of Mount Vefuvius and its neighbourhood, are well known.
l^efe ftools, called in Latin fellulae, are ftill ufed by the fhoemakers. Perhaps it was from hence that thefe employments were called Jellulariae, smXpuoi.
[193 The employments of the two genii have beauty and propriety. The firft feems endeavouring with his right hand to ftretch, probably upon a laft, the upper leather of a Ihoe, which he holds tight with his left. Martial, ix. 75. thus ex-preffes the manner of doing this, which was in moll general ufe among the fhoe-makers:
<( Dentibus antiquas folitus producere pelles.”
Pliny, xxxv. 10. fpeaks of Pireicus, who “ tonftrinas, futrinafque pinxit.”
[20J Among the companies eftablilhed at Rome by Numa, Plutarch reckons that of the Jhoemakers. But this (hared the fame fate with the reft : and therefore under Alexander Severus we find it re-eftabliflied, together with the other companies, according to Lampridius; who fays, in cap. xxxiii. of the book quoted in note [3], « Eum corpora conftituifle omnium vinariorum, lupinariorum (Cafaubon reads popi-“ nariorum), caligariorum et omnino omnium artium, hifque ex fe defenfores dcdillc.” Theßloemakers dwelt in the fourth w7ard at Rome, where was the vicus findaliarius, of which mention is made in inferiptions in Pancirollus and Gudins. See likewile Aldus Gellius, xviii. 4. “ In fandaliario forte apud librarios fuimusand Seneca, epiß. cxiii. The invention of this art is attributed by Pliny, vii. 56. to one Boethius. The ufe of flioes however is very ancient; Mofcs and Homer make mention of them: and Balduinus, de Calc. cap. i. fuppofes that, if not regular (hoes, yet fome defence at leaft againft thorns, vras ufed by Adam himfelf.
T213 It refembles that w hich is now ufed to fit the Ihoe to the foot. Pollux, vii.
fixed
[22] fixed againft the wall with fhoes upon it [23]; on the other fide is a prefs, containing feveral things appertaining to the trade, among which are fome wooden lafts [24], and vef-fels perhaps to contain different colours [25], with which fhoes ufed anciently to be ftained.
cap. xxi. names feveral of the flioemakers tools: l< a-piXy, 'Grsprop.svg, orrv\THoi, x«Ac-“ nekswhich are hill in ufe among us.
[223 The fhoemakers ufe exaftly fuch an one now', to fet their fhoes upon when they are finifhed : and accordingly upon this there are two pair laid up and finifhed,
[23]	Different forts of fkocs were made ufe of among the ancients; fome for men, fome for women, and fome which were common to both. Horace, fpeaking of the fenatorial calcei, i. fat. vi. fays:
“ Utquifque infanus nigris medium impediit crus,
“ Pellibus.”
’Tertullian, dc Pallio, cap. iv. fays the fame of calcei in general. The peroncs, which belonged to the clowns, and were ufually worn by the Romans in the country, and even in the city by the plebeians, reached alfo to the mid-leg. Apollinaris Sidonius, lib. iv. ep. xx. The Greeks ufed the fccafii, whofe form has however been much controverted. The cothurnus was worn not only by tragic a&ors, but alfo off the flage : Virgil, Aen. i. 341. attributes the cothurnus to hunters. Baldui-?ius, de Calc. c. xv. will have it, that it was the very fame with the hunting boot, and that it came up high like our half-boots. The fhoes which are here figured may be referred to all thefe forts; and to others alfo among the many which are reckoned up by Pollux, vii. c. xxii.
[24]	Pollux, vii. cap. xxi. fays, that the ancients called the lafis yjdXcTrchg, and that they retained the name in his time. Galen alfo, lib. ix. ©-paar, calls them by the fame name ; whence the interpreter of Horace, ii. fat. iii. 106. calls them calo~ podia. Horace himfelf, however, in this paffage calls them formas, and fo does Ulpian, /. v. § ii. ad Leg. Aquil.
[25]	The atramentum futorium mentioned by Pliny, is that which was ufed for Raining the fhoes black: and thus of other colours, with which they vvere accuftom-ed to die them. See Chryfoßomi Homil, xxvii.
PLATE
PL XXXVI.
PLATE	XXXVI, M
IT does not feem an eafy matter to determine what trade the three Genii, reprefented in the firft number of this plate [2], are applying themfelves to. The machine, about which they are employed, feems at firft fight to be a loo?n [3] ; and it may perhaps be thought that the painter intended to repre-fent a weaver s loom [4}. But, befides that there are not here
[ij Catalogue, n. 470. 4. and 2.
[2]	The firft of thefe was found the 13th of Auguft, and the other the 24th, in the year 1748, in digging at Refina.
[3]	In Monifaucon, tom. iii. p. 358. there are two looms copied from two miniatures ; one in the celebrated Vatican Manufcript of Virgil, and the other in a commentary upon Job, which is thought to be of the tenth century ; but they are both very different from this.
[4]	This conje&ure feems to receive fome fupport from the obfervation, that the poft upon which the third Genius has his hand does not ref! upon the feet of the oblong board, as the others do, but comes quite down to the ground, arfd the ftooly which is under the loom, is joined to ft at one end ; whence the Genius, by drawing this long poft towards him, feems to communicate alfo a motion to the flool. Upon fuppofition therefore that thefe Genii are weavers, we may fay, either that the manner of making thofe nappy cloths, mentioned’by Pliny, viii. 48. is intended to be reprefented, or elfe the method of weaving nets. And we may ob-ferve what is faid alfo by Plinyr. xix. 1.. where, fpeaking of the different forts of thread, he fays: “ Efl fua gloria etcumano (lino) in Campania ad pifeium et alitum “ capturam. Eadem et plagis materia—Sed Cumanae plagae concidunt apros, et “ hae, caflefve ferri aciem vincunt. Vidimufque jam tantae tenüitatis, ut anulum w hominis cum epidromis tranfirent; uno portante multitudinem, qua faltus cinge-“ rentur. Nec id maxime mirum, fed fingula earum ftamina centeno quinquageno “ filo conftare.” As to what regards the manner of weaving in life among the ancients, fee Ferrarius, Anal, de Re Veßiar. cap. xiii. Braunius, deveß. Sacerd. Hcbr, and others»
anv
any or the initruments which are neceliary to this art [5J, one of the winged boys is rather in a pofture of fpinning [6] the thread which is hung upon one of the little hooks that are driven into the upper crofs pieces of the frame. We cannot very well fay in what it is that the other boy, who has alfo a thread, like the firft, in his hand, is employed: indeed the picture has been much damaged, and is in bad prefervation. In the haßtet, which is on one fide, were perhaps rcprefented bottoms of thofe materials which they are at work upon [7].
[5]	The implements of the weavers are defcribed by Pollux, vii. 36. See Seneca, cp. xc. Pliny, vii. 56. attributes the invention of weaving to the Egyptians. The honour of it is ufually given to Minerva, to whom indeed' all the other arts were likewife attributed. ,Hence (he was called by the Athenians spyawjg. Paafanias, i. 24. and elfewhere. Among!! the employments of the heroines thofe of the loom are fpoken of with the higheft praife. Eußathius, Iliad, i. 31. pag. 30. See Potter,
iv.	13. Herodotus, ii. 35. among other ltrange cuftoms of the Egyptians, mentions this: “ ou p-v ywouxsg c/Scf.a.Cycn xoct KCi7n,Kc-vi{crr 01 h cwfysg kxt oixag aovjc-g, “ vtpoMUcrithe women go to market and buy and fell; but the men ßay at home and weave.
[6]	It is conje&ured that fpinning or interweaving gold threads with wool may be here reprefented. And it is obferved that Pliny, xxxiii. 3. fays, befides the late invention of weaving cloth of pure gold, they had alfo the ancient one of interweaving, or rather twilling it in with the hand ; and that this is confirmed by Apollinaris Sidonius, Carm. xxii. v. 199.
--------“	Vel	flamine	fulvo,
te Praegnantis full mollitum neffe metallum.”
The conje&ure is flrengthened by the thread Teeming divided, and pulled out into feveral ends; of which one may be fuppofed to be of gold, and the ref! of wool, which they are interweaving one with another, by hand. It is fuppofed that the ufe of the table is to catch the fragments of gold thread, that they may not fall to the ground. - This conjecture is ingenious, but liable to many objections.
[7]	Catullus, in Nupt. Pel. et Thet. defcribes one of the Fates fpinning, with great elegance:
“ Laeva colum molli lana retinebat amiCtam;
“ Dextera turn leviter deducens fila fupinis “ Formabat digitis: turn prono in pollice torquens “ Libratum tereti verfabat turbine fufum:
“ Atque ita decerpens aequabat femper opus dens,
“ Laneaque aridulis haerebant morfa labellis,
“ Quae prius in lini fuerant extantia filo.
“ Ante pedes autem candentis mollia lanae “ Vellera virgati cuflodibant calathifciP
The
The fubje£t of the other pi&ure is as evident as the piece is beautiful: two winged boys are there reprefented hfhing [8], with a rod [9] and hook [10] ; and we may obferve fifh already caught, and others appearing underneath the water [11].
The invention of fpinning wool was alfo particularly given to Minerva by the poets. Pliny, in book vii. chap. lvi. quoted above, affirms, that Cloßer, the fon of Arachne, was the inventor of the fpindle; and that Arachne herfelf was the firfl who fpun flax. In Ho???er we find that the heroines held an excellence in fpinning in great honour : and Theocritus, Idyll, xviii. v. 32, ScC. in order to beflow great commendation upon Helen, fays that {he fpun better than any of her companions. In what efleem fpinning was among the Roman ladies, may be feen in Varro, Pliny, Suetonius, and Plutarch. See Tiraqucllus de LL. Conn. I. x. n. 38.
£8J Plutarch, in his treatife de Solert. Anim. gives the arguments for and againfl: fiihing, as to the quefiion whether it is a commendable amufement or not; and remarks, that Plato, in his Seventh Book of Laws, at the fame time that he commends hunting, and exhorts young men to the purfuit of it, forbids them fifliing. Neither do we read in Homer of thisdiverfion being ufed, as Athcnaeus, i. p. 13. obferves. See Feithius, Antiq. Ho?ner. iii. cap. i. and iv. cap. ii. Plato, iii. de B.ep. Plutarch, fymp. viii. 8. and Athenaeus, i. p. 25. remark, that the heroes did not eat fifli. Among other reafons this is one, that it is too flight a food, and fit only for delicate conflitutions. There are fome elegant verfes of Diphilus, Xenarchus, Philothebaeus, and other poets, preferred in Athcnaeus, vi. p. 225, wherein they fatirize fifiiermen, who fell their fifli at an enormous price, and ufually flunking.
The implements for fifliing are reckoned up by Pollux, x. 132 and 133 ; among them are the rod and hook. Plutarch, de Solert. Anim. defcribes the fifliing-rod, as alfo the hook and fnare. In Montfaucon, tom. iii. p. 332. t. 185. feveral pieces of antiquity are got together reprefenting this kind of fifliing. Both this and other forts of fifliing are exhibited in foine of the piftures from Herculaneum.
[10] The methods of fifliing were various, as we may gather from Pollux, in the place quoted above, from Pbiloßratus, Icon. i. 13. from Aclian, Hiß. Anim. xii. 43. and others. Ovid alfo fays :
<c Hi jaculo pifees, illi capiuntur ab hamis,
“ Hos cava contexto retia fune trahunt.”
£11] Philofiratus, in the before-cited Imag. xiii. defcribes, in a lively manner, the colours of the fifli at different diflances beneath the furface of the fea.
x
/ V
VOL. I
P L A T E
PLAT E XXXVII. C']
IN the pi&ure [2] which is engraved in the firft part of this plate, and which rcprefents a hunting [3], every thing is beautiful, natural, and expreffive. Nothing can be more live-3y and graceful than the attitude of the Genius: the difpofition
£1] Catalogue, n. 464. 1 and 2.
Thefe pictures were both found in the fouterrains of Refina, Auguft the 6th, 1748.
P3] Men, in order to defend themfelves and their properties from the fury and treachery of wild beads, were obliged very early, either to refill: and kill them by open force, or to take them in fnares. This gave rife both to hunting and war. See Lucretius, v. 964, &c. and Ariflotlc, Polit. i. 8. Hence the heroes gained fo much glory, and were efteemed the benefaftors of mankind, becaufe they deffroyed thofe wild beads which ravaged their country. See Paufanias, i, 27. Strabo alfo, xv. p. 704. obferves, that among the Indians, hunters were fupported ajt the king’s charge, bqcaufe they faved their crops from the beads and birds. That which ne-ceOity fird: introduced from its utility and the pleafure which it gave, foon became an art. Virgil's Georgies, i. 139, 140. The invention of hunting was attributed both to Diana and Apollo. See Xenophon's treatife upon this fubjeft: though the honour of it was more ufually given to Diana alone. Thus, to omit the mention of any other paffages, Gratius Falifcus, in his poem upon hunting, fays:
“ Tu trepidant belio vitam, Diana, ferino.
“ Qua primam quaerebat opera, dignata repertis “ Protegere auxiliis, orbemque hac folvere noxa.”
Chiron learned the art from Diana and Apollo, and taught it to others. Xenophon as above. See alfo Oppian's Cyn. ii. v. 10 to 29, who marks out the invention of the different forts of hunting. Perhaps no nation ever exided that did not hold this art in the highed: effeem. See Pliny's Epißles, i. 6. and Lord Orrery's Obfcrvations. Not to mention obfeure and barbarous people, Strabo, xv. p. 734. fpeaking of the education in ufe among the Perfians, fays : that from five to twenty-four years of age, they were obliged every day to exercife themfelves in hunting, without being allowed to partake of the game. An & Xenophon, Cyrop.i. writes, that the king of Perfia was expefled tobe a complete mader of the art: that as he was their gene-'ra! in war, fo he fliould alfo be their leader in hunting ; and that he ought to take
of
of the wings, and the fluttering of the drapery (which, pafT-ing round his neck, envelops one arm), correfpond with the adtion he is about, which is that of throwing one dart [4] with-his right hand, v/hilfl: he holds two others with his left. The
great care that no one abfented himfelf. Tacitus, Ann. ii. makes a reflection, that Vonones, king of the Parthians, was hated by his fubjefts, becaufe, contrary to the cuftom of their anceftors, he feldom went out a hunting. Among the Greeks, in the time of Homer, hunting formed a conflderable part of the education- of their youth, as Athenaeus, i. p. 24. obferves. Plutarch alfo, in his treatife upon education, reckons hunting among the exercifes proper for young men. Virgil obferves, concerning the Aborigines of Italy, Aen. ix. 605.
“ Venatu invigilant pueri, fylvafque fatigant.”
Among the reft of the deities alfo which are invoked by Gratius as prefiding over hunting, is “ Latii cultor qui Faunus amoeni.” With regard to the Romans, the example of Scipio alone might fufiice, of whom Polybius relates, that he employed all the time which he could fpare from war in hunting; if Horace, epifi. i. 18. had not called hunting
“ Romanisfolenne viris opus; utile famae,
“ Vitaeque, etmembris:” thus making, in few words, the juft elogy of this truly noble exercife ; which, with good reafon, is called by Pollux, v. in Praef. the exercife of heroes and of kings: and to which, as Euripides, Supplic. v. 885, &c. juftly obferves, that body ought to be inured which would be of any fervice to the commonwealth. For, as Xenophon remarks, in his treatife upon hunting, p. 995. they who take this exercife, not only acquire good health, a clearer fight, better hearing, and grow old more llowly; but alfo are inftruCfed by it, and accuftomed to military difeipline. Plato, Polybius, Cicero, Plutarch, and all the celebrated writers of antiquity, fpeak of it in the fame terms. But excellent above all are the expreffions of Pliny to Trajan, Pancg. lxxxi.: “ After you have difpatched a variety of bufinefs, you look upon a change “ of fatigue as a refrelhment. For what are your diverfions but fearching the “ forefts, rouzing the wild beafts from their coverts, climbing over the tops of the “ lofty mountains, walking over the rougheft rocks without guide or afliftance ? “ Such were once the exercifes and diverfions of youth; by thefe arts were men “ brought up to be commanders of armies; by contending with wild beafts in lnint-“ ing, with the ftrong ones by courage, with the crafty ones by cunning, Bec.” It is well known how much the tafte for hunting in Rome was united with the public fpeflacles. See Bulenger de Venatione drei. Among Bellori's pictures there are hunting pieces of bears, lions, and tigers, of which we fhall fpeäk prefently.
[4]	Pollux, Oppian, and others, mention the various inftruments of hunting ; but efpecially Gratius, whom we have quoted before; and of whom Ovid, fays:
“ Aptaque venanti Gratius arma dabit.”
He fpcaks of the dart thus:
“ Quocirca et jaculis habilem perpendimus ufum r t( Neuleve vulnus eat, neu fit brevis impetus illi.”
X 2
form
form alio and motions both of the flags [5] in flight, and the dogs [6] in purfuit, are expreffed with fpirit and propriety.
[5]	Stags were particularly facred to Diana. Callimachus, in his hymn to that goddefs, v. 99 to 106. attributes ro her a car drawn by four hinds with gilded horns. See Spanheim, Faber, and the other commentators upon v. 102; who ob-ferve that Pindar, Anacreon, and the reft of the poets, fpeak of the hind as having horns, contrary to the judgement of Arißotle, and other,writers of natural hiftory, who aflert that the frag only has horns. Spanheim alfo, upon v. 106, remarks, that upon medals we frequently meet with Diana either in a car drawn by ftags, or fitting upon one of thefe animals. And it fhould feem that this goddefs was particularly fond of hunting ftags, hares, deer, and other timid animals; from whence fhe had the name of i7\c<pfo?\^, though Horner, Z. 104. adds wild bears; and Ovid, Faß. ii. 163. fays in general:
“ Mille feras Phoebe fy 1 vis venata redibat :” and in th t Anthologia, iv. cap. xii. it is faid of Diana:
“ II«crci	oKifov	yjur/jyso-iov
■--------The	whole world’s a field
Too final! for her to fiport in.------
See Spanheim, upon the Hymn of Callimachus, quoted above, v. 2, 12, and 151. However this may be, it is certain, that other deities befides her, were addided to hunting. Not to mention Faunus, Bacchus, and Sylvanus, who are invoked by Gratius ; and Apollo who is invoked by Hercules in Acfchylus, when he is about to Ihoot at a bird: Ariftaeus alfo is invoked by thofe who make pits or lay fnares for bears and wolves, becaufe he firft invented this fort of hunting, as Plutarch, sv Epdhyyj.0, informs us. In fhort, many and various were the forts of hunting in ufe among the ancients, according to the fort of animal which they purfued, and the manner in which they took them. See Xenophon, Oppian, Nemcfianus, See. upon this fubjed. The hunting of lions, tigers, and other ferocious animals was very dangerous, and therefore not proper for women, unlefs it were Cjrene, Atalanta, or fuch heroines, who were fuperior to the reft of their fex. The other kind of hunting, which is properly the ivenatio of the Romans, and the Kvnfiiuye/j of the Greeks, and which confided in the purfuit of ftags and fuch timorous animals, and where pleafure, exercife, and dexterity only were confulted, was more fit for the nymphs who are the attendants of Diana. Taking of birds is put by Plato, leg. vii. in the fecond place; and as Athenaeus, i. p. 25. obferves, was alfo pradifed by the heroes.
[6]	Seneca, cpifl. x. 77. thus diftinguilhes three properties of hunting dogs:
“ In cane fagacitas prima eft, fi inveftigare debet feras; curfus, fi confequi; auda-“ cia, fi mordere, et invadere.” A good nofie for trailing, a good foot for purfuing, and courage in attacking. Gratius, v. 154, fays:
“ Mille canum patriae, dudique ab origine mores u Cuique fua.”
Befides the ancients before mentioned, there is an excellent poem by Fracafiorius de cura Canum ; and a treatife by Caius, de Canibus Britannicis. See alfo Ulyfius’s Preface to Gratius. The defeription of a perfed hound by Nemefianus, v. 108, £tc. is very good, and fuits the pidure before us:
With

With no lefs tafle, though in a manner fomewhat fantaftic, two Genii [7] are reprefented in the fecond pi&ure upon cars, drawn by dolphins [8]. It is pleafant to obferve thefe dolphins yoked together [9] : and no lefs pi&urefque than elegant, is the fporrive manner in which one of the Genii is painted upon the point of falling into the water [10].
“ Sit cruribus aids,
“ Sit rigidis, multamque gerat Tub pe&ore lato “ Coftarum fub fine decenter prona carinam,
“ Quae fenfim rurfus ficca fe colligat alvo: -“ Renibus ampla fatis vadis, diduttaque coxas,
“ Cuique nimis molles fluitent in curfibus aures.5’
[7]	We often meet with winged Genii like thefe drawn in cars both by land and fea, reprefented upon marbles and gems. If the general idea which has been hinted at before be not fatisfa&ory, we may fuppofe that by the wings is fignified fwiftnefs in the courfe. Sometimes the charioteers appeared thus accoutred in the circus.
Dolphins, as we have elfewhere obferved, were particularly facred to Venus: and in the Anthologia we read, that Cupid is carried by dolphins, in order to fignify his power even over the fea. Concerning the natural affe&ion which this fifli has for mankind, and efpecially for boys and virgins, fee Plutarch de Indujlr. Animal. and others.
£9] In carriages which were drawn by four horfes abreaft, the two middle ones were called jugales, becaufe they were yoked together : of the other two, one was called funalis dexter, and the other funalis finifler. See the Scholiajl upon Arijlo-fhanes in Nub. On a red jafper in Agoßini, p. ii. tab. 59. there is a car refembling this drawn by dolphins, guided by a Cupid with reins, and a whip in his hand, but without the yoke, executed like the piece under confideration, in a beautiful and elegant talle.
[10] Much might be faid upon the diligence of pilots; and one might quote Palinurus, who fell afleep and was drowned. But, all allufions and fymbols apart, this is undoubtedly a very elegant fancy of the painter.
P L A T E
p
T
ATE
XXXVIII. CO
f | H E pidbure [2] which is engraved in the firft divifion
Ji. of this plate mu ft not be ranked among the more finfthed pieces, or thofe which excell the mod in colouring or defign: it excells however in the livelinefs and grace with which the fubjedt is treated, and alfo in a certain beauty and elegance in the difpofition and attitudes of the figures. A little Cupid [3] is reprefented with his fingers [4] ftriking a lyre [5] : he fits upon a car [6], drawn by two griffons [7] j
[1]	Catalogue, n. 467. 4.
[2]	It was found September the 7th, 1748, in the ruins of Refina.
[33 Paufan'ias, h* 27. makes mention of an ancient pi&ure by Paufias, in which there is a Cupid, who has thrown afide his bow and arrows, and holds a lyre in his hand. On a very beautiful cameo in Agofiini, Gem. Ant. p. ii. tab. lv. which has the name of a Greek artift, there is a Cupid with a lyre in his hand, fitting upon a lion. So in Begerus, The/. Pal. Sel.fcft. i. c. i. n. xvi. there is a Cupid on a gem in like manner, ftriking a lyre.
[4]	All the different forts of harps which we have hitherto met with in thcfe paintings are played upon with the fingers ; excepting that in which Achilles is inftru&ed by Chiron, where the centaur has a pledlrum in his hand : and yet, fince he was a confummate mufician, we ftiould rather fuppofe him “ kSu^uv pf/a %sp<riv “ «QÄcrcrftv,” to have ßrnck with his hands the founding lyrey as we read of him in Orpheus, or whoever he be, Argon, v. 380. But becaufe in that pifture Chiron is teaching, he ought therefore to be reprefented with the inftruments fuitable to the chara&er of a mafter. In other pieces, where the player is fuppofed to be mafter of his art, he is drawn without a pledlrum. However, Apollo himfelf fometimes has this inftrument, and fometimes not.
[5]	'The heathens believed that mufic rendered the gods propitious, by mitigating their wrath. Cenforinus de die nat. cap. xiii. Arnobius adv. Gentes, lib. vii. Hence it was that no facred feftivity, either among the Greeks or barbarians, was celebrated without mufic. Strabo, x. p. 467. Plutarch, in his treatife upon mufic,
the
PLXxxuir.
föjljCam&rm
the reins are managed by another little Cupid, who holds a
obferves, that by the datue of Apollo at Delos, the three graces are reprefented with the fißula, the tibia, and the cithara, which were the belt known and moil ancient indruments, in their hands. The mod ancient, becaufe the mod fimple, was the fflula, or pipe. Callimachus, Hymn, in Dian. v. 244. 'This gave place to the tibia, or flute ; to which fucceeded the cithara, or lyre, an indrument more compound, difficult, and grand. Athenacus, iv. p. 184. Arifiophanes, Gscr^ep. calls the lyre mother of hymns, becaufe the praifes of the gods were ufually fung to that indrument. Plato, Repub. iii. baniflies the tibia from his date, but retains the cithara as an ufeful indrument, and favourable to the caufe of virtue. Aefchy-■lus in Athenacus, xiv. p. 631. calls thofe who play upon the cithara oxtpi^ag: and Athenaeus himfelf, i. p. 14. calls them philofophers ; and adds, that, according to Homer, Agamemnon left one of them for a guard to his wife Clytemnedra, whofe chadity he preferred by finging to her the praifes of honourable women, till Egif-thus killed him, in order thereby to remove the greated obdacle to his advancement in her affe&ions. It does not however follow from all this, that the cithara was not alio the indrument of love. Anacreon telis us, that his lyre could not found any other notes: and Paris fung to his lyre drains adapted to feduce the hearts of the female fex, and to gain their affeäions: “ [LoiyiKa, xoa aa oaoav “ ywcuKas, yml	as it is explained by Aelian, Hiß. ix. 38. Euflathius alfo
aderts, that the'cithara was fo called, quafi v.m<ru v\ xeuZxcra spcbjoi, from moving or containing in it, love. And Cajfodorus is of opinion, that the Arings were called chordae q. cor movent, becaufe they move the heart. Thefe etymologi< s indeed are falfe ; they prove however, and have an allufion to the effeft which this indrument produced. But as to the ufe of the lyre in this piece, fee note[ioJ.
[6J Carriages of this kind were peculiar to the courfe: it does not appear that they had, or indeed could have, either box or feat ; for their form was fuch, that the charioteer could only dand up to drive. The painter, having put the lyre into his Cupid’s-hands, which therefore could not guide the reins, has reprefented him as fitting down in the infide, by means of a crofs bench which he has -put in the forepart of the carriage. Of the capfus, ploxemus, or feat, fee S chef eras de Re vehic. ii. 1 to 4. and Chimentelli de Hon. Bifel. c. xxiv.
[7] Aelian, V. H. iv. 27. thus deferibes the griffon : “ It is a quadruped of In-<{ dia, refembling the lion, being armed like it with very drong claws: the feathers
of the back are black, of the fore-parts red ; it has white wings, and the face “of an eagle.” Pliny, x. 49. gives it alfo long ears, calling it auritum. The animals in the piece before us agree well with this defeription. Herodotus, iii. 116. iv. 13. makes mention of griffons who guard gold, and engage with the Arimaf-pians, a people with only one eye, who endeavour to take their gold from them : But Herodotus himfelf looks upon this relation, the author of which was Arifleus Vroconnefnts a poet, as fabulous. Bochart. Hieroz. p.W. lib. vi, c. ii. is of opinion, that the griffons which Mofes forbad the Jews to cat, were only a fort of large eagle, with-a very hooked beak, and called from that circumdance, by Aefchyius and Arißophanes, ypinrcafjoi. Pkiloflratus, in his life of Apollonius Tyaneus, iii. 48. tells us, that the griffons were edeemed facred to the fun, and that therefore the Indian painters reprefented the fun upon a chariot drawn by thofe animals. However, though thefe fabulous animals were particularly given to the fun (and therefore not to mention medals and marbles, on which we often meet with this deity
plate of fruit in his left hand [8]. In the back-ground a large green cloth is hung up, with two yellow tafiels in the middle of it [9]. If any one fhould fuppofe that fome myftery of
along with griffons, there is a piece of ancient painting in Fabretti, where Apollo is reprefented with a griffon on his right hand, and a lyre on his left); yet we find them alfo attending upon Nemefis, Diana, Bacchus, and Minerva, Buonarroti, in Medagl.p. 136 to 142, and in his Cammeo di Bacco, p. 429, has collected, and with his ufual judgement, illuff rated all that has been faid of thefe monffers. The piece before us is valuable, becaufe it fliows us that thefe animals were alfo given to Cupid. It lhould feem that the griffon on the right, by his mane, is intended for a male.
[8]	Fruits are with propriety affigned to love. Pbiloßratus, Imag. vi. lib. i. defcribes a group of naked, winged Cupids, who are gathering fruit and putting it into bafkets: and after having obferved, that two of them are throwing an apple from one to the other, he adds: “ the boys who are at play with the apple point “ out to us the firfl beginnings of love ; therefore one of them kiffes the apple be-“ fore he throws it, and the' other catches it in his hands: it is clear that as foon as “ he has catched it, he alfo kiffes it, and then throws it back again to the”firfl:.” Innumerable are the pafl’ages in ‘Theocritus, Virgil, Ovid, See. where we fee this done by the wanton nymphs, and the (hepherds and fhepherdeffes. See Virg. Buc. iii. 64. Tbeocr. Idyll, v. &c. And there is none more to the purpofe than this of Arißophanes, Nub. ad. iii. fc. iii. v. 35, &c.
“ Mv/cT eng	etcri-vcct, tvtz jj.rj	mvj<x KiyjiVMg,
“ MjjAw Cx/eig vtto wopvihx, ayg svxAeiag ccTroöpccvcrSr^.
The dance's wanton pleaßures ßec :
Leß while its /ports your heart employ;
The harlot's apple toß at thee.
Thy innocence and fame deßroy.
Wherefore the Scholiafl explains NI^AoCccAhv, etc Alpoltcna. &Azc/ym.
[9]	Buonarroti, Medagl. p. 265. is of opinion, that fince the notion that griffons and other fabulous animals were produced in India arofe perhaps from feeing the Indian manufattures interwoven and filled with fuch monffers and fantaffic figures as thefe: fo perhaps the ancient artifls would paint the walls in imitation of tapeffry embroidered in this manner, as if the rooms were furniffied with it. In confirmation of this remark, he adds, that Pbiloßratus, ii. Imag. xxxii. fpeaking of the Perfian garments, fays: “ The monftrous figures of animals with which the bar-“ barians varioufly die or weave their garmentsto which we may add that paffage of Pollux, vii. cap. xiii. and xvii. where he names garments Q^pia. & Zuwjce, fo called from the wild beaffs and other animals which were weaved into them. Clemens Alexandrinus, Paed. ii. 10. alfo defcribes them: and Thcophrnflus, Char ad. cap. vi. fpeaks of tapeffry with fuch fort of fabulous creatures upon it. The Alexandrian and Babylonifh carpets and tapeffry are famous, and upon them were reprefented ff range fantaffic figures, fuch as we have now upon the Chinefe manufactures,
---------“	et	quicquid inane
“ Nutrit Judaicis quae cingitur India velis.” as Claudian obferves, in Eutrop. i. v. 357. We may therefore conjeClure, that the
love
love is here fymbolically reprefented [io], he will perhaps not
the painter intended to reprefent by this cloth (the ground of which is of a grafs green) a piece of tapeftry, exhibiting fuch a whimfical fport of two Cupids with a chariot drawn by griffons. But if this be not entirely fatisfattory, becaufe the “figures feem to be feparated from the cloth, which indeed cannot be diflinguifhed in “the piflure very clearly : perhaps this periftroma, aulaeum, or whatever elfe We call it, may indicate a proceffion, a triumph, or fome other folemnity: for on fuch oc-cafions, it was ufual to adorn the walls with rich hangings, and tapeflry, as is flill the cuftom among us. See Valerius Maximus, ix. i. and Servius upon Jen. i. v. 701. We often meet with marbles, upon which the couches and beds are furrounded with curtains like thefe ; and we may obferve them alfo in the proceffions of Bacchus.
£10] Paufanias, i. 43. writes, that there were at Megara three flames by Sco-
pas, “ EgWf, YMl	YXil Uo9&, HCiYI <iiu(pcpci sqi, xffu TXvjoi T01$ OVOpLOOTt, XXXI TÖ5
“ iff <r(pi<n.” Eros, Himerus, and Pothus: different in form, as they are in their names and employments. Yet thefe three different names all exprefs one love, only reprefented under three different figures. Phornutus, upon The Nature of the Gods, c. xxv. gives the reafon for thefe three appellations. The Romans called love Cupido from defire, and Amor from fociety. See Voffii Etymol. in Amo. It is notorious that Cupid was feigned to be the fon of Venus; becaufe beauty generates in the mind a defire of poffefling it. The ancients feigned two Cupids, becaufe there were two Venufes. See Plato's Banquet. Though he himfelf diflinguifhes afterwards three forts of love : the divine, which is employed entirely in the contemplation of fpiritual beauty : the fecond, in direct contradiction to this, is wholly funk in fenfual pleafures, and the brutal defires of corporeal beauty: the third unites the two extremes, joining virtue with pleafure, fenfe with reafon. Paufanias, ix.
16. relates, that there were three ancient flatues at Thebes of Venus in wood ; *( K«A»o7 tk Ovpuviu'j, Tty & ocmcAjv vTcx'.^-pov, xcu hr.cqpp'^iuv t/jv apfav.” He obferves in another place, i. 22. that Thefeus introduced the worfhip of the popular Venus in Athens as foon as he had brought it into the form of a city, by uniting together thofe who before had lived difperfed in villages: intending, I fuppofe, thereby to ihow, that matrimony is the bond of fociety. Indeed if by the popular Venus was meant lawful loYe, it muft have comprehended not only Venus arnica, but maritalis alfo. The remark of Phileterus, in his poem upon hunting, Athenacus, xiii. pag. 571. concerning the two Venufes beforementioned, is worthy our obfervation. The reafon which is given by the poet Amphis in Athenacus, p. 559. is falfe and ridiculous. But the reflection of Plutarch, in his Treatife of Love, is juft and agreeable to truth : he fays, that the fupreme happinefs of marriage confifts in the union of fouls; wherefore husbands and wives ought to facrifice, not 10 Venus, but to Cupid; and he adds, that the marriage ftate is divinely cailed by Homer, friend-flip, by Pindar and Sappho, grace, becaufe (according to this philofopher, in his marriage precepts) in their mutual intercourfe all the affections and paftions of the man and woman fhould be reciprocally communicated and transfufed into each other’s minds, by means of this union. EpSjiot, or feafts of love, were celebrated every fifth year by the Thefpians: the Scbotiaß upon Pindar, Paufanias, Athenacus, and Eußathius mention them. Fafoldus, de heft. Grace, vi. Fcft. ix. is of opinion, that this feftival was common to the Mufes and Cupid. Meurftus, Grace. Feft.in Efflux, infills upon it, that there were two different feafts. However this may be, it is certain, as Plutarch in his Treatife upon Lew plainly tells us, that thefe feftiyals were
Vol. I.	Y	be
le at a lofs for reafons in fupport of his opinion [n].
In the other pidlure[i2] there is a round altar [13], about
celebrated by the Thefpians in honour of Cupid, in order to appeafe all differences among married people: he mentions alfo mufical contefts, in which they played on the lyre, and fung alternately. We (hall fee in the enfuing note what fort of lore the painter intended to reprefent here.
[11 j The opinion of the ancients concerning the origin of love is well known. See Plato, in his Banquet, and Plutarch de Plac. Philof. i. 4. de Gen. Socr. and Brot. The poets called the beauty, or order, and fymmetry which may be difeerned in all parts of the univerfe Venus, and that force which excites every thing to regularity und fyftem Cupid. This was the Venus daughter of Day ; this was the Cupid fprung from Chaos. See Phornutus, cap. xxiv. xxv, If we compare what the ancient poets have faid of Cupid, and of the Sun, we mull confefs that they looked upon them to be the fame : for 'they acknowledge the one as well as the other for the author of all, and for the father of gods and men; nay, what makes more, to our purpofe, for.the governor of the heavens, the dire&or of the fpheres, and the ruler of heavenly harmony. See Natalis Comes, iv. 13, 14. and v. 17. Alfo Avcrani in Ant hoi. JDiJ/ert. xx. xlvii and pv. Hence it will not be difficult to underftand the defign.of this piece, and to give fome account of the lyre, the griffons, the carriage, the apples, and the two Cupids, which are reprefented in it. Plutarch, dc Procreat. Anim. writes, that the ancients put. inftruments of mulic into the hands of their deitjes in their ftatucs ; not becaufe they believed that the gods diverted themfelves with playing upon the harp or pipe, but becaufe nothing is fo agreeable to the divine nature as harmony and concord. But this may be faid of love with more propriety than of any other; for to him mufic more efpecially belongs in every refpeft, whether we underffand love to mean the general tendency of nature tow-ards order and fymmetry, or the particular delire of the human mind for beauty of any kind. For harmony correfponding to a right difpofition of the mind, fee Plato, in Timaco id Cow. agrees not only with celellial but alfo with common love. Euripides fays:
.... . “ E’en the rough hind learns harmony from love:” whi^h is explained by Plutarch, Symp. l.-qu.v. And fince mulic has either a good-or lafcivious tendency, it may have reference either to that love which is founded on reafon, or lewdnefs. The griffons being, on account of their hot nature, dedicated to the fun, fee Buonarroti, Medagl. p. 136, &c. for the fame reafon appertain alfo to love : and by thefe animals drawing the car of Cupid, is meant, either the univerfal dominion of love; or generous lovers, of a fublime and virtuous difpofition. The car feems intended to lliow the union of minds in lovers, together with the correfpondence and equality of their affections; whence Venus conjugalis was called agpee chariot by the Delphians. See Plutarch, in Erot. Married people ■were called conjuges among the Homans, becaufe the ceremony w'as performed by putting them both under a yoke. Ifidore, ix. cap. ult. Apples belong both to-Venus and Cupid, for feveral reafons; particularly to conjugal love, .becaufe they denote the fertility arifing from this union. It feems however more probable, that they are here intended as a mark of one of thofe loves, by which it ffiould feein they defigned to exprefs the two parts compofing the third love,, which Plato calls. mixed, as we have obferved before. By the firft of the two boys, w'ho holds the fruit in one hand, and the reins in the other, the painter feems. to have intended .
which
which is entwined a ferpent [14]) whofe back is of a whitifh colour, marked with dark fpots, and the belly of a bright blue, with a mixture of yellow [15]) in the a£t of eating fome
fenfual defires, which draw lovers to the enjoyment of pleafure, expreffed by apples : for a poet in Plutarch in Ervt. calls amorous delights fjs/jXov yXvku, fwcet apples. By the other, who fits in the car and founds the lyre, that delight feems to be figured, which arifes from the union of hearts regulated by reafon, to which fenfe is kept in fubjettion. And here again is explained that thought of Plato in Conviv. where he calls vulgar love crvvspFov, the ailiftant or fervant of heavenly love.
[12]	Catalogue, n. 537. It was found at Refma, in 1749, and is eighteen inches high, and twenty inches wide.
[13]	The firfb man who erefted an altar was Noah, Gen. viii. 20. Profane writers vary much upon the fubjeö of altars: they agree, however, in this, that they were anciently erccled on hills, becaufe men firft offered facrifice and prayers there; but of this cuftom we lhall lpeak prefently. Cecrops was the firff of the Greeks who built an altar to the gods. Eufebius Chron. lib ii. in proocm. The form of altars differed among the ancients; fome being triangular, others oblong, fome fquare, and others round; but we mod frequently fee them of the two Iafl forms on medals and marbles. They were different alfo in height,.and the Greeks had diftinff names for them. See Potter's Antiquities, ii. 2. The Romans, alfo in propriety of fpeech, diflinguiflicd the ara from the altare. Varro, as he is quoted by Servius upon Eel. v. alligns the altare to the celefiial gods, the ara to terredrial divinities, and the foci to infernal deities; but thefe didinftions do not feem to have been obferved either among the Greeks or Romans. Vitruvius himfelf does not fo much make the didin&ion as inftrufl us in the difference. However, without troubling ourfelves about the words, it is certain that altars differed in their height according to the rank of the gods, though ufually they reached to about the waid of the facrificer. See Säubert de Sacrific. cap. 15.
[14]	Every thing that might be faid upon the nature of ferpents, of the wonderful qualities attributed to them, and of the myfterious reafons why they were fuppofed to be divine and facred, has either been learnedly obferved by others, or is fo well known that mo one can well be ignorant of it. It may fuffice to mention here, that among the many circumdances which have induced mankind to look upon ferpents as divine, this, which we read of in Eufebius de Pracp. Evang. i. 7. is the mod: worthy our attention, that it can move itfelf, and walk very fad, “ yppig
“ TyC^MVT-, '/Ml yjlpd'Jy 7] «AA« T/V'gv TOi'V s’^wQsv, OC'J TO. XoiTUX, fuiX Tag 7WY\THg WOlHTOilf
■‘Without feet, hands, or any of thofe limbs, by means of which other animals perform their motions. The way of a ferpent upon a rock appeared wonderful even to Solomon. Prov. xxx. 19. In note £17] there will be fome obfervations upon the reafon why the ferpent was reputed the genius of places, and was given as au attribute to the god of phyfic.
[15]	Bochart, llieroz. p. ii. lib. iii. cap. 14. proves, that dragons have neither feet nor wings, and that they differ from other ferpents only in liae, and fome few other trifling particulars, as in having the mouth large ; the neck fcaly or hairy ; and a beard, or a prominence from the lower jaw refemblirg a beard, as Avicenna
Y 2	deferibes
defcribes them. By thefe marks, which an attentive examiner may difcover in the animal under confideration, we may be allured that this is intended for a dragon. The fize of dragons, if we may believe the Greeks and Arabians, is excefiive ; for there are not wanting fome who allure us, that they have been feen of eighteen miles in length. Avicenna fays, that in fome places their greatell length does nor exceed four cubits. What Lucan, b. ix. 727, &c. affirms is remarkable, that dragons are venomous only in Africa:
“ Vos quoque, qui cun&is innoxia numina terris “ Serpitis, aurato nitidi fulgore draCones,
“ Peltiferos ardens facit Africa.”
“ And you, ye dragons ! of the fcaly race,
** Whom glittering gold and Ihiningarmoursgrace,
“ In other nations harmlefs are you found,
“ Their guardian genii and protestors own’d j “ In Afric only are you fatal.”	Rowe.
Authors ufually defcribe dragons to be either black or yellow, fometimes deeper and fometimes lighter, or elfe grey. In confirmation of our aflertion, Paufaniasy ii. 28. has thefe words concerning the ferpent of Epidaurus : “ A^ocxovj-g & 01 Komor “ yjxi fJcgov yr.%-1 sg to %o&v9ots(>ov pzitovug ypoag, i-poi psv th Acrx?.}j7n8 vopu^ovjai, xca hciv “ ctvQpMTToig ripi-zpot“ All other dragons, and efpecially thofe which are of a deep “ yellow colour, are efteemed facred to Efculapius, and are harmlefs to men.” Pliny, xxix. 4. fpeaking of the fame kind of ferpent fays: “ Anguis Aefculapius Epidauro “ Romam adveStus eft, vulgoque pafcitur et indomibus; ac nifi incendiis femina “ exurerentur, non eflet fecunditati eorum refiftere.” Aefculapius it is well known was' worlhipped at Epidaurus under the form of a ferpent; he was therefore called anguis Aefculapius, and was tranfported to Rome, and worlhipped under the figure of fuch a kind of ferpent in the year of Rome 463 or 462, not 478 as Hardouin, upon the paflage in Pliny juft cited, has inconfiderately affirmed. The reafon and manner of this ferpent’s coming to Rome, is poetically defcribed by Ovid, Metam.-xv. v. 630, &c.; and told by Livy, b. x. c. the laft, and Valerius Maximus, I. vinyl 2. It may indeed admit of a doubt, whether the ferpent here painted is of the fame kind with the Aefculapian ferpent. We may however obferve, that Lam-pridius, in his life of Heliogabalus, affirms, that the emperor “ Aegyptios dracun-“ culos Romae habuit; quos illi agathodaemonas vocant.” And Servius, upon this pafiage of Virgil, in the third Georgick, tc caelumque exterrita fugit,” remarks, “ id eft, teSlis gaudet ut funt uyu9oi $xip.ov:-g, quos latine genios vocant.” Thefe ferpents, or little dragons of Egypt, are probably not the fame with the Epidaurian or Aefculapian ferpents. Eufebius ipeaking of thefe animals fays: “ <S>oivivjg S.- ccvjo “ c&ycx.9ov	KciXavi'	opLoiuig	xai A:Fj7r]ici' Kvqtp cmoyopicn an “ The Phoeni-
“ dans call this creature good genius, and the Egyptians in like manner name it “ Cnepb.” We may remark farther, that the animal before us cannot be referred either to the Epidaurian or Egyptian ferpent; becaufe both thefe, as we have feen, were of the tame domeftic kind ; whereas this of ours is undoubtedly reprefented in the fields, and feemingly upon the brow or ridge-of a hill, in a defert place v though-indeed it is a common property of dragons, “ tvjv spYipuav vspo tm agvxoov hotjp&Hv according to the remark of Aelian', Hiß. Anim. vi. 63. Whatever moment thefe diftin&ions may be of, we lhall fee prefently how they may be applied to three different conjenures which are made concerning this pi&ure.
fruits
fruits which are upon the altar [i 6], In the corner, near the ferpent, is this infcription: genivs [17] hvivs loci [.8]
[16]	Serpents are extremely greedy of honey, and all other fweet things; as for inftance, fueh fruits as are laid upon the altar, and which feem to be figs and dates ; thefe, or the like vi&uals, were prepared for the confecrated ferpents.
, £17] By this infcription it is clear, that the ferpent which twills about the column, is the genius of the mountain, where the piflurc is fuppofed to be. It is an old notion, that ferpents are the genii of thofe places which they frequent. Aeneas, in Virgil, Am. v. 95. feeing a ferpent Hiding from the tomb of Anchifes, doubts whether it were the genius- of the place, or the attendant of his father’s manes
“ Incertus geniumne loci, famulumne parentis
*( Elfe putet.
There is no- difficulty, therefore, in underllanding this part of the pi&ure. One however has obferved, that a ferpent wreathed about a column, which is by no means uncommon, is ufually fuppofed to be intended as a fymbol of Aefculapius, and even as a reprefentation of the real Aefculapian ferpent ; and that a facrifice to* health is almoft always lignified in this manner, more efpecially when the ferpent is eating fomething upon the altar, in the fight of fome other figure.- This obferver, therefore, putting together the ferpent which reprefents the genius of a-place, and that which belongs to Aefculapius, thinks he has found out a mylfery in the pi&ure, and forms conjectures which have not been entirely approved. What he fays, however, is this, that the firft notion of the divinity in the minds of men who were overwhelmed with ignorance and fin, was that of attributing a foul to created beings ; and fuppofing a foul, together with a principle of motion and prefervation, to be not only in the liars and larger bodies of the univerfe, but even in every the moll minute particle of the earth, in the fame manner as the foul in the human body. Hence they believed the genii to be thofe intelligences which inhabit and move the parts of the univerfe. In Ihort, by genius they underllood nature herfelf operating by her force in every thing, and to this they afterwards gave body and figure. Nowfince it was well known in every age, of how much fervice nature, that is to fay, the natural internal felf-affiflant force, k, in the cure of difeafes ; this was called our genius and guardian. Nature they thought could not be better figured and reprefented than by a ferpent, which exhibits more than any other animal a principle of life in its body; for even after it is cut in pieces the animal will hill continue to flruggle and writhe itfelf about. Becaufe, therefore, when men were lick, nature dictated to them the necelfity of applying to the Aefculapian art, the ferpent was confidered as an attendant upon the god of healing. Thus, in like manner, men being fenfible of the importance which the climate, the water, and the quality of the ground they inhabited, and from whence-they drew their nourilhment, were of to health and lifehad- alfo the highelt veneration for the genius of the place; that is, for the natural temperature of the air, the pccuiiar properties of the ground and water in-any place- Vitruvius, i. 4. has difcovered the true origin of divination and facrifices—that men when they arrived at any place before they fixed their habitation, examined the entrails of animals in order to find out what elfefls the food and water of the place had upon them ; that is, what were the effefts of the climate and nature of the fituaiion-upon animal bodies. This then is the genius of the place which they worffiippcd.
and wliöfe will they examined by aufpices, and whom they endeavoured to render propitious by facrifices. This virtue refiding in the earth, this'genius of the place, could not be reprefented with more propriety by any thing than by a ferpent; which, becaufe it inhabits the bowels of the earth, never leaving them, but con-Ilantly flaying there, may be called avjogßoev; and, therefore, may moll properly be put to represent the deity of the place, marten ingenitwn, indigenum, in a word the genius. He adds, that Aefculapius and Hygicia his daughter are nothing more than the air, which by its falubrity produces health in man and all other animals; -äs Paufanias, viii. 23. has explained it. From all this he concludes, that fince the natural flrength of conflitution, and the virtue and efficacy of the climate and country are of equal importance in medicine; a ferpent, which is an emblem of both, is with great propriety put here, where a facrifice to health is reprefented : fo that he takes the genius of the place to be the fame with the Aefculapian ferpent. Without flopping to produce objections againfl this hypothefis, let us briefly fet forth what another hath obferved, upon the realon why the ancients reprefented the genii of places by ferpents. All that he lays, or indeed that might be faid, upon thefe imaginary beings, is well known ; therefore, not to infill upon the quellion, whether the worfliip of them came from ZorOafter, or the Egyptians, and how it arofc from the holy feriptures mifunderftood, let it fuffice to remark, that thegc/w were ever held in the high eft veneration. Hefiod, the firfl among the Greeks who has treated this fubjeCl with any prccifion, after dividing all intelligent beings into gods, genii, heroes, and men, and admitting a fort of correfpondence and intercourfe between them, defines the <renii to be creatures in the middle rank between gods and men ; ferving therefore as mediators between them, and carrying the Vows and prayers of mortals to the gods; and the oracles, rewards, and punishments of gods to men. Every deity had his genius, by means of which he aCted; every man, indeed every being, had his, by which he was preferved and direfted. In fhort, the genii were the minifters which the deity employed in the government and prefervation of nature. The whole army of them was divided into three bodies; the firfl had the care of the flars; the fecond of the air; and the third of the earth : and every thing that wras done in any of thefe, was attributed to the genii. There was nothing therefore, either natural or artificial, but what was fuppofed to be produced or formed by a particular genius, and alfo to be preferved and guarded by the fame being, during its whole continuance. The Greeks called them lou^ovsg, perhaps from their knowledge, becaufe it was their bufinefs to infpeft every thing. They were named by the Romans genii, for a reafon given before; alfo praeflites, becaufe, according to the obfervation of Martianus Capella, praefunt gerundis, or genundis rebus omnibus. But as the univerfal genius of the whole earth, who was called M'-FaKcoaiyLuv, ox great genius, was fuppofed to dwell within the bowels of the earth, to guard and preferve it; fo alfo the genii of particular places were fuppofed to inhabit in the fame manner Within the earth, in the feveral diftri&s-afijgned to the care and guardianfhip of each. It was very natural therefore'to imagine, that ferpents were the genii of places, äs they always came out of holes and fubterraneous caverns, and returned into them again to breed. Unlefs we fhould fay that thefe genii of places were tlie manes chi led alfo dii pair'd and indigen ae: and that the ancients obferving ferpents coming out of the tombs of the dead, might imagine that they were the fouls, or rather inanes of the deceased. All this has been remarked, and is to be met with in other authors.
MONTIS
montis [19J. On the other fide of the altar is reprefented a lad [20] crowned with leaves [21], with a branch [22] in his
[18]	There are many infcriptions in which the genius of the place is mentioned withthefe very words, genivs uvivs loci. SccGruter, p. ix. and lxxiv. and other collectors. In Boijfard there is a votive altar to the water-lymphs, or nymphs, which are the fame, of a hill, with this infcription, nymphis qvae svb colle svnt, arvlam, &c. See Montfaucon, tom. ii. p. 2. Pi. xlix.
[19]	Men anciently made their prayers and facrifices to the gods upon the tops of mountains: “ oti tuv svyjyteow <%F%oQsv t7raF$cnv 01 S101“ becaufe in juch. a ff fixation the gods would have the prayers nearer to them,” fays Lpcian, probably In jell: though Tacitus, alfo fpeaking of' fome lofty mountains, fays: u preces " mortalium a deo nufquam propius audiriSee Potter’s Antiquities,, ii. ,2« However this may b<?, the Perfians adhered ftedfaftly to this cuftom, .as Xenophon, b. viii. remarks, in fpeaking of Cyrus, who facrificcd “ An w«]pocu) non BXm kou “ ioig aXXoig Ssoig stti 70.V axpuv, oog lUfxrui Siwi ;” to paternal Jupiter, the fun, and “the reft of the gods, upon the tops of mountains, after the manner of the' “ Perfians.” Hence the Scholiaß upon the Trachiniae of Sophocles remarks, that all mountains are facred to Jupiter ; and Homer, in his hymn to Apollo, fays, thax to this deity,
“ Boxrai 0= (TKCTncii ts (piXcu, vmi wpoemg uvqau
“ mvcqswv”
The hills and mountains lofty tops are dear.
And Potter remarks, that mountains in general were efteemed facred to the gods, becaufe altars firft, and afterwards temples, were ereded upon .them. And Spanheim upon Callimachus’s hymn to Delos, v. 70. obferves, that falfe gods are called in fcrjpture gods of the mountains: whence David, Pf .exxi. 1, fays: thgt he looks for help from God, and not from the hills. Nay, from other paffages of feripture we coiled:, that idolaters worlhipped even the mountains thcmfelves: and Lucian, de Sacrif. exprefsly fays: non opvj avsQsrotv. If mountains ever deferred the honour of being fuppofed to partake of the divine nature ; Vefuvius, not to mention the effeds of its wrath, upon which fee Vitruvius, ii. 6. and Strabo, v. p. 247. and Cafaubon upon the place, both for the fertility of its territority, and the excellence of its climate, might beft deferve it. Varro, de Re Ruß. i. 6. celebrates the falubrity of Vefuvius in general; fo alfo do Tacitus, Pliny, Statius, Martial, and Galen. Procopius, Bell. Goth. lib. ii. fays: that they who laboured under d.iforders of the lungs were ordered to this mountain; whither, becaufe the air is extremely pure andfalubrious, phyficians fend thofe who are far gone in confumptions. Strabo, in the place juft quoted, fays particularly of Herculaneum, that it was a very healthy place to live in; but upon this fubjed we Ihall fpeak in another place. This wholfomenefs of the air makes it probable that our piClure reprefents a facrifice to health, which was recovered at this place.
[20]	Three eonjedures have been made concerning this piece. One infills that it is a reprefentation of a facrifice to health; and fuppofing that one of the Aefcu-lapian ferpents is intended by the dragon, and a facred libation by the fruit *, he eonjedures that this lad is either a minifter of the facrifice, or the lick perfon h’mfelf juft healed, and offering facrifice; he has called the dhine ferpent with a whiftle, and has charmed him with a rod ; which are the two inftruments ufed by
right
right hand, and putting up to his mouth a finger of his left [23]. This piece, for its fingularity, may be ranged with the four Momchromi upon marble; and deferves to be efteem-ed öne of the mod precious jewels that adorn the Royal Mufeum.
the ancidnts to command this animal. Another, fuppofing the ferpent to be the good genius, or Egyptian Cneph, finds no difficulty in determining the lad to be Harpocratcs; who is often reprefented exactly as we fee him here; with a.crown on his head, a branch in his hand, and clofe by an altar, about which a ferpent is entwined. Others agree to the opinion that the ferpent reprefents the genius of the place, being indeed clearly marked out as fuch by the infcription: but they will not hazard a conje&ure upon the lad ; though fome of thefe are inclined to fufpett, that it may perhaps be he, who has made an offering of fruit upon the altar.
[213 Perfons who offered facrifice were always crowned. We may fee Aefcu-lapius and Hygieia themfelves with crowns in- Muf. Rom. tom. i.f 1. tom. ix. and x.
[22]	Sacrifices ufually carried a bough, efpecially the priefls of Aefculapius, and thofe whofacrificed to health.
[23]	This a£Hon ufually expreffes filence ; Harpocratcs therefore is always thus reprefented: we alfo meet with the goddefs Angerona expreffed in the fame manner. See Muf. Rom. tom. i.fed. ii. tab. 33, 34, 35.
£24] The infcription in this picture renders it extremely valuable. It is not, however, the only piece m the Royal Mufeum which has one. On the contrary there are feveral with very rare and truly fingular inferiptions on them.
PLATE
PLATE XXXIX. M
IN this, [2] and other pictures of the fame kind, which reprefent imaginary pieces of architecture, we may ob-ferve once for all, that the painters, or rather ornamenters [3], intended, perhaps, no more by them, than to cover the wall with fomething that was plealing in its compofition and colouring [4.]; without giving themfelves the trouble to fketch
£1] Catalogue, n. 66.
[2] This, and the others which follow, were found in various fituations in digging at Refina.
C3] Vitruvius, lib. vii. c. 5. calls thefe ornaments, cxpolitiones.
[4]	Pliny, xxxv. 4. fays: <£ Non fraudando et Ludio divi Augufti aetate, qui <c primus inftituit amoenifiimam parictum pi&uram, villas, et porticus, ac topiaria “ opera, &c.” Ludius then in the reign of Augußus introduced, not indeed painting upon walls, for that was very ancient, both in Greece and Italy, as Pliny himfelf obferves in the fame place ; but however the tafte of rcprelenting porticos, arbours of clipped trees, and other ornaments of gardens, landfcape, and the like. Vitruvius alfo, an author of the Augußan age, in the place quoted above, fpeaks of thefe forts of paintings; but feems to diftinguifh them from mere views of architecture : or if he makes them to be the fame, he certainly thought them more ancient than his time. Thefe are his words: “ Caeteris conclavibus i. e. vernis, “ autumnalibus, aeftivis, etiam atriis, et periftyliis, conftitutae funt ab antiquis “ certae rationes pidlurarum.—Ex eo antiqui, qui initia expolitionibus inftitucrunt, tC imitati funt primum cruftarum marmorearum vari'etates et collocationes, deinde “ coronarum, et filaceorum, miniaceorumque cuneorum inter fe varias diftribu-“ tiones. Poftea ingreffi funt, ut etiam aedificiorum figuras, columnarumque et faftigiorum eminentes projefturas imitarentur : patentibus autem locis, uti exedris, propter amplitudinem parietum feenarum frontes—defignarent: ambulationibus “ vero propter fpatia longitudinis, varietatibus topiorutn ornarent.” And then he adds: “ Sed hacc quae a veteribus ex veris rebus exempla fumebantur, nunc (l iniquis moribus impröbantur.” llcw then was Ludius the inventor of this kind of painting ? We may anfwer, that he introduced the grotcfque manner of painting ; that is, the reprefentation of ftrange and ideal things, in the room of thofe which are real, or at lead: probable. But this will not do, becaule the fame Vitruvius deferibes the ideal icene of Apaturius as being in this tafte. It feems therefore uncertain who was the inventor ; unlefs we fhould fay that Pliny meant,
Vol. I.	Z	out
out plans of real buildings, or any thing like them, and to put them into true perfpe&ive; nay, without even keeping the fame horizon, the fame point of view, or the fame dif-tance, in their fantaftic pieces [5]. It would, therefore, be too difficult a task to reduce pictures of this kind to the repre-fentations of real obje&s, or to examine the feveral parts of them by. the rules of art. It does not, however, follow, that becaufe they are whimfical and irregular, they are therefore of no value : for, to omit other circumftances [6], they certainly often afford us points of inftru&ion. We (hall remark in each what feems moft worthy of particular attention. From this we fhall be able to learn much. And, in the firft place, every one will eafily perceive, that it is not entire; and, fince it appears at firft fight, that the round colonnade is the middle
not xhztLudius invented, but firft introduced into Rome, this manner of painting; and indeed the expreffion in Pliny makes this very probable. We fliall explain prefently what it is that Vitruvius condemns in paintings of this fort.
[5]	Vitruvius, in the place quoted above, lays the blame of this corrupt tafle in painting to the ignorance of the artift, who, inflead of paying a proper attention to the art itfelf, makes nothing but a vain fhow of a contrafl and gaudynefs of colouring : “ Quod enim antiqui infumentes laborem et induflriam, probare conten-“ debant artibus; id nunc coloribus et eorum eleganti fpecie confequuntur.”
[6]	Whoever will be at the pains to compare with thefe, the pieces of the fame kind which are executed by modern artifls; mufl acknowledge that they have not obferved the rules of perfpekive any better than the others; but, at the fame time, mufl allow, that they are far inferior to them in every thing elfe. Indeed there reigns throughout all thefe pieces, fo much knowledge of perfpeflive at leak, that we may be allured the mikakes in them arife not from the ignorance of the ancients in general upon this point, but rather from the particular negligence of thefe artiks in the knowledge and accurate execution of the rules which good painters were well fkilled in. But not to infik upon this, every connoifleur muk confefs, that there is in thefe pieces, a livelinefs of imagination, accuracy in the execution, freedom of pencil, and fo much fpirit in the touches, efpecially of the lights, as renders them, at leak, very pleafing. Vitruvius, fpeaking of Apaturius’s performance, fays : “ Quum afpeflus ejus feenae propter afperitatem eblandiretur omnium vifusintending probably by afperitas to exprefs that fpirit and relief which appear in thefe paintings.
of
ot the building, it is evident, that the whole of what is feen on the right muff be wanting on the left. Then, if we con-rider the picture in one view, we fliall find it to be an aflem-blage of different colonnades [7], beautifully put together, by the hand of a painter indeed rather than of an architect. The feffoons which, with a variety of fancy, fet off and unite the parts of this imaginary building, are elegant. The order bears a refemblance to the Ionic; but the errors and defeats in the architecture disfigure it very much. This very deformity, however, adds a value to the piece, by giving us a view of that manner of painting which was the fafhion in the time of Vitruvius, and againfl which he fo much inveighs [8].
[7]	If we liken it to any thing, it mud be to what the French call Treillage (Trellis-work) in gardens. The plants, which fill up the intervals between the pillars, favour this conjeffure.
[8]	After Vitruvius, c. v. has obferved, that a piffure is a reprefentation of that which actually exifts, or at leaft may exift; as men, buildings, fliips, &c.: he goes on to relate, how the painters of ornaments began with imitating the veins of marble upon walls, and afterwards improved fo much as to paint buildings, colonnades with their correfponding parts, harbours, rivers, mountains, landfcapes, &c. always imitating reality, or at leaft probability. And then he adds : “ Sed haec “ quae a veteribus ex veris rebus exempla fumebantur, nunc iniquis moribus impro-“ bantur. Nam pinguntur tefforiis monftra potius quam ex rebus finitis imagines t: certae. Pro columnis enim ftatuuntur calami, pro faftigiis Harpaginetuli ftriati te cum crifpis foliis et volutis. Item candelabra aedicularum fuftinentia figuras, “ &c.” And fo proceeds to give a lively piffure of thofe which have been fince caHed Grotefques. The piece before us may ferve for a comment upon this paffage of Vitruvius, as we Ihall have occafion to obferve farther in the fubfequent notes. Here it will not be amifs to make fome obfervations concerning thefe grotefques. Perrault, in his notes upon this paffage of Vitruvius, imagines, that this author, by having given us fo lively a defeription of thefe grotefques, in order to put an end to the abufe of them; fo far from having extirpated them by thefe means, has tranfmitted them down to the painters of our times; fince it is impoffible that it could ever have entered into the head of any artift to paint them, had it not been for the exaff draught which he has left us. But this conjeffure is not fupported by faffs: for, in the firft place, it might be proved, that this kind of painting never was entirely left off. We have a clear and undoubted teftimony of this in S. Bernard, who reproves the monks of Clugni, becaufe, in his time, they gave fcandal to the world by painting grotefques upon the walls of their cloifters. Befides, to fay
Z 2	The
The ill-proportioned columns [9] mow us what theie lamp-flands [10] are which that learned writer condemns, and the
no more, the etymology of the \yord itfclf points out the rife of it. In Varchi, p. 216, we read: “ There are no ancient paintings now in being, except fome “■ in the Grqttos Rome, which gave name to. thofe which are now called “ grotesques.” And Rafaello Borgbini nel Ripofo, p. 492. fays:	“ Thefe kinds
“ pf piftures from their having been found in thefe grottos have been from thence “ called tlpere grotcfjues.” It is not then from what Vitruvius has writ, but from the originals of the ancients themfelves, that our artifts have learned this kind of painting.
[9]	The common meafure of the (hafts of columns is well known; particularly in the Ionic order, that the height of the (haft (hould be eight diameters and an half: whereas thofe which are here reprefented, contain fixteen or feventeen. Upon medals, indeed, we frequently meet with little temples, or ciboria, (which are nothing but a cupola fupported by columns, and probably have their name from the refemblance which they bear in (hape to the Egyptian bean, called ciboriuvi), and in ancient churches we alfo meet with the like cupola, called confeßio, in all which the height of the columns is greater than it ought to be. See Mont-faacon Suppl. tom. ii. tab. 4. But it is by no means fo great as it is in thofe which are reprefented in this and others of thefe p'ndures. The fame may be faid of the columns in the ruins of Palmyra; but befides this, their heights are different according to the different meafure which they have given us: and the hindmofl of thefe are not above the proper height. See the Ruins of Palmyra.
[10]	Among other abfurdities of th z grotefques which Vitruvius ladies, he takes notice, that inftead of columns they make ufe of reeds or lampfands. “ Quern-* “ admodum enim poteft calamus vere fudinere teflum, aut candelabrun aediculas “ et ornamenta fafligii 1” “ For how, fays he, can a reed adlually fupport a roof <e or a lamp fand its pediments or ornaments ?” That flender and taper columns diould be called reeds hy Vitruvius, we find no difficulty to conceive ; but it is not altogether fo clear, why he (hould alfo call them lamp f ands. We may learn the reafon from this pifture. Every one knows the common form of the lamp-dand. In the Royal Mufeum there is a competent number of them, and they are all of bronze. They confifl of three parts : of the bafe, which reds upon three feet; of a fjaft, which is as high as a man’s bread; and of the nozzle. The bottom or. bafe, and the nozzle, are very fmall; not fo the fhaft, which is generally worked' like a fluted pillar, and is very flender, the height being about thirty diameters. Whoever therefore will be at the pains to compare together the (hafts of thefe lamp-dands, and of the columns which are painted, may eafily underdand the form of a lamp-dand from the columns, and alfo why Vitruvius has given them the name candelabrum. The fhafts of lamp-dands were made and finifhed at Tarent um, and-thence exported into other countries. Pliny, xxxiv. 3. And we may conclude fronj-this, that Vitruvius, in calling thefe flender, long fluted,, pillars, candelabrum, perhaps made ufe of the very word by which they were commonly known; fince it is probable, that the fhafts themfelves were commonly called lamp-dands, as they nuke up the principal part of them.
hooks
hooks [iij which we fee here, enable us to underhand what he calls harpaginetuli [12]. The two doors in this pi&ure are alfo worthy our obfervation, on account of the compartments which we may remark in them [13]. The back ground is white. It is thirty-eight inches high, and feven feet wide.
[11]	This feems to be the beft word by which we can exprefs the idea of the harpaginetuli. Harpago is certainly a hook, and harpaginetulus is nothing but a diminutive of this.
[12J All the commentators upon Vitruvius acknowledge, that this word is of a very doubtful fignification. Philander ingenuoufly confelfes, that he could not fo much as conje&ure what fort of ornament it was; though he fays, that he induftrioufly examined the antique paintings in the ruins of Rome, in the villas of Adrian at Tivoli, of Manlius Vopifcus, and at Pozzuoli, in order to meet with fomething, if he could, that might give fome infight into thefe harpaginetuli of Vitruvius; but in vain. Others have had recourfe to various readings, and have endeavoured to folve the difficulty by altering the word. See Lexicon Vitruvianunv in Harpaginetuli.. But fetting all conje&ure afide; the pifture before us feems to throw the cleared light upon this obfcure pa flag e : Vitruvius's words are, “ Pro-cc columnis ftatuuntur calami, pro faftigiis harpaginetuli flriati cum crifpis folk's et “ volutis.” 'Now if we confider the principal colonnade in this picture, we fliall obferve on the top of it, not a tholus or ciborium; that is, fuch a cupola as we fee in the medals of Vefla; but fomething elfe, of a circular and unufual form, ret. round entirely with certain hooked ornaments, fuch as are ufed to hold fall, or drag any thing, like the harpagoncs, or boat-hooks. Thefe things then, which occupy the roof in this pi&ure, may ferve to give us a good idea of Vitruvius's meaning.
f 13 j The ancients left two parts to the upper, and three to the lower pannel, “ Impagibus diflributiones ita fiant, uti divifls altitudinibus in partes quinque, duae “ fupericr., tres inferiori cJfeftgnentur. Vitruvius, iv. d.
PLATE
PLATE
XL. [']
^^TT^HIS piece is in the fame taife with the preceding; and JL is alfo defective. It has, at the bottom, a fafcia ; which, from its refemblance to an entablature, we may fuppofe made the bafement of a room. This is divided into three parts. The firft, which forms the architrave, is adorned with wings and fcrolls placed alternately. The upper one, which feems to be the cornice, or rather only a larmier, or drip, is alfo elegantly ornamented. The middle part, which is abundantly larger than the others, may, with propriety, be called the . frieze, or (to make ufe of the ancient term) the zophorus [2], becaufe it was ornamented with animals. Some heads [3] regularly difpofed between other ornaments, are put in the Head of modillions ; as the fmall birds [4] and jwans, which, in different attitudes, alternately fupport a coronet; and are placed, the former on a ßell, the latter on a pavilion ; are in that of metops.
Belides this, the pidture has, upon the left, three pavilions, as they may be called: one in the middle, having four fides
[1] Catalogue, n. 105.
£2] See Philander upon Vitruvius, lib. iii. cap. 3. [[3] Thefe may perhaps be masks.
[4]	Thefe have been taken for pigeons.
the
PLzt&ÄL.
4
the largeft and mofl: lofty, and two others, one on each fide of this, both alike, lefs than the intervening one, and triangular. Five columns only can be difcerned in the middle pavilion \ but fince it is feen obliquely, there may be three others hid behind thefe, as the border which furrounds the top gives us reafon to fuppofe that there are more. The columns, which are in the fhape of lamp-ftands, refemble the Ionic, but are without a bafe [5]. They are, however, fet upon a bafement, which has fome apertures in it, and finifhes in an entablature, whofe frieze is ornamented with modillions feen {ideways, and extending up to the drip.
This quadrilateral o&oftylar portico fhould be confidered as the middle of the whole picture, becaufe the parts on both {ides perfectly correfpond with each other. Thus the two triangular porticos on each fide are exactly alike : they reft alfo upon the bafement with the other continued, and in this part of it the little modillions are feen in front, which in the other were only feen {ideways.
At a diftance from thefe three porticos, is a piece of another, difcovering no more than one column with one pilaftcr; it is fet upon a bafement fomewhat different from the former; but having three apertures in it like windows.
The painter has filled up the void fpace between thefe with a kind of femicircular roof, or awning, ornamented in front with an oblong rifing from it; on which is reprefented the figure of fome marine animal [6]. All the parts of this
[5]	In good archite&ure, this is the cafe only in the Doric orders.
[6]	Under this awning is fufpended, by a firing, a round flat bafket, with a cover. This has made it be fuppofed, that fome part of a temple was defigned by
picture
pi&ure are cönneßed by fantaftic knots of ^ 'eßoons. Height of the pi&ure forty-one inches, width five feet five inches.
rhefe porticos; and from the birds, tlie griffons, and the marine an anal, it has been conjeftured to belong either to Ifis or Venus. Others have imagined other refemblances, and have faid, the columns feem to be of wood fluted, and to have capitals like real columns.
P L A T-E
2V.XIT.
PLATE XLI. [■]
THIS picture reprefents a whimfical defign, which feems at firfi: fight to promife a well regulated building; but on a more attentive view, the eye is confounded in examining’ the parts, and finding out their fymmetry. It exhibits 2. portico > fupported upon four columns (refembling lamp-ftands), chiefly of the compofite order, if we regard only their capitals, their figure and proportion. They have attic bafes, and reft upon a zocle, or bafement, adorned partly in the manner of a pedeftal, with a large horizontal aperture in the middle. This portico feems to inclofe a pluteus [2], or pew of wood, of a moderate height. There is another portico behind this, but of the ionic order. The entablature, though in the grotefque tafte, approaches nearer to the doric than any other, becaufe it is ornamented with triglyphs and metops. One feftoon on the right, and another on the left, unite as ufual the whole colo-nade; thefe divide at the foflit of the hinder portico, or, to fpeak more properly, are attached to it; and form there a crown for a little wheel or fhield [3]. If we make allowance
[1]	Catalogue, n. 49.
[2]	1 hefe were called Plufei, and were either of marble or wood. Vitruvius, iv. 4. “ Item intercolumnia tria, quae erant inter antas, et columnas, plutcis mar-“ moreis, five ex imJPtino opere faftis intercludantur, ita ut fores habeant, per “ quas itinera prona fiant.” See alfo Varro de re Ruß. iii. i.
[33 Thecuftotn of hz'ngmg paterae, or ßrields, vei the entrances of temples is well known. See the notes upon Plate xlviii.
Vol. I.	A	a	for
for what is the effect of negligence or ignorance, luch as that neither the columns, the architraves, nor the cornices, have correfpondent heights, vve may conjecture that the painter de-ligned to form a pr.onms, or veftibule of a temple [4], inclofed with the ufual wooden parapet; and at the fame time to give a view of the forum, of which temples ufually formed a part [5]. The back-ground is yellow. Dimenfions, four feet by three feet tyvo inches.
[4.] See Lexicon Vitruviamm, in Pronaos: and Potter's Antiquities, ii. 2. where he gives an account of temples, and their feveral parts.
[5] S.eq P~alk.d;us} lib. iv. cap. viii. and ix.
PLATE
r/.xf.u.
PLATE
XLH.M
HIS plate contains two different pieces of painting, JL which arfe both imperfeft. The firft, if we would liken it to any thing, may beft give us the idea of a magnificent veftibule to a grand houfe [2]. For if we except the firft large infulated columns [3], ornamented with a fea monfter, and other fancies of the painter, there are oh the right of the picture three columns, taking in the foremoft, which refem-bles a term, or caryatid; and as many are to be fuppofed on the left: thefe fix are to fupport a large pavilion, which is here reprefented. The compofite capital, the entablature, and above all the very beautiful frieze of this veftibule, merit attention. Through the void fpace of the door appears an ionic colonade, which gives the idea of a hall, or cava aedium [4.].
[1]	Catalogue, n. 136, and 270.
[2J Vitruvius, vi. 8. “ Nobilibus facienda funt veftibula regalia, alta atria, pe-<f riflylia ampliffima.” See alfo lib. i. cap. ii. The controverfy among the ancients thcmfelves upon the diflinttion between Atrium and Vcßibnlwn is well known : as is alfo the difference of opinion among the lawyers, whether the veßibwum was a part of the houfe or not. See Aulus Gellius, xvi. 5. and Gronovius upon the place. Alfo Budaeus upon /. 245. of V. S. and Citjacius upon the fame paffage, and upon /. 157. and T. in Tan. viii. p. 599 and 554. and (Jbf. xiv. 1. tom. iii. p. 390. It is certain that the vefiibuhun was on the outfide of the door towards the flreet, and was fometimes furrounded with porticos. We may obferve that what Paul calls 'vefiibuluvi, I. 19. § 1. Comm. Div. Nerazius calls Portico, I. 47. de damro inf.
[3]	] The culiom of putting flatues and columns in the veflibules, and before the doors of magnificent palaces, is well known. See Suetonius in Neronc, c. xxxi. and Ccdrcntis, ad A., xiv. Manrit. Alfo Suicerus in voce Upouvhioy.
[4]	As before the door there was a veflibule without, fo next to the door within followed the atrium, which Vitruvius, vi. 3—8. feems to make the fame with the Cava aedium. See Vitruv. v. Atrium and Cava aedium.
A a 2
This
This picture is in all refpedts valuable ; for we are certain, from the proper diminution of the obje&s, and the correfpondent foftening of the tints, that the ancients were better matters of keeping than fome are willing to allow [5]. It is twenty inches and an half high, and thirty-two inches wide.
The other piece feems to have three part9, diftindt from each other. For the three columns not at all correfponding with each other, either in fymmetry or proportion, cannot be con-fidered as parts of the inttde of the building; but feem to be abfolutely disjointed pieces, put together according to the fancy of the painter, in order to produce a good efFedt in the compofition. As to what farther refpedts the building; the three tteps [6], and the pluteus, or parapet, together with the bujfola, or door, in the middle, which alfo deferves attention [7], ferve to perfuade us that it is a pronaos, or porch. Height twenty-nine inches and an half, width three feet four inches.
[5]	In the fubfequent volumes will be exhibited other pictures, which will clearly decide this doubt, which has been fo much controverted among the moderns.
[6]	Vitruvius, iii. 3. fays: “ Gradus in fronte ita funt confiituendi, uti fint femper “ impares ; namque quum dextro pede primus gradus adfcendatur, item in fummo “ templo primus eric ponendus.”
[7]	Vitruvius, iv. 6. fays, that folding doors, fuch as are reprefented here, “ aperturas habent in exteriores partes.” Sagittarius, de Jan. Vet. cap. iv. § i. remarks, that folding doors were appropriated to temples, and that they opened outwards. See alfo Ctjacius, obf. xiii. 27. t. iii. p. 378. upon the difference between-the Romans and the Greeks: the firff: of whom had the doors of their houfe opening inwards, the latter outwards.
O	}
PLATE
Tl.XLJ/1.
PLATE
XLffi.M
P H A HIS is a very pleafing piClure. An ionic portico [2] (of which no more is feen than the capitals, and the entablature, with the frieze, ornamented with dolphins, tritons, and fome other fea mongers' fupports a wooden building,, partly clofe and partly open. This latter part may be delign-ed for a gallery [3] : the capital raoft refembles the Corinthian; the entablature, front, and roof\ are fome what rambling- and whimfical. On one fide there is a fragment in the fame tafle, eonfifting of two wooden pilafters, which are united below; and the ou term oft of them fupports an amphora. On the other fide appears another buildings and a very long column, upon which a vafe is fet for ornament. From all this we may conjecture, that the painter defigned here to reprefent a diningroom ; or elfe a tower, with a building of that fort [4], over the hall of a country houfe: the trees, which are made by the painter to extend their branches into the infide of the building
[1]	Catalogue, n. 74.
[2]	The different ufes to which the Greeks and Romans put their porticos is well known: as alfo that they were annexed not only to temples, theatres, and other public buildings, but even to private houfes.
[3] See Vitruvius, lib. ii. cap. viii. where, fpeaking of the neceffity there was to build a greater number of ftories in houfes, on account of the great multitude of inhabitants, he fays: “ Altitudincs extru&ae, contignationibus crebris coaxatae, “ et coenaculorum fummas militates perficiunt et defpe&ationes.”
[4]	See Plinj, cpifi. xvii. lib. ii.
in
in a whimfical manner, add fome weight to the conjecture [5]. We may obferve the ufual feftoon hanging from a little wheel [6]. The back-ground is blue. The height three feet feven inches, and the width three feet three inches. The landfcape, with different forts of animals [ 7], is beautiful. The back-ground of it is white, bordered on the top with red. The height is three inches and a half, the width four feet three inches.
f5 j Vitruvius, lib. vi. 8. “ Ruri vero—atria habcntia circum porticus pavimenta-“ tas, fpe&antes ad paleftras, et ambulationes. See Pliny, lib. v. epiß. vi. There were always annexed to magnificent palaces ie fylvae, ambulationefque laxiores as Vitruvius tells us, vi. 8. See alfo v. 2. and 9.
[6J One has fuppofed that this picture reprcfents a Scena comic a. See Vitruvius,
v.	8. and the rather, becaufe the painter feems to have attempted through the opening of the gallery, to fhow the upper portico of the feats of a theatre, which wds adorned with columns; five of which appear in this piece, and are of the ionic order.
[7J Catalogue, n. 73.
P L A T E
TL.xav'.
PLATE
XL1V.
^T^HE firft pi&ure [i] which is engraved in this plate,
JL though no lefs extravagant than the foregoing ones, is not without its beauty. It feems deiigned to reprefent a tholus [2], vcfiibulutn [3], or fome fuch building [4] ; and the quadrangular building in the middle may point out the principal entrance, and the two lateral ones the lefler doors [5]. The columns, which are, like the reft, of the ionic order, and without bafes, fupport the roof, and an "entablature, which however
[A] Catalogue, n. 139.
[2]	One thinks it is a fpecies of tholus. Servius, upon Aen. ix. and the words fufpendive tholo, obfervcs: “ Tholus proprie eft veluti fcutum breve, quod in medio “ teClo eft in quo trabes coeunt, ad quod dona fufpendi confueverunt—alii tholum “ aedium facrarum dicunt genus fabricae Veftae, et pantberae. Alii teflum fine pa-“ rietibus columnis fubnixum.” But although the tholus of Yefta was round, as Servius affirms, and Ovid, Faß. lib. vi. it will not follow, that it was never of any other form : the. fcutum was certainly an oblong. Scrvius’s mentioning the Tholus Pantberae, and there being fuch a wild beaft in the piece before us, give a confider-able weight to the conjecture. And this picture, which reprefents a roof without walls, fupported by columns, with a panther in the midft, may ferve to inform us, that Vojfius’s correction of Tholus Panthei inftead of Pantberae was unneceflary. But this conjecture has been rejected.
[3]	We have already mentioned the magnificence of the veftibules of temples and heufes.
[4]	Some are of opinion that it is one of the alcoves, which are put in the middle, orattheendof walks, in gardens.
[5]	This conjecture correfponds very well with the opinion that it is a veftibnle: for we know that in the Grecian.houfes, and on the Roman ftage which kept the fame form, there was one principal door, which led to the apartments of the matter of the family, and rwo others on the fide which opened to thofe of the guefts, or ftrangers. See Vitruvius, v. 7. and vi. 10.
feems
feems rather done, by a kind of triglyph, and the modillions that are upon it. The lionefs, or whatever wild bead: it is, and the ufual feßoon interwoven with red ribands, and the iilver-coloured difeus, all feem put there in order to fill up the
a
void fpace, and to give the piece a fpirit, and an air of light-nefs. The little pidure [6] which appears above this fancied architedure, like a frieze or finifhing to the piece, deferves attention [7]. The back-ground is white, the building is red, yellow, and green. It is thirty one inches high, and twenty-nine inches in width.
Of the remaining four fmall pieces in this plate; the two tritons [8] which are coloured of a high red, \Chiarofcuro giallo, Catal.~\ and reft upon two fragments of an entablature, founding each a conch [9], and holding in the other hand a haßet of fruit, are perfedly alike, and feem to be fragments of one pidure. Height thirteen inches; the firft is ten inches and half, the fecond nine and half, wide. The next [10] little pidure exhibits the buft of a lady, who has a pleafing and majeftic countenance, her head is crowned with leaves; and by the fide of this, part of another head is difeovered. As
[6]	It is a view of the fea, with buildings, human figures, and a boat with rowers in it. In the following plates there are veflels o^' a larger fize.
£7] This little piece muft be reckoned among the parerga, or hors d’oeuvres. Th >fe things are properly called by this name which are putin for ornament, and to fill up the void fpaces of the picture, but are not necefiary to the principal aftion. Pliny, xxxv. 20. fays: “ Argumentum eit, quod quum Athenis celeberrimo loco Mi-“ nervae delubro Propylacon pingeret, ubi fecit nobilem Parhalum, et Hammo-“ .niada, quam quidam Nauficaam vocant, adjecerit parvulas naves longas in iis, quae “ piftores parerga appellant.” See alfo Vitruvius, ix. cap. ult.
[8]	See Ovid, Metam. i. v. 335, &c. and Apollonius, Argon, iv.; who deferibe the tritons both as to (hape and colour, as they are here reprefented. In Rome, upon the top of a temple of Saturn, was placed a very large triton, whofe conch founded when the wind blew. See Natalis Comes, viii. 3. at the end.
[10] Catalogue, n. 331.
this
this has no diftinöive marks, it is not eafy to give any account of it. The back-ground is white. It is a fquare of ten inches and half.
The peacocks which the laft piece exhibits [ 11 ] are very natural, and perch upon fome ftalks of white flowers. The back-ground is yellow. It is ten inches high, and thirteen inches wide.
£n] Catalogue, n. 724V
B b
VOL. I.
PLAT E
PLATE
XLV. ['1
IN the pitfture[2] which is engraved in the fir ft part of this plate,, two fhips of war [3] are rep refen ted, between which there is an obftinate engagement, and a third either wrecked upon the rock that is near it, or burnt and funk by the enemy, fo that the remains of it are fcarcely difcoverable upon the fur-face of the water: through the flame and water a figure appears, which feems tobe that of a woman. A little ifland rifes in the middle, with an altar, and a fmall temple between two trees, where Neptune is reprefented with his trident [4]. Near the fliore, a young man is difcovered with a helmet on his. head, and armed with a fhield and fpear; near him is another man, but very indiftimft, armed alfo with a fhield, and who feems to be walking towards the fea. Though this picture is. not in good prefervation, and does not carry the marks of hav-
fi] Catalogue, n. 497 and 513..
[23 This was found in the ruins of Civita, the 13.1h of Julyy 1748; and the-other at the fame place,, the 6th of the fame month.
[3]	The velfels of the ancients may be reduced to two principal kinds, merchant fhips, and gallies. The firft of thefe were called onerariac, and were for the molt part of a confiderable burden, and worked only by fails. The fecond were named from their form longae, and were, almod always worked by oars alone. Pliny, vii., 56. relates the different opinions concerning the invention of fhips of war; which, fome attribute to Jafon, fome to Semiramis, and fome again to others: Hippo of-Tyre was the inventor of merchant fhips.
[4]	.This is the mo ft common attribute of this deity^.
A Bätutrrmafi .'culp
ing been executed by one of the bed hands; it deferves however an attentive examination. It may be remarked in all the three veffels, that the oars [5] feem to be in one line [6], yet
[5]	It is a well-known controverfy yet undecided, whether the (hips of the anti-ents had more than one bank of oars. The fentiments of the learned upon this fub-jecf may be reduced to two: firft, the opinion which is fupported by the greater number is, that the biremes had two banks of oars, one above the other: the triremes three; and fo on as far as quinquagintaremes, of which we find mention in. ancient authors. All however who have adopted this fyftem, are not precifely of the fame opinion ; for fome will admit no more than two, fome three, fome four, fome five, others nine, and others as far as fixteen banks of oars, but no farther. Nor do they agree in their manner of explaining how thefe benches were difpofed ; fome being of opinion that one oar was direfily over another, others that they were placed triangularly, others again that they were difpofed diagonally. The fecond is the opinion of thofe, who not being able to reconcile the enormous height of the vefiels, the inconceivable length of the oars, the unavoidable confufion in the motion of them, the impoffibility of managing them, and many other greatdifficultieshardly reconciieablewith the laws of mechanics and with pradice, are ofopinion,that all their vefiels had no more than one row of oars. But thefe are alfo divided into two parties: one of which fuppofe that by the oar we are tounderfiand the rower himfelf, fo that the biremis had two, the triremis three men to each oar, and fo on to forty: the other, not underftanding how an oar could be managed by forty men in a line, fuppofe that the (hips of the antients had three different longitudinal ftages or floors, difpofed one above the other in fuch a manner, that the rowers at the head fat lower than thofe who were in the middle of the veflel, and thefe lower than thofe who were in the ftern : and they d.flinguifh the biremes, triremes, &c. by the oars being placed in pairs, in threes, and fo on.fucceffively. But, according to this fyftem, how great muft be the length of their veffels to place 400, 1600, nay 4000 rowers (if we may give credit to the accounts of Pliny, Photion, and Athenaeus') along the fides of them ? Upon the whole, if we attend to the fa<ft, it does not feem to admit of a difpute. The teftimonies of authors are fo clear and decilive, that they admit no room to doubt of the antients having veffels with two, three, four, and even fo far as fifty rows of oars, one above another ; befides, triremes are thus reprefented upon Trajan's pillar; and we have biremes, triremes, and quadrirenies of the fame fort upon medals and bas-reliefs. The whole is laid together in Montfaucon, tom. iv. p. ii. lib. ii. cap. iv. and xi. and in tab. cxxxvi. to cxxxviii. If, however, on the other hand we would find out the manner how this was done, or confider the practice, we (hall find it fcarce pofnble to give an account of it. All the arguments and reafons which may induce us to doubt of the fact are fet forth by AI. Dcßandes, in his Effai fur la marine des Anciens. He is of opinion, notwithftand-ing, that biremes were built at Genoa, and quin quer ernes at \ enice, p. 116. See Zeno, in his notes on Tontanini's Ehquenza Ital. tom. i. p. 42. n. 6, not to mention here the fyftems of Voffius, Meibomius, Scheffer, Palmier, Fabbretti, Sec.
[6]	The holes through which the oars were put they called ryycdja, ctpQoiXpot, but melt generally sBiwot. See Potter's Antiquities, iii. 15.
B b 2	there
there is rcom left for fufpicion that they might be in more [7 J. The ihields [8] alfo which are hung to the fides of the veffels, the different machines [9], and the arms of the combatants [10], mud: none of them be negledted. In the middle fhip, befides the tower [11] at the ftern, and the two long beams [12] at the head, the ftandard with the eagle [13] is worthy
[7]	There have been three different opinions upon this fubjeft. Some will have
it thefe veffels are quinquiremes, becaufe, fay they, in that which is burning and ready to fink, we may clearly difeover five oars, one above another, though in the other three the painter has not made the ranks diflimff, but has only given a hint of the divifion. Others can find no more than two rows of oars, one in the line in which they are reprefented in the piclure, the other marked out by the upper line, where the holes only are obferved : and they remark, that in an engagement the firfi: row of oars was taken away, as we learn from Plutarch, in his Life of Antony. Laftly, others maintain that there is no more than one row of oars; and think thefe veffels may be called liburnae. See Vegetius, iv. 53. and 37. And it is well known, that thefe were afterwards called, by the later Greeks, Tuhouxr, for we read in the Padicks, yahcuoiq pcn^icc, Galaeae, veffels with one row of oars. See Scaliger’s remarks on Eufebius, ann. mcxxx.	1
[8]	The fame may be obferved in the fhips which are reprefented in the next plate, where we (hall fpeak of the cuftom of hanging fliields at the fides of veffels. Here it may fuffice to obferve, that it was a fignal of a battle. Plutarch, in The Life of Lyfander.
[93 Ships of war were covered with a deck, which protected the rowers, who were placed under it; and on the top of this the foldiers fought. It had the names of xara-cpcojj^, and -iuzrwpptyJpiM •, whence this fort of fhips were called xarocppocKjo!. Homer calls them ix.pia yr,uv. But in the times of the Trojan war, only the head and ftern were covered, and they fought from thence. The Thafii were the firft who covered the whole veffel. Pliny, vii.56. There were alfo other fhelters; for the foldiers were covered from the arms and machines of the enemy. There was befides a Bojcixkiov, made like a tower, from whence the foldiers threw their darts, he. on the adverfe veffels. See Potter, iii. chap, xvi, xvii.
[10] Befides the fhields with which the combatants are furnifhed, we may diflin-guifii the long fpears, called by Flaccus, tela trabalia, and by Homer puxycpa. hpfx. See Vegetius, iv. 44.
'[11J Thefe towers ufed to be ere&ed at the time of a fea fight upon the decks of the veffels, and the invention of them is attributed to Agrippa. Ufually they were placed at the ftern, but fometimes at the head. See Laurentius, de varict. nav. In fome bas-reliefs, publifhed by Mcntfaucon, tom. ii. p. ii. pi. cxlii. which reprefent a fea-fight, we fee towers in the middle of the veffels. The towers in this fhip may perhaps point it out to be the praetorian, or admiral’s fhip ; for this, as Laurentius obferves, had generally a tower.
[12]	The fame may be obferved in one of the veffels in the next plate, where fee note [7].
our
our obfervation, as likewife a fmall pavilion [14], and fome women [«si-
In the fecond picture fißoes of different forts are reprefented.
[13]	This has made one imagine (though with no great probability) that the famous battle of Adlium, or that between Sextus Pompeius and Agrippa, between Melazzo and Cape Pelorus, may be here reprefented. Others think it is nothing more than a fancy of the painter.
[14]	There is a pavilion refembling this in a veflel upon a bas-relief which is given us by Montfaucon.
[15]	Sometimes they had women on board their Ihips of war, as is obferved by Scheffer de Mil. Nav. lib. ii. cap. ult.
PLATE
P L
A
T
E
XLVI.i'j
t" 1"^ H E picture which is engraved in the fird part of this Jt plate exhibits a great variety of very beautiful obje£ts. The firft which prefents itfelf is a building^2] upon the fhore, on the right of which arife feveral trees, and on the left a taper pilader [3], before which dands a man looking towards the fea. Uppn this are four veflels [4] loaded with different kinds of tackle [5I, and folmers. There are feveral circumdances which deferve our attention in thefe fhips. All their heads have either a human or fome mondrous face upon them [6].
Pi] Catalogue, n. 698.
[2]	It Teems to be nothing more than a fmall houfe : though Tome will have it to be a temple.
[3]	It is conjeffured that this may be a pharos to give light to Tailors in the night: it may be TuppoTed that th& globe which we Tee on the top of it, was intended to contain the light. The diameter is by no means proportionable to the height. Others will have it to be an altar.
[4]	Some would fain difcover here feveral rows of oars: but there is either one row only, or at leaft no more are to be diftinguifhed. They obferve alfo that the invention of triremes is afcribed by Piiny, vii. 56. to Aminocles, and that he quotes Thucydides for it. Now Thucydides, lib. i. § 13. fays only, that the Corinthians were the fir ft who made ufe of them. See Salmajtus ad Jus At. et Ptom. p. 693.
£53 They feem to be loaded with fpoils, perhaps taken from the enemy: and we may obferve that there are, rifings in the middle, as in thofe of the preceding plate.
[6] The antients ufed to paint, carve, or fix upon the heads of their veffels, figures of men or animals; and thefe-figures ferved principally for marks to the feveral fhips, by which the mariners and foldiers might diftinguilh them one from another in a large fleet. Thefe figures alfo gave names to the lhips; and hence it is that we often find them called bulls, goats, rams, &c. Thus in Virgil, Aen. v. and x. they have the different names of Prißis, Chimera, Scylla, Centaurus, Tigris, and
Pl.JLVI.
7* S. Zia/nJ,&m-j7u/p
The head of the foremoft has alfo two ends of beams projecting from it [7], and fomething that refembles a goofe’s neck [8]. Upon the ftern a branch is fet up, which feems to be of bay [9]. Along the netting, or wafte-boards, of this and the other fhips [10] fhields are hung [11], in the fame manner as in the preceding pi&ure. The other part of the piece exhibits to view, hills, rural profpe&s, and buildings difperfed
Triton. See alfo Bayfius and Montfaucon, who have got together the antiques upon which thefe images on the heads of velfels appear. The tutela was different from* theßgn, or veu^oc(rr,^ov. Ovid, Triß. i. el. ix.
(i Eft mihi, fitque precor flavae tutela Minerva “ Navis; et a pifta caflide nomen habet.”
For, befides the fign upon the head, they ufed to carve the images of thofe gods upon the ftern of their veffels, to whofe care and protection they intruded them-felves. There were different deities in different nations to whom the protection of fhips were attributed ; and according to their different ufes they had diftinCt gods aftigned them : to merchant veffels Mercury, and to fhips of war Mars. Paris tells. Helen that her veffel was under the direction of Venus. See Potter, iii. 15.
[7] Thefe may perhaps be the STrdjthg, which we find mentioned in authors: for when the head of the fliip was made to reprefent a face, thefe had their name from the refemblance which they bore to ears. See Schwer de Mil. Nav. ii. 5, and Potter, iii. 17. But it is conjeClured, that the two beams which appear in one of the veffels of the preceding piClure correfpond better with the coroozthg, and that the ufe of thefe was to defend their own fhip by keeping off the blows of the enemy’s beaks. Others fay, that it was nothing but a whim of the painter, and that he defigned to reprefent the beak itfelf, refembling two horns in the middle of the forehead, like that which we fee upon the beak of one of the veffels in the other picture ; and they add, that there is a propriety in it, arifing from the fituation of the beak: for at firft the beaks were made high and long, but afterwards ffiorter, ftronger, and. in the lower part of the head, becaufe then they would ftrike the enemy’s fhips in a place nearer to the water, and more difficult to be repaired.
£8] It was called Chenifcus, from yjv, a goofe: and this fign was put as the omen-of a fortunate navigation. Scheffer, ii. 6.
[9]	The cuftcm of crowning fhips with bay in victories is notorious. Scheffer, i'v. 2. remarks, that on thefe occafions a veffel was difpatched before with a branch« of bay, to carry the intelligence.
[10]	This was called	a	wall, becaufe it was a kind of parapet, covered
with fkins, or interwoven with other matters, to defend the men from the weapons of the enemy, and alfo from the breaking of the waves, as Cafaubon obferves on. Polienus, lib. iii.
[11]	Thefe may be either fhields taken from the enemy, or elfe they haven reference to the cuftom of hanging their own arms over the fide or ftern of the veffel. See Scheffer, iii. 3.. and Alexander, D.G. vi. 32».
aboutg.
about, and placed at different diftances, forming altogether a very rich landfcape [i 2]. Among the buildings, the larged, with a long portico fupported by a great number of columns, and two ftatues before it upon their pedeftals, merits a particular attention [ 1 3]. Size, fifty inches by thirty.
The fii'ß [14.] of the three remaining pieces in this plate re-prefents two birds, of a green colour with red breads.
The fecond\_ 15] has figs, grapes, and other fruit.
And the third [ £ 6] a partridge pecking a plant, and another bird upon the point of feizing an infed : the back-ground of thefe is black.
P12] So many towers feem to be here reprefented in order to (how the ufe which was made of them ; that is, to announce the approach of the enemy, and to give notice of it by means of lighted torches: indeed thefe towers were from hence called by the Greeks <ppvxjupiu, and fuch lights are named by Pliny, igncs pracnunciativi.
[13] It teems to be either a praetorium, or a magnificent cou-ntry-houfe. But upon this fubjeft we {hall fpeak hereafter.
[i 4] Catalogue, n. 697.
[15] Catalogue, n. 696. f 16J Catalogue, n. 697.
P L A T E
'//A 71 7,/
P.S JEaniiorrv/iulf
PLATE
XLVII. [']
TH E pi&ures which are engraved in this plate do not feem to require any explanation. What is here repre-fented is fo clear, that it may be eafily underftood at firft fight. If any one however would confider them with a more attentive eye, he cannot but admire the tafte and fancy of the painter.
In the firft [2] we fee a parrot [3], executed with much grace and beauty, drawing a little car [4], and guided by a
[1]	Catalogue, n. 304.
£2] It was found Oftober 10th, 1745, in the fouterrains of Refina.
[3]	Pliny, x. 42. thus defcribes thefe birds: “ Super omnia humanas voces rcd-<s dunt Pfittaci et quidem fermocinantes. India avem hanc mittit: Ffittacen vocant, “ viridera toto corpore, torque tantum miniato in cervice diftinftam.” Such exactly is that which is here painted. The ancients do not feem to have been acquainted with any other fpecies of parrot befides the Indian, fince we find that this.bird was conftantly called Indian by Ctcßas, Ariflotlc, Aelian, Pcnifanias, and others mentioned in Bochart’s Hierozcicon, p. ii. b. ii. c. xxx. p. 342. We read, in Die-' dorus, ii. p. 95. that there were parrots alfo in Syria: but WcJJ'dhigias remarks, that by Syria we mult here underftand Aß'yria, upon the confines of which there was a city called Sittacus, or Pfittacas, which he fuppofes to have had its name from Ihefe birds; though VoJJius, Etym. PJittacus, conjectures that the bird had its name from the place, and was called Sittacus, becaufe it firft came from the country of Sittaca. However this may be, Arrian, in Indicis, tells us, that Kcarcbus, who was in the army of Alexander, relates as a ftrange thing, that, there is in India a bird named Sittacus, which fpeaks with an human \oice. Whence Bocbart remarks, that inthofe times they were not known in Greece fo much as by report. Callixcnus of Rhodes, quoted by Atbcnacus, ix. p. 387. fays, that in the reign of Ptolomy’ rhiladelphus parrots, peacocks, pbeafants, and other rare birds, were ihown at Alexandria as a.great wonder. In the time of Vatro they were known at Rome, but
Vol. I.	C c	gryHits
gryllus [5], holding the reins in its mouth. It is not unufual to fee thefe pleafantries or allufions [6] upon gems [7], and
were very rare. Lib. iii. cap. ix. de Re Ruß. fpeaking of a fort of uncommon fowls, he fays: <c In ornatibus publicis folent poni cum pfittacis,. ac merulis albis, “ item aliis id genus rebus inulitatis.” Ovid alfo, when he laments the death of liis Corinna’s parrot, Amor. ii. el. vi. calls it:
---------“	extremo munus ab orbe datum.”
They were indeed become lefs rare under Auguftus: whence it feems ttrange, that Pliny, vi. 29. in his relation of the journey made by thofe who were fent at the command of Nero from Syene to Meroe, when he defcribes the ifland Gagaudes, fliould fay : “ Inde primum vifas aves pfittacos.”
[4]	The bars of this carriage are worthy our 'obfervation. And the elegance with which the painter has fattened them to the neck of the parrot cannot efcape us.
[5]	Bochart, in his Hierozoicon, lib. iv. cap. i.—viii. fpeaks largely of the different forts of locufts, their natures, and the names by which they were known among the Jews, Arabians, and Greeks: among others, cap. i. p. 451, he reckons gryllus. The Greeks called the hog by this name, from his grunting; though in general they expreffed any thing fmall by the word Tpu. See Suidas. Ißdore, xii. 3. is of opinion, that the gryllus had its name from the noife which it makes : and he fpeaks of the ttnging gryllus, which Pliny alfo mentions in the end of his twenty-ninth. book: “ Gryllus cum fua terra effoffus et illitus. Magnam autoritatem huie (S animali perhibet Nigidius: majorem Magi, quoniam retro ambulet, terramque <£ terebret, ttridat nottibus. Venantur eum formicae circumligato capillo in caver-<c nam ejus conjeftae, efflato prius pulvere, ne fefe condat, et ita formicae complexu <£ extrahitur.” Speaking, xxxv. 4. of Antiphilus the Egyptian, a fcholar of Ctelidemus, lie fays: “ Idem jocofo nomine gryllum ridicnli habitus pinxit. Unde hoc genus pifturae gryili vocantur.” Hardouin will have it that the gryllus which Antiphilus painted was a man. That this was a man’s name indeed is certain, and both the father and ion of Xenophon was well known by it. It does not however follow that Pliny may not be underttood to mean the infeft called gryllus: from whence fancifui pi chares obtained the name of gryili. Menage Orig. Ling. llal. v. Grille, thinks that this word, when it means fancies or extravagant conceits, is derived from that odd little animal the gryllus, which can either ftand firm or hop, as caprice is derived from the playfulnefs of the capra, or goat. All this is obferved by one who contends thatFiinv means by gryllus that fpecies which is called grafs-liopper, of which kind is this which is here reprefented. But this opinion was not entirely approved.
[6]	One conje&ures that this may be a fatirical rebus, expreffive of fome particular action, and under the figures of a gryllus and a parrot, alluding to the characters, of two perfons one of whom had power over the mind of the other, having perhaps fome reference alfo to their names. To this purpofe mention is made of a famous witch named Locufla, whom Nero made ufe of to poifon Claudius and Britannicus, and to whom many Roman ladies applied in order to poifon their husbands. See Tacitus Annul, xii. 66, and xiii. iß. alfo Juvenal,, fat. L v. 69 to 72.
even
✓
even upon medals [8]. The back-ground of this pi&ure is black. The fize nine inches and an half by eight.
The other piece contains fifties of different kinds [9]. .
[7]	On a gem in Agoßino, p. ii. t. 143, there is a car drawn by two cocks, and driven by a fox, who holds the reins in his paws.
£8] See Wolfgangus Lazhis’s Greek Antiquities, b. ii. c. ii. tab. v. n. 9.
[9] Catalogue, n. 300. We have already obferved in another place what Pliny fays of this kind of piftures.
Cc 2
P L A T E
PLATE XLVIII. [']
THE ground of this piece [2] is divided into two compartments. The landfcape contained in the upper one is very fimple if compared with the lower one, which by the variety and novelty of its objedts has a beautiful effedh In the firft there hangs, fufpended by a purple riband, as we discover it to be from the two ends which appear, aßield\_3], or wheel, of a golden colour, on which is carved a Medufa’s head [4]. In the middle rifes an oak. Near the trunk of this
£1] Catalogue, n. 577.
£2] This, with the following, was found in digging atRefina.
[3]	It was the cuftom of the antients in early times to hang up in their temples the fhields and arms of conquered enemies. Hence arofe another of a different kind, which was that of placing in temples fhields on which were reprefented portraits of their progenitors, or other illuftrious perfons. See Buonarroti Mcdagl. p.y3 &c. However this may be, it is certain that the antients were accuftomed to hang up fhields of gold, filver, and other metals, in their houfes, temples, and other public places, for ornament: and that they carved upon them the heads of their an-ceftors, or fome of the gods. Augußus adorned the courts of juftice with fhields of this kind, which bore the refemblances of thofe who had fignalized themfelves in the arts of peace or war. Thefe fhields were fometimes quite plain, and fome-timesinftead of the faces they had only the names of thofe to whom they were dedicated ; as will be feen in the next note.
[4]	Paufanias, v. 10. relates, that in the temple of Jupiter Olympius there was
fixed a fhield of gold, on which was carved the head of Medufa; “ «0-777$ uvuKHjat “ xpuerfy, M.s^a<rav TTjv Tofifom £%a<rci £7rnpfuerp-i^v	and that thefe four verfes were
mferibed Upon it:
“ N«©-1 psv (piciTw.v ypw£uv £%«, sk Tf
“ Trtg Aax.£$ctiuLOviois	ys ts9sv
t( Acopov, wit K'Jhw'j mxt A9ryuiuiv xmi Iocvuovy Te<v hx.<%juv vixetg hvskm tm -nroAspv.”
ilands
J‘.. f.f.mni’crn .n'rt//'.
(lands a nymph [5] with a bill [6] in her hand; and from her middle, inftead of limbs a number of roots extend themfelves in a grotefque tafte [7], (Iretched out and twilled about on all udes. On each fide of the oak is a fmall palm [8].
In the other landfcape, which is an oblong, we may obferve in the firft place a fmall temple, to which we afcend by five Heps [9]. The portal is adorned with a feftoon: on the frieze
Thus tranflated by Amafeus :
“ Ex auro phialam capta pofuere Tanagra,
“ Juverat haec bello quod Lacedaemonios, te Cecropidae, Argivique duces, et Ionica proles <c ViXores, partis de fpoliis decimam.”
Here Kuhnius obferves, that Amafeus is miftaken in faying, that the Athenians put up this fliield in memory of their having overcome the Lacedaemonians : for they ■were the conquerors according to Plutarch ; and the Tanagrians their allies put up the fliield from among the fpoils of their conquered enemies ; and he makes a juft reflexion that the Doric dialcX, in which thefe verfes are written, does not fuit with the Ionians. But not to inflft upon this, we may remark, that Pavfanias calls ocTTctoca a fhield, what in the epigram is called (piaTwv a cup. If we confider the figure of a fliield, which is round and hollow, we fhall perceive that it might be called indifferently by either name. Arißotle, Poet. cap. xxi. exprefsly remarks, that we may fay with equal propriety: <c cc^rr^ g>tu7V/} A psug, jtan (puzXri «0-7ng Aiowra ;’r the foielci is the cup of Mars ; and the cup is the foield of Bacchus. Whence alfo We may underftand his meaning, who called his goblet theßdeld of Minerva.
[5]	It is well known that the Dryads and Hamadryads were fo called, from the Greek word tyuss, oaks ; becaufe it was believed that they were born with thole trees, and died when they decayed. See Callimachus, Hymn, in Del. ^.81, 83. and the learned Spanheim, who obferves that Spin; fignificd fome times in general any tree whatfoever. See alfo Athenaeus, iii. p. 78.
[6]	The bill is ingenioufly put into the hand of this nymph by the painter, to fignify that the Dryads had the care of their refpeXive trees; and that they avenged any injuries that were done them. See in Apollonius, Argon. ii„ how a nymph avenged herfelf on fuch an occafion: and in the Sc(joliaß upon v. 478, how another Was grateful to him who preferved her oak.
[73 What Vitruvius fays upon this kind of piXures has been obferved in another place. Though here the painter feems to intend chiefly an allulion to the union of the tree with the nymph ; or rather to the generation of the nymph from the oak : for, as Spanheim remarks in the place quoted above, nymphs were fuppofed to be produced from trees.
[8]	There is no fruit to be feen in this piXure. Pliny, »iii. 4. where he fpeaks at large concerning this tree, obferves, that it produces no fruit in Italy, or any other part of Europe.
[9]	Here again mav be obferved, as we have remarked before, the unequal number of fteps to the temples.
of
of the architrave there is a buft[io], and on the top a ferpent [i i] of bronze. The fteps are bounded on each fide by bafe-ments as ufual, and on them are two crocodiles\ii\ of the fame colour. Behind that which is on the left hand of the temple, upon a higher pedeftal in a nich, is placed an Egyptian idol [r3]; behind this nich appears a buildings which is alfo a part of the temple, on the roof of which fits Anubis [14].' There are alfo feveral perfons in different attitudes: among thefe is one who deferves more attention than the reft; he is pulling back by the tail an a/s loaded with vejfels of glafs, as we may rea-fonably fuppofe from their fhowing the rednefs of the liquor which they contain through them [15] : we cannot but admire the fpirit with which the afs-man is expreffed in the aQl of drawing back, with all his force [16], by the tail, his beaft of /burden, in order to fave it from the jaws of a crocodile that •ftands on the bank of .the river; which by this mark, if there was no other, we may fuppofe to be the Nile [17]. Size, three feet nine inches by two feet eight inches.
[To] By the Greeks called 'aryojc^.
P11P Perhaps to denote the genius of the place.
fia] In the notes upon the fiftieth plate we fhall fpeak upon this animal, which was facred among the Egyptians.
[13] We often’meet with pieces of this kind, reprefenting the Egyptian deities. Lucian, in his Council of the Gods, laughs at them with great pleafantry.
[143 This Egyptian deity is well known : Virgil calls him Latrator Anubis.
Ci53 Though Herodotus, book ii- tells us, that the Egyptians planted no vines; yet he fubjoins, that this induftrious people knew well how to fupply the want of wine by other medicated liquors. See alfo Diodorus, i. 34.
[16J Such is the force which the mam exerts, that he gets entirely beyond the centre of gravity ; he does not fall, becaufe the afs fupports the whole weight, by pulling violently againfi him.
[17] Pliny, xxxv. ir. commends Nealces exceedingly, becaufe in painting the naval engagement‘between the Perfians and Egyptians, in order to fhow that the action happened in the Nile, “ Afellum in litore bibentem pinxit, et Crocodilum “ infidiantem eithe very circumflance which is here reprefented. This being granted, we may fuppofe that the little temple placed on the bank of this river, was perhaps dedicated to oue of the numerous Egyptian deities; for befides Ofiris and
IfiS,-
Ifis, who Were worlhiped by all in general, as Herodotus, ii. 42. tells ns, and Damafcius, in Photius, cod. 242, every village had its own peculiar god befides. It is not improbable that it might be dedicated to Perfeus; of whom Herodotus, ii. 91. relates, that having brought from Libya into Egypt the head of Medufa, who was flain by him (fee the ftory in Ovid and others), he built a temple in the city of Chemmis, furrounded with a grove of palm trees, and with two great flames before the entrance. And, as we know befides that the Egyptians made no account of the Greeks except at Chemmis, this conje&ure has fome weight. The oak dedicated to Jupiter, the father of Perfeus, and the fhield with Medufa’s head, give it alfo fome degree of probability. But as thefe very things make their appearance again in the pifture of the following plate, we mull fufpend our-judgement as to the deities of this temple.
PLATE
PLATE XLIX.M
THIS is a companion to the foregoing. It condfts like the other of two parts. The upper compartment re-fembles extremely that of the laft; only it is rather more fim-ple : containing only the fhield with the Medufa’s head, and the oak, with the two palms on the fide of it; omitting the
The lower compartment exhibits a different and perhaps a more beautiful landfcape than the former. In the firft place, we may obferve a refervoir of water [2], furrounded with an embattled parapet, and a machine to draw up the water [3], together with its bucket: the man who draws it up is placed under a large awning [4J made up of feveral pieces hanging from a crofs [5], and tied by the other ends to a tree. Next
[i] Catalogue, n.575.
[2]	The Egyptians, on account of their having no rain water, ufed to make canals from the Nile, and to colleft the water into citterns.
[3]	The method of drawing water which we fee here, is ttill pra&ifed among us, and with a machine much of the fame kind.
[4J h'abretti, upon Trajan's Pillar, cap. vii. p. 214. fpeaks of the texture of thefe awnings; and (hows with a great deal of erudition, that they were made of Ikins fewed together. Whence tent-makers were called a-K.rtwppa.(poi; and o~>vrivoppa.(p'&J is by Sunnis explained to be one who Jews ßins together. St. Paul was bred up to the trade of tent-making, as is related in The Ads of the Apofiles, chap.>yi\\Y\. where he tells us, that he worked in the houfe of Aquila and Prifeilla, who were <rKrf;c7rctci T/jv Tsyjqv. Pliny, xiii. 4. fays, that the leaves of palms “ ad funes vitiliumque “ nexus, et capitum levia umbracula (refembling our ttraw hats) finduntur j” and it is well known, that they made ufe of them alfo for weaving into garments.
[5] Tertullian, Apol. cap. xvi. taxes the Heathens with worfhiping the crofs by many tokens, without being fenttble of it, and then fubjoins feveral iiittances :
we
Pl.XLIX.
vve may obferve different buildings, with towers; one fquare, others round, and placed [6] at different diftances, very like in all refpe&s to thofe which we have in our villages. In the back-ground is a piece of ground [7] walled in; atone end of the inclofure is an houfe, whofe roof is of different heights. Laftly, in the diftance there is a fmall building feparate from the reft, ferving perhaps for an engine-houfe to the refervoir, as the wheel [8], which is by it, feems to indicate [9]. There are feveral figures in various attitudes : that deferves particular attention, which, armed with a fpear and fhield, is attacking a crocodile [10] upon the bank of a river [11]. The background of the upper part is white; of the lower blue. The fize forty-five inches by thirty-two.
“ fuppara ilia vexillorura, et labarorum ffolae crucium funt.” The figure of the labarum, or military ftandard, is well known from medals and bas-reliefs: we need only obferve here, that tents ufed alfo to be marked in the fame manner.
[6]] There are fcarce any of thefe forts of landfcapes which have not towers in them. We (hall have occafion prefently to fay a few words upon them.
[73 Such pieces of ground as this are what were properly called horti by the Romans.
[8]	Vitruvius, x. 10, Pliny, xviii. 10, and Palladio, i. 42, difcourfe upon the wheels of water-mills. This wheel may perhaps be one of thefe: and if we cannot difcover all the neceffary parts, it may be owing to the picture being injured in this place ; or to the painter’s having made it indiftinft, in order to exprefs the diftance at which the wheel is fuppofed to be from the fore-ground. Or elfe this may be a machine to draw up water like that which we have in another piece, where fome things upon this fubjeft have been remarked.
[9]	The picture having received damage in this part, the water which fhould turn the wheel cannot be diftinguifhed.
[10]	Herodotus, ii. cap. lxx. pt, 115. fpeaks concerning the hunting of crocodiles ; but the manner which he defcribes is very different from this. Diodorus, i. 35. relates three different ways in which this fport was exercifed. Travellers tell us, that the crocodile is now hunted with a fpear. See Leo Africanus, ix. p. 296» and Mai lie t ’s Defcription of E^ypt, lett. ix. p. 32.
[11J We know this to be the Nile by the crocodile, as was obferved above.
D d
VOL. I.
PLATE
PLATE
L. [-3
THIS plate contains three parts [2]; and the three picJ tures which are engraved in it, feem all of them to relate to Egyptian fubje&s.
In the firft, the painter feems to have intended to reprefent only the view of a rural cottage [3], upon the banks of the Nile. The animals which are here painted certainly belong to this river: for we difeover not only the crocodile [4], but the hippopotamus [5] likevvife. Near to the laft of thefe is a duck,
[1] Catalogue, n. 72, and 544, n. 1, 3.
£23 Thefe were all found in digging at Ptefina, in the year 1748.	••
£3] It will appear to be nothing more, if we confider the roof which feems tobe of reeds ; and the inclofure and little tower, which feems to be either of wood or reeds. See Heliodorus, Aeth. i. and Diodorus, i. 36. Others will have it to be a temple.
[4]	The crocodile is not peculiar to the Nile. Pau/anias, iv. 34, attributes itälfo to the Indus. Strabo, xx. p. 696, and xvii. p. 826, gives it to the Hydafpes, and the rivers of Mauritania. Aelian, Hiß. Anim. xii. 41, to the Ganges. Stepbanus, and Pliny, to other rivers befides. Roth painters, howrever, and leulptors, make the crocodile a diftinguilhing maHc of the Nile. The figure of this animal is fuffi-ciently known : and we meet with it on medals, as a mark of Egypt, as in AEGYPTO CAPTA of Auguftus.
[5]	That the Hippopotamus is found in the Nile we learn of Pau/anias, in the place quoted above. Pbiloßratus, Imag. i. 5. all'o, and Lucian, Rhet. Pracc. make both that and the crocodile tobe marks of that river. Herodotus, ii. 71. Diodorus, i. 35. and Pliny, viii. 25. deferibe them as they arc here reprefented; and as we meet with them upon fome medals. Spanheim, de Ufu et Praeß. Numifm. p. 274. makes the Hippopotamus to be dilFerent from the Hippocampus, or Sea-horfe. See Olearius upon Pbiloßratus, Her. c. xix. n. 6. Pliny, viii. c. xxvi. obferves, that the Egyptians learned the art of bleeding from the Hippopotamus : “ Hippopotamus “ in quadam medendi parte etiam magiller extitit: affidua namque fatietate obefus “ exit in litus, recentes arundinum caefuras perfpeculatus, atque, ubi acutifiimum “ videt ftipitem, imprimens corpus, venam quandam in crure vulnerat; atque ita pro-a iluvio fanguinis morbidum alias corpus exonerat; etplagam limorurfus obducit.”
or

n.z
or goofe [6]. In the trees and herbs, though they have the appearance cf caprice, we may however difcover a refem-blance to fome of the Egyptian plants [7]. The fize of this is forty-three inches by thirty-nine.
In the other two pieces the two principal deities of Egypt, Ifis and Ofiris [8], feem to be rep re fen ted, together with fome of their fvmbols.
In the firft is Ofiris on the right, with the head of a hawk [9], crowned with the lotus \\o\, and he has a wand\i 1] in
[6]	The duck is elteemed to be the fymbol of winter. See La Change, tom. ii. fed. v. tab. xx. But fome are of opinion, that the painter has put the duck along with the crocodile, to fignify that this creature does not eat at all during four months, as Pliny, viii. 25. and Herodotus, ii. 68. affirm. Others fay, that the duck, living on land or water indifferently, (Aelian, Hft.Anim. v. 33,) fignifies here, that the two other animals, which accompany her, are of the fame amphibious nature. But neither of thefe accounts are fatisfaftory. Others therefore will have this bird to be a goofie, which we meet with on the Ifiac table, and frequently on other Egyptian antiquities. And then it may denote the fuppofed divinity of the crocodile and Hippopotamus, becaufe the goofie was a viftim in facrifices. Herodotus, i. 45. obferves, that in Egypt it was permitted only to facrifice fwine, oxen, calves which were clean, and gccfic.
£7] The trees are palms.
[8J Of all the Egyptian deities, Ofiris and Ills, who were at the fame time brother and filler, husband and wife, were chief. Stt Herodotus, ii. 42, Diodorus, i. 13. Vlutarch, de Ifide et Ofiiride, and others; who explain the whole mythology of thele two deities.
£9] The hawk is one of the birds which was effeemed facred among the Egyp--tians; Aelian, Hi ft. Anim. x. 14 and 24. Ofiris, who was the fame with the fun, of which this bird was the fymbol, was fometimes worfhipped under a figure which had only the head of this bird, he is reprefented in the Ifiac table. See Fignorius, p. 62.
[10]	It is notorious that the principal mark of an Egyptian divinity was the lotus, of which they made fomany myfleries. Hence the lotus was ufed by the Egyptians, as an ornament not only for their gods, but alfofor their heroes, kings, queens, and magi Urates, in the fame manner as the bay and oak among the Greeks and Romans. Frofipcr Alpinus, and Spanheim, have colledied all that can be faid upon the ufc, properties, and myfleries of this plant.
[11]	Some will have this tobe a ferula, with which Egypt abounds very much, and where it grows to a confiderable height. Pliny, xiii. 22. Bacchus, who is the fame with Ofiris, is armed'with a ferula inltead of a fpear. i'he benevolent^;?//, and the DU Avcrrunci, who were the averters of evil, were reprefented with whips apd Ricks in their hands: and Ifis, Ofiris, Anubis, and the other benetolcnt gods
D d 2	his
his hand. On the left is another deity [12], who, befides the lotus on his head, and a ferpent [13] in his hand, has the face of a man, and a long beard	In	the	middle is an altar r
and over it a vaje [*5]-
In the fecond pi&ure is Ofiris, bearded and crowned with zVy[i6]; and Ills, who, as ufual, has a female countenance [17], and, like Ofiris, holds a fpear in her right hand; and in her left, fomething which is not clearly to be diftinguifhed [18].
of Egypt, are reprefented in the fame manner upon the Iliac table, and other fimi-lar antiques. See La Chaujfe, tom. i. fed. i. tab. xxxiii. and fed. ii. tab.x hand xliu
[12]	The ftatues of Ills were crowned by the Egyptians with ferpents, Aelian, Hiß. Anim. xvii. 5. And the ufe which was made of ferpents in the procefli'ons and. myfteries of Ifis, is well known. It is fuppofed that here they are intended as fym-bols of health, and that perhaps thefe two might be votive pictures.. Tibullus ^ fpeaking of Ills, fays:
-----<r nam poffe mederi'
“ Pich docet templis multa tabella tuis.-,r
And Juvenal :
“ Et quum votiva teftantur fana tabella “ Plurima, pi&ores quis nefcit ab Ifiue pofci
[13J His was called and fuppofed to be Uotv, All, and for that, realon was reprefented under different forms, and called Myrionyma, or many names. See Voßius, Idolol.U. 56. and Rigaltius, ad Minuc. Odav. p. 216. Apuleius, Met. xi.. fays of' her: “ Cujus numen unicum multiformi fpecie, rituvario, nomine multijugo, totns “ veneratur orbis.”
[14]	Some v/ill have this to be an Ifis. It is not ufual indeed to fee her bearded. Among other arguments, however, it is faid, that perhaps this may allude to the moon, or Venus; fince Ifis was fuppofed to be the fame with both thefe deities. The moon was reprefented under the form of a man, as well as of a woman whence fhe was fometimes called Lumts. See Spoil. Mfc. Er. Ant. p. 2. and Pigno-rius, Menf. If. p. 25. Venus barbata was alfo worlhiped in Cyprus. Servius,. Aen. ii. 652, and Saidas in AtypoSt]-/], where he remarks, that from the loins upwards (Ire had the form of a man, and was bearded ; but that her lower parts were thofe of a woman.
[15]	Thefe altars, with fnch vafes as ibis, are very frequent on the Iliac table, and other remains of Egyptian Antiquities. Pigno rius, Kir eher, and Chifflet have given explanations of them.
[T6] The ivy belonged to Ofiris as well as Bacchus: and befldes, Diodorus, i. 17. fays, that Ofiris found this plant, and fhowed the ufe of itand that it was therefore called in Egypt the plant of Oljris.
[17] Ofiris being reprefented with the fymbols of Bacchus, we may fuppofe that Venus is here exhibited under the form of Ifis.
Some conjecture this to be the Hermetic Crofs, called Jfiaca, and Anfata, which we almoft always fee in the hands of Ifis and Ofiris, on ancient monuments; and to which the Egyptians attributed fo much virtue. Others take it to be a little
la
In the middle is a table [19], upon which is perched a dove [20]. The habits of both deities refemble thofe with which they are clothed on the Iliac table, and other antiquities of the fame kind [21].
bucket, which alfo appertained to her, as we may fee on the Ifiac table, and in La' Cbauffe, tom. i. fed. ii. tab. xlii.
[19]	We have elfewhere given fome hints upon facred tables, and we can fay nothing new upon the fubjeft. The colour of this gives us reafon to fuppofe that it was intended for a filver one, which was appropriated to Venus, the fame with his, as we have obferved before.
[20]	The dove was facred to Venus, and may appertain alfo to Ifis; to whom fwallows peculiarly belonged. Pignorius, Men/. If.p. 67.
£21] All thefe things are affembled together in Montfaucon, tom. ii. p. 2. and Suppl. tom. ii.. La Chauffe, tab. xxxiii. quoted above, in giving an account of a reticulated habit refembling this, with which Ifis is cloathed, on a gem, fays, that it denotes the connexion and concatenation of tilings.
1
THE END.
THE
APPENDIX:
CONTAINING
Some additional OBSERVATIONS, by the TRANSLATORS.
E c
VoL. I.
A
P P E N
d r X.
PLATE I.
OTE 4. See PhilofophicalTra?ifa5lions, vol.lu. p\ 134.
9.	It cannot be fuppofed that Pliny’s knowledge could extend to every ftatue and pidture in private houfes : he muft be underftood to mean only capital works for merit and fize. An Etrufcan vafe is certainly not a Greek performance; and of fuch Pliny is fpeaking. There, was an exquifite Venus found on Mount Coelius in 1760, with this infcription:
Ano THC 6K TPOIAAI AOPOAITHC MHNOOANTOC
enoiei. a.
ro. This may authorize us to believe, that thofe painters he mentionss were ftill more eminent. A.
13.	Why cannot the firft Niobe have bufinefs with Latona ? Both were miftrefles to Jove. Niobe was daughter to Phoroneus : from her and Ju- • piter was born Pelafgus. A.
14.	The battle of the twins with Idas and Lynceus,' about the Leucip-pides, is related by Theocritus, Idyll, xxii. Ovid alfo, at the end of his fifth book of the Faßi, tells the ftory, but with fome variation of the cir-cumftances.. Propertius has given Ileaira the hufband that beft fuits his verfe. A.
15.	One MS. reads- Hyldira, and in the margin lldira, as does alfo-Cornelius book, and Beroaldus's edition. Meurßüs has clearly (hown that we fhould read Hiluira. Turnebus, PaJJeratius, and Nie. Heinßus read IIcur a: Ponttinus, Ichaira. The public would not haVe been troubled with this literal criticifm, had not the learned annotators aflerted, that ir is Th el air a in all the copies of- Propertius. See Broukhufius's note on the ; palfage. B.
16.	Kußathius only fays : obferve how even the parents of Nireus were named from their beauty : and then gives the derivation of their- names. A; .
18.	As Aphareus and Arena have three fons; why might not Leucippus have three daughters ; Ileaira, Phoebe,- and Aglaia: this is at lead as probable as fuppofmg them to be the daughters of Niobe. - But I cannot, connect them with Latona and N>obe.- One would think Polygnotus hadt fcattered their names. See note 8. A:
19, See Caylus, iii. p. 311. pL Ixxxiv. 4..
R e. 2 --
20. The.’
20.	The piece of brafs in Seguin has a woman’s head between the letters C. S. which he fuppofes to be Cafus and Sors; but more likely are S. C. inverted, from its being as to that fide a copy of a. true coin, v. Patini Phefaur. Maurocen. p. 48. Morel, Imp. Nerv a, vii. 12. Ccnjul. Aelia 24. Patini Suetonius, p. 15. Pellerin, in. f. 115. The head, fuch as it is, may be that of liberty, as in the Caffia family, Morel, tab. i. n. 2. On the reverfe are four cockall bones, with a fentence proper to gaming, as in the note. ’Tis probably no coin, but a counter for the ufeof the flaves during the faturnalia. See Seguin, p. 195, and Ficoroni in feveral places, Pembr. Muf. iii. 27. and Arigoni. The cockalls appear often on the ear-lied Roman coins. A.
The dimenfions of the original picture are 17 inches by 18.
PLATE II.
9. Ilad the painter intended the death of Eurytus in particular, he might eafily have reprefented it by the goblet’s lying on the ground. A. The dimenfions of the picture are 20 inches by 15.
PLATE III.
5.	The fifteen female figures, as they are called, are a good deal damaged j but they have fo few and fo indeterminate attributes, except Ephefus, fome even none at all; that if the fculptor had not put the names under each, we fhould never have guefled them. Thus Tmolus holds a vine : why not the faftron plant ?
■■ ■ ■■	■	■	“	croceos ut Tmolus odores
fomewhat might have been added to fiiow it was a mountain ,• and the grapes might have been properly beftowed on any of the figures : Tmolus is certainly a male. Gronovius, p. iii. allows only three to be females : I think there are more. No doubt, kingdoms and provinces appear with their attributes on medals : a woman and camel will certainly lead us to think of Arabia, and the addition of Arabia adquifita puts it out of doubt; not fo the prefent. The bafe on which thefe figures Hand is not properly a marble, by which we ufually underftand an infcription on ftone againft a wall; but the fquare bafe of a fitting figure of Tiberius, in the coloflal fize : only the vaft bafe has been difcovered. A.
6.	The {lately dame who refts her right elbow on an horfe’s neck, doth not look like a woman juft delivered; nor can a bridled horfe, however fmall, be mifiaken for a colt, by any except fuch as are blinded by a defire
3	of
oi making a parade of their erudition ; or iuch as could iwallow the tale of a woman who was delivered of a full-grown cat, with bacon in its mouth. See Biogr. Brit. 1027, col. 2. .not. A.
7.	If the female figure had an ear of corn, or any of Ceres’s attributes, this explanation would have been more fatisfadtory. A.
8.	There are medals in which the concealment of Jupiter is reprefented,
at leaf! as plainly as here. See Seguin. Num.Sel. p. 126, 127, 188. Patini Thefaur. Monroe, p. 74, 82. and his own ‘Thejaurus.	See a Trallian of
Anton. Pius. Haym. ii. p. 282, Vienna edition. M. Pdlerin, in what may be called his fourth Supplement, printed in. 1770, p. to. produces a medal of Seleucia in Syria, where this event is figured much as in the, others, except that the attendants are females. He alfo deferibes three, other fuch ; viz. two of Laodicea, and one of Apamea, both cities in Phrygia. A.
The di men lions of the pidture are 18 inches by 14.
PLATE IV.
3.	See mafked comedians in Mnf. Etrufc. clxxxvi. and Ciaccon. deTri-clinio adp. 79. A.
4.	I-fhould think mafks very proper for falfe mourners: they, with cries and beating of the bread:, would be enough to move one’s grief: I do not mean to determine that thefe are fuch. See Catal. n. 43, 292. A.
8.	Suidas and Athenaeus give the honor of the invention of mafks to the poet Chaerilus, contemporary with Thefpis. Horace on the other hand, gives it to AEfchylus: and Ariftotle, who, living nearer the times and in the very country, was more likely to know, tells us, in the fifth chapter of his Poetics, that it was unknown in his time to whom the glory of the invention was due. Turnbull, p. 92, 93. A.
Thefe four Monochroms have glaffes placed before them to keep them from the air they are like drawings in red chalk. The drawing is in-corredt, and the contours hard. Cochin, p. 45.
The dimenfions of the pidiure are 14 inches by 19.
PLATE V.
It is pleafant to obferve the contradictory accounts which are given of this famous picture by different writers: the compolition of this piece (fays M. Cochin) is cold j the principal figures, elpecially Thefcus, are hatues; the attitudes of the two boys, who have hold of the hero’s arms, are fuch as one often fees in bas-reliefs; the drawing of the Thefcus is
very
*
very indifferent; but the charadter of the head is not amifs: the flile is. in general fublime, and the pencilling free: it is by no means finished ^ indeed little more than a fketch.. Cochin, pz 30.. with .an etching of it. from memory by M. Bellicard.
The piece reprefenting Thefeus after he has killed the minotaur ■ (lays,' Camillo Paderni) is wonderfully fine. It is eight palms broad, by nine high ; the figures as big as life. That of Thefeus cannot be more pro-^ perly refembled to any thing than the Antinous of the Belvidera, both for*-the attitude and air of the head. It is* drawn and coloured with prodi- -gious elegance. The Greek-boys, who are reprefented as returning him. thanks for their deliverance, feem, for their noble fimplicity, the work of. Dominichino ; and the composition of the whole is; worthy of Raphael.. Philof. Tranf. vol. xli. p. 486;'. See alfo vol. xlvii. .p. 137.
8.	Why might not a metal club be knotty or ragged, or even with fpikes? I have feen an antiquefilver crofier knotted*. as..a fhepherd’s crook would be. A.
Paufanias, iii. 3. fays/, that all the. arms of the heroes were of bronze he inftances in the battle-ax-of Pifander, and the arrow of Meriones from •. Homer; in the fpear of Achilles in the temple of Minerva .at .Phafelis,, and the fword of Memnon.
11.	Where is the difference between (even pair every feventh year, and a pair every year repeatedfeven times ? Apollodorus confounds this double, way of reckoning ; and thus greatly exaggerates- it: : Probably Thefeus went after the fecond feventh year; but once or twice would hardly make the exprefiion jc«r eQog proper/ The poets ulb feptem or govern .as belt fuits their verfe. A.
17.	He appears exatflly-as he does in this painting on- two medals of Attica in Pellerin,- tom. i. pk xxii. ni 6, 7. See Cayltis, 3, .lxxvii. 3. Thofe of Sicily and Magna Graecia, on which is a bull with an human face, mofb probably reprefent Achelöus, or rather Hebo, an heroe or. deity , of theic country,. D'Orville’s'Skula, pi. x. 4. /.’3S7. Av
The manner in which the minotaur is here reprefented,. agrees with that In which he appears in an* antique fardonyx of Greek fculpture in the cabinet at Vienna, publifhed by Bdron Stqfch,.in his Antique Gems, tab. li.; and in mod* of the works, of* the ancient artifts: though Lhave by me the cony of an antique gem,wherein the minotaur is exhibited as-{landing in the centre of the famous ^labyrinth, .and having below the.-body of a bulb as- far as^to the waili, and from thence upwards a human. form. Philo/.'Tranf. vol. 1. p. 98.
The-fiz.e of the* picture .is fix feet five inches, ,by five feet two inches*.. *
ELATE
PLATE
VI.
The figures in this piece are as big as life. It is little more than a monochrom, of a red colour : the draperies and flelh have nearly the fame tints; the drawing is bad; the heads indifferent; the hands and feet incorrect; the limbs of the child are unnaturally diftorted; the eyes of the woman are monftrous, and out of drawing : the figure of the fawn is beautiful enough, and has character: the animals, efpecially the eagle and lion, are very ill reprefented. This piece feems to be of the fame hand with the preceding ; it has the fame freedom; the touches are bold, and it is much unfinifhed. Cochin. See alfo Venuti, c. vii. and Philo/. !Tranf. vol. xlvii. p. 137.
The eagle and lion, fay they, make the piece more obfcure. By no means.; if we could hit on the right hiflory, we fhould perhaps fee that they were introduced juftly : at prefent, they prevent our fixing pofitively .on a wrong interpretation. Will any body fay of a prophecy, which is not underftood, that the number of particulars it confifts of occafions the obfcurity ? when rightly explained, or accomplilhed, we fihati certainly not fay fo. A.
17. Themaflacre, or bull’s fcull, the ornament peculiarly appropriated to the Doric order, appears not only hare, but in the metopes, pi. viii. and ix. A.
SLe of the picture is fix feet two inches, by fix feet.
PLATE VTI.
The fitting figure, who is called Jupiter in the explanation of the plate, is only Amphitryon: the inftrument in his right hand is certainly not a whip, but a fword, which he is drawing; and there is a fmall taffel to the end of the belt. His feat is a very plain piece of goods, not at all like Jupiter’s throne in Grliter.;, Infcript. i. p. vii, xii, xx. or Montfaucon i. pi. xx. 4. or xv. 1, 2. or x. 1, 2, 3. tw. ii. after xxx. 2. pi. 19. on a filver denarius of Domitian, in Pembroke MuJ. p. iii. /. xxiv. On four coins of Seleucia, Pellerin, pi. lxxx. he fits on a light ftcol. See alfo pi. xxix. of this volume. Befides, are we to fuppofe that Jupiter brought his own throne to Amphitryon’s houfe, where the feene ot the piece is laid ?
If it was not for the long beard., I fliould take the figure which they call Amphitryon, on the other fide of the piece, for an old nurfe. See pi. xi. note 13. Can any mortal imagine, that this is the drefs of a warlike king returned in cona.ue/1 to his bride, with a petticoat ilriped round the bot-t	'	-	tom ?
tom r remaps tnis neaa, as wen as mcmena s, is ciamagea, ana tne-beard added by miftake. See note 9. In this piece then, as we have not the other gods, fee n. 15 and 16, fo neither have we Jupiter, nor his magnificent throne; hut only Amphitryon, his wife, the children, and nurfe-In Theocritus, Idyll, xxiv. 35. Alcmena calls Amphitryon to help, and bids him not put on his fhoes ; accordingly he is here bare-footed : he alfo fnatched up his fword and drew it. Jupiter had done with Alcmena long before the children were ten months old. Plautus, indeed, bundles up all together abfurdly enough, in order to a denouement a la mode of Qeog a,7ro >yg. In fhort, 1 do not know what one authority in particular our painter has followed for his whole picture ; but if the ancients, never thought of executing night, or lamp pieces, then he has followed Theocritus as far as the compafs of his art would allow him : as he could not make a night feene of it, that accounts for the charadters being dreff-ed. He has omitted the cradle, or rather what ferved for it, the fhield of Theocritus; and the lamp; he has alfo borrowed the nurfe, or bromia, from Plautus. The child is too flight an one for Hercules, by no means ftouter than his brother. But the principal view of the painter was, to make a happy compofition, which he has efifedted by placing a figure of Alcmena, almofl more than human, in the middle; contrafted by a venerable king, kept down in his feat on one fide; a wrinkled nurfe, bent down with age on the other ; and two young children. The holy family, a favourite fubjedt among modern painters, ufually has the fame number of figures, and of the fame fort. A.
In a defeription of this pidture by Blondeau, Philof. Tranf vol. xlvii. p. 18. the old man is faid to be drawing a dagger ; and the perfon holding the child is called an old woman.
6. In Montfaucon, pi. cxxiii. 1. is a ftatue with one ferpent only. See alfo a coin of the family Pedania. In the fame plate, n. 2. is a gem, where Hercules is firangling two ferpents; but he is walking freely, and feems four or five years old. A.	.
9.	However obfeure the head of Alcmena may be in the original painting, it is clear enough in the engraving.
14. Who would have thought to have met with fo elaborate a difeourfe on the Unities, and fo fevere a critique on tragi-comedy, in this place ? A*
18.	I fee nothing in this Epomis different from fome in Montfaucon for women, tom. v. See pi. iii, iv, xi. of this volume. A.
Dimenfions of the pidture four feet one inch, by four feet three inches..
PLAT E VIIL
The drawing is bad; the mufcles of the body and arms of the centaur are not juft; the contour of the arm is bad; his hind legs are ill chofen,
and
auii nave a. vjuvj. eueei*
1 ne	\JX	X	10	^IWUdUlt	j	XL	10	Ut	IIC1
put together, and the contour is flowing enough j it is doubtlefs from a beautiful ftatue. Upon the whole, this figure is not ill painted : the middle tints are well difpofed, and have a good deal of truth, though there is fomething of a greynefs over them. Cochin, p. 33. pi. xvii.
Chiron and Achilles, fays M. Blondeau, and fome other pieces, are fo well executed, that Francefco de la Vega, a painter, whom the king of Naples fent for from Rome as one of the beft hands, to take draughts of thefe paintings, told me, that if Raphael were now alive, he would be glad to ftudy the drawings, and perhaps take lefions from them. Nothing can be more juft and correct: the mufcles are moft exadtly and foftly marked, every one in its own place, without any of that preternatural fwelling; which is fo much overdone in fome of the beft Italian mafters, that all their men are made to appear like Hercules. It is furprizing how frelh all the colours are, confidering that they have been under-ground above 1650 years.
He obferves, however, of this piece, that part of the horfe is a very difficult forced attitude. Philof. Pranf. vol. xlvi. p. 15, 17.
12.	—“ De marmoreo citharam fufpende coloHo.’* Juv. viii. 230-
Size of the pidture four feet two inches, by four feet.
PLATE IX.
The old man is no fatyr, and he is not fitting upon a rock; which are two of the circumftances mentioned by Paufanias, in the fhort account of his picture.
The attention to what they are about, is well exprefied in the figures both of this and the foregoing plate. A.
Size of this pi&ure, four feet one inch by three feet three inches; and of that which is engraved in Plate X. two feet one inch fquare.
PLATE
XI.
Tis pity but we knew the fubjedt of this pidlure; as the compofition is more varied, and the patuons better exprefied, than ordinary. A.
This plate was reverfed by a miftake of our engraver.
c. If the fubje<ft of this piece were the difeovery of Oreftes to his lifter, the^ prifoners, or vidlims, would not be feated, nor would Thoas, &c. be prefent. A.
9.	The ftool on which the naked figure fits, is remarkably light an . plain j whereas that in the next plate is juft the contrary. A.
12. The chorus was often confidered as a fingle perfon :
\oL. I.	? f	“	^	'	1
Aftoris partes chorus, officiumque virile
“ Defendat.-----•” A.
Dimenfions of the pidture, five feet one inch by fix feet one inch.
PLATE XII.
N. i. Five feet eight inches, by one foot feven inches. N. 2. One foot eight inches by five feet three inches.
PLATE XIII.
A man on horfe-back now-a-days might more eafily be wounded in the thigh, by the end of the pommel coming off than the tip of the fcab-bard. Moft of the ancient fwords, indeed, were fhorter than thofe of the moderns, and perhaps hung higher, and fo might occafion Cambyfes’s accident. Now the button, or knob, at the end of the pommel has fome refemblance to a fungus before opening; whilfl the guard at the lower end of the fcabbard is totally different. A.
8.	Hair cannot be faid to be difhevelled which is bound with a diadem or fillet. Why may not this be the tragic mufe ?
N “ Oft to her heart fad tragedy addreft
“ The dagger wont to pierce the tyrant’s bread:.” A.
17. The prafericulum, or pitcher, which is generally held flanting, commonly appears with a fmall fquare cafket called Acerra. A.
Dimenfions of the picture, four feet five inches, by two feet five inches.*
PLATE XIV.
9.	V. TJrßni App. ad Ciaccon. p. 365. A.
10.	This mode of drinking is (fill ufed in fome parts of the eaft. Knox± part iii. chap. vi. tells us of the Ceylonefe, that when they drink, they touch not the pot with their mouths, but hold it at a diftance and pour it in : and this cuftom he has thought it worth while to illuflrate with a plate.
16. The antients frequently performed fome religious rites at their meals; and for this purpofe the acerra may be brought in. See n. 17. on pi. xiii. and Potters Gr. Ant. i. c. iv. p. 211. In Virgil, Aen.i. 740.. only the libation is mentioned; but the fimplicity of the materials might eafily allow of
“ Farre pio et plena fupplex veneratur acerra.” Aen. v. 745.
On fuppofition that this is a funeral banquet, (tee Wright’s Travels, 485.) fuch as are frequent on farcophagufes, we may take the long flender thing with a circle at the end, for a patera with an handle. See Horfeley% p. 191,
7	i92- 7-
to make the libations, xii. 12.; the latter held the incenfe.. SteCaylus. A.
19.	I have no notion the wine pafled through the fnow. I (houldguefs, they contrived to furround the drainer with fnow. A.
The dimenfions of this picture are, two feet live inches each way.
PLATE XV. .
3.	Faunus was of Italy, and unknown to the Greeks. See Caylus. A bas-relief on a vafe in the Giußiniani Palace at Rome, exhibits a fawn getting a thorn out of an old fatyr’s cloven foot, with a knife, or pointed inftrument. The fatyr’s ears hang down; the fawn’s are very upright. Under the feat of the former, lie, on the ground, a ma(k, or cfcillum, much like herfelf, and a pipe compofed of four reeds tied together. See pi. to p. 332. of Wright's Travels, and pi. xxvi. n. 6. of this work. A fawn is nothing butafavage man, with a fhort tail, or fcut, as reprefenled in this and the following plate. A.
The dimenfions of this and the next pidlure are, one foot five inches, by one foot three inches.
PLATE XVII, See.
Befides thefe (landing figures, or walking figures without any ground for their feet, there have been alfo found fitting figures without any thing to fit on. The Romans feem to have been fond of thefe celeftial attitudes, implying lightnefs, and a facility of motion from place to place. Caylus, vol. v. p. 192. pi. lxviii. n. 1.
’Tis hard to call thefe full-cloathed women libidines. A.
Thefe beautiful figures are all of the fame fize as in the original pictures.
5.	There does not feem to be more llrength employed here than when a gentleman and lady give hands in a modern minuet. A.
PLATE XXI.
4.	Two forts, or rather fizes of cymbals, juft like thefe, are ufed to this day by the Parfes. See Duperron, Voyage to the Roß Indies, pi. vol. iii. The defeription of the crotalum being like a pear cut through the centre lengthways, anfwers very exaftly to our caftagnets. '1 he a otLilia were perhaps loofely pendent, which might allow them to dicket. A.
io. I o me ijiaore leems to mean, tnat tne otytnguti were loops, let or fewed round the edge of the foie, through which the latchets, or thongs, went, and were tightened at pleafure above. Set Baldwin, p. loo.ßg.B. F. and P. Voßus's authority in this cafe is nothing, without the teftimony of fome antient. The thongs, or latchets, were called lor a, amenta, cor-rigia, teretes habenae, vine la. Why fhould one part have fo many names, and the other none ? A.
PLATE XXV, See.-
The dimenfions of this, and the three following pictures, are, one foot ten inches, by four feet two inches.
2.	The gilvus feems to correfpond beft with our light dun, or cream-colour ; but not at all with alh-colour, which may probably be the fame with Ißdore's doßnus, or ufual colour of the afs.
4.	See Mufeum Florentinum i. /. 87. and t. 94. 7. Alfo n. 4. on; pi. xxvi.
5.	“ Quarum una (nubes) etiam centauros peperifle dicitur,”' fays Cicero, de Nat. deor. iii. 20.
1Idzetz.es, vii. 99. tells the ftory of the impofition upon Ixion, of Juno ; and relates, that from Ixion and Aura fprang Imbrus, and from him the centaurs.
The centaurs were fo called q. xevjopes: thus Homer, Iliad iv..
----“ Kufyetet jcejijopsg tornM.”
And Iliad v.
—— u Tpuse ptefkQvpioi xevjopeg nrnw.”
Concerning the form of the centaurs, lee Spanheim, Numifm. Diß'. v. 12.
It is not true, that centaurs are univerfally reprefented as in this pidlure : for in Muß. Etrttfc. lxv. the man is compleat, and the horfe part grows out of his backlide. On a coin of the Nicaeans, Gordian (as is believed) rides-on an horfe, whofe left foot is like a man’s; in his right, as in an hand, he holds a flick, round which a ferpent twills. Left it Ihould be thought a fault of the engraver, there is an infeription :
mnoN. BPOTonoAA. nik:. A.
The centaur, as it is reprefented, mull be fuppofed to have a double, infide; as it has that of the man, and of the brute, compleat. Perhaps the wit of man cannot invent a. new- creature with fuccefs. Chimaera^ fphynx, fatyr, fawn, &c. are all wretched. A.
6.	See Bacchus and Ariadne drawn by centaurs, in Mufeum Florentinum
i.	t. 92. 2.
7.	See Mufeum Florentinum i. t. 94. 7.
PLATE
PLATE
XXVI.
4. The antient lculptors rarely exprefled hair quite loofe; not even on the head of liberty. See the confular coins, and xx. n. 4, but no ftatue is produced. A.
7.	Servius*s didindtion between albus and candidus has no foundation.
10.	I rather think, that, of the two infants in Zeuxis's picture, one was perfectly human, the other all brute: that is, the dam was refolved into her two condituent parts, and each completed. One objedtion, however, I am aware of, is, that the look of a young colt is not ufually terrible. A.
I fhould think this pidture more agreeable, if the fcarf had covered the junction of the two creatures : fome break is wanted, to reconcile the eye to the vaft mafs of flefh occafioned by the addition of an horfe’s ched to the bottom of the human trunk; nature adts otherwife in both indances taken feparately. A.
PLATE XXVII.
The circular plate at the bottom of the back of this lyre is remarkable : perhaps it ferved for a belly or founding-board. Some traces of it, or at lead: a bar, or bridge, appears in plates viii. and xxviii. in which lad: it may be the fhell of the tejiudo. See x. n. 9. The female figure is carried in fuch a manner as to be in danger of dropping, or of being kicked by the-horfe in,galloping ; which hasalfo occafioned his left leg to be unnaturally bent. See alfo xxviii. Here, as before, the fcarf is thrown over the fide of the horfe, which is no difagreeable part, and the ched is left bare; as if they prided themfelves in expofing to view that part, which could not be made pleafing. A.
4.	The centaur in Hyginus and Germanicus s tranflation of Aratus, has a hare hanging at the end of his fpear, and cloven feet, like thofe of an ox.
5.	La Cerda, on the contrary, thinks, that fpadix is the bright-bay,, and glaucus the dark-bay. But in truth, glaucus has nothing to do with, bay, or the red colour of the young (hoots of willows and' fome other trees : it feems to be a blueifh grey, fuch as ie the colour of fome eye3, and the under fide of the leaves of willows, &c. Jßdcre, Orig. xii. v. fays, “ Glaucus, ed veluti pidtos oculos habcns, et quodam fplendore per-“ fufos : nam glaucum veteres dicebant album.”
6.	The invention of the lyre is afcribed to Mercury:
“ Te canam magni Jovis et deorum
“ Nuncium, curvaeque lyrae parentem.” Hor. Od. i. 10.
Though-
Though he refigned it afterwards into the hands of Apollo, in exchange for the caditceus. See Philoßrat. Imag. B. i. Homer, Hymn, in Mercur. Ovid, Metam. ii. n. Hygin. Poet. Aßron. ii. Lyra (according to whom it was given by Mercury to Orpheus) and the Scholiaß upon the tranfla-• tion of Aratus by Germanicus, Art. Lyra.
PLATE XXVIII.
The centaur could not touch the lyre, as a performer, without ufirig the other hand (which is otherwife prettily employed) to hold it: the motion (for fhe is galloping) muft throw it down. A.
2.	In plates ii. and viii. the junction of the two beings is fufficiently plain : indeed the appearance is that of a man’s body ftuck into the cavity of an horfe’s, from whence the head and neck have been cut off. In pi. ii. it is like a welt, or rope, round the place of junction. See Buonarroti, 452. A.
6.	See the lunata monilia very plain on the horfes necks that draw Titus’s car on his triumphal arch. See one on a contorniate coin in Haver-camp, and in Battely s Antiq. Rutup. now carefully preferved, with the reft of the collection, in Trinity College Library, Cambridge. ’Tis bronze, and the points are not (harp, which might hurt the horfe, if the .thing got bent; but rather knobbed. A.
PLATE XXIX.
3.	The original curule ftool might be well called only <5/«^©-, being no more than a folding (tool, carried after the magiftrates by their attendants, to (how that they were ready to fit down and do juftice any where on the ipot. A.
PLATE XXX.
The cleft flick in the boy’s hand feems only like Harlequin’s fword, made of two flat thin boards, in order to produce a found upon being fhaken. A.
PLATE
PLATE
XXXI.
If the flute, in N. i. is of the proper fize for the child to play on, then nothing was to be done with the pegs in playing, they being out of his reach : they might ferve for tuning the inftrument. I think there are feven of them on the right hand flute; three being pufhed in alternately : and five on the left hand flute; and only one, that is the laft but one, pufhed in. A.
3.	See Scaliger, de Com. et Trag. cap. xvi. Gronovii ?hef. Graec. viii. p. 1531. Alfo Mufeum Florentinum i. p. 100, &c. Fahrt Agonißicon, I. i. cap. iv. Gronovii Thef. Grac. viii.p. 1802, &c.
With regard to the noble youth among the Greeks learning to play upon the flute, the words of Arißotle are: 01 ttoXXoi tuv eXeudepav. But this feems principally to have been after the Perfian war : for he exprefsly tells us, that before that time, young men and gentlemen were forbid to play on the flute, and condemns the teaching upon that inftrument and the harp, as a part of education.
For the opinion of the Romans concerning finging, playing, and dancing, fee Meurßi de Tibiis Colletl tinea. Gronovii Thef. Graec. viii.
4. For the cuftom of blowing two flutes at once, fee Mufeum Florenii-num, vol. i. /. 91. 3. /. 93. 6, 8, 9. t. 78. 1. t. 89,. 5. t. 94. 1. Alfo an engraving from a marble in Tomaßnus de Donariis Veterum, Graevil Thef. xii. p. 849. Fanvinius de Lud. Circcnf. in Graev. Thef. ix. p. 370. . And Aldus Manutius de Tibiis ■ Veterum, Graev. Thef. vi. p. 1210. And Caylus, vol. iii. pi. liii. 3. and iv. pi. lxvii. 1.
5.	The double flute in the bas-relief, publifhed by Turnbull, London, . 1740, 4to. is quite plain, without any pegs and feems to go feparate into the mouth. A.
9.	Helen is celebrated by Theocritus, Idyll, xviii. 35. for her fkill upon the harp :
ei Ov puv a KiQupctv Tiq eTTis’ccjoa ctilie xpolycrcici.”
10.	Muße and dancing has been generally efteemed, not o dy by civilized nations, but by favage ones too. A.
They made a great part of the employment of the happy in Elyfium, , according to Virgil, Aen. vi.
“ Pars pedibus plaudunt choreas.” v. 644.
“-------laetumque choro paeana canentes.” v. 657.
PLATE XXXII.
3. See the triangular harp, with the point upwards, in Muß. Ft rufe. cixvi. A.
Of
v^i uie lainouca, lee nieron. ropyi. xxvm. tom. ix.
7. The boys among the Greeks were educated in fuch a manner, as to render them not only robud, but fiipple : if only the former had been confulted, they would have turned out mere ploughmen. Their palaefra was either rough and violent, as boxing, wredling, &c. or foft and elegant, as dancing. Sec. Mercury particularly patronized the latter :
---------“	decorae
il More palaeftrae.	A.
PLATE XXXIII.
3.	See Graevii Thef. ix. p. 62 and 96, where Cupids are reprefented driving feveral different forts of beads in fuch chariots as this.
4. VoJJius, in Etymolog, only fays, from Cicero's Oration for Rofcius Ame-ri?ius, and Philip. II. that the Romans ufed the eißum for expedition.
5.	See Nero, on a gem, driving a chariot with 24 horfesj as he probably did, however dränge it may feem to us. A.
PLATE XXXIV.
3.	See a great variety of mafks figured, in Mufeutn Florentinum, vol. i. t. 45, »See. and 'Turnbull on Mafks, London, 1740, 4m.
4.	------“	Rufi	perfona	Batavi.”	See Turnbullt p. 108. They could
reprefent perfons of any nation and complexion, by only wearing the proper mafk. A.
The two boys' in the lower picture are both of them employed in faw-ing off a bit of a board, which one of them holds fad on the workbench, by preding hard on it with his left hand. The plank, or board, which is here reprefented, is dill in ufe; and of the fame fhape precifely : it is called the holdfaß, A.
7.	At Athens, a man was obliged, by Solon s laws, to maintain his father when pad labour; unlefs he could alledge, that he had not been taught when young to maintain himfelf by fome art or trade. The poor were alfo obliged to learn hufbandry, manufactures, and trades. See Potter, Antiq. i. p. 152. A.
In this tedious difeourfe upon the fubjeCt of education, *tis a wonder they did not tell us, that the Jews and Turks bred their children up to fome profitable manual art, and that the favages of America do not. This fayingevery thing upon every fubjeCt is infinitely fatiguing. A.
The Janidaries at Condantinople have lefs inclination for war fince they have been permitted to exercife trades. A.
9. The
of flick (called a tongue) which flraitens the twifled cord at top, and flrains the blade of the faw tight: there is another, whofe blade, like this, is in the middle, equidiftant from the longer fides of its frame, but its edge lies in a direction contrary to the plane of the frame, fo cannot be that in the picture. A.
PLATE XXXV.
If the liquor which runs through the trough be red, it may be wine; but from the violence ufed in prefling, and the appearance of the fruir, I fliould have guefled it to be an oil-prefs.
»	— - “ teritur Sicyonia bacca trapetis.” Virg. Georg, ii. 519.
Heataflifted the operation. See Varro.
“ Aut dulcis mufti Vulcano decoquit humorem.
“ Et foliis undam tepidi defpumat aheni.” Georg, i. 295. A.
3. Had Romulus not permitted the exercife of agriculture, his fubjedts muft have been all flarved. They had not room to live by hunting, and had no (hips to import provifions. But the truth is, he not only allowed; but encouraged agriculture. The country tribes were more honourable than the city ones. A.
17. Plafter is ftill ufed to make wines keep. See Miller, DIB. A.
23. All the fhoes in the fhop feem to me alike, or of one fort, which I wonder at. A.
Of the cothurnus, fee Virgil, Eel. vii. 32. The tragic differed from the hunting bufkin only in having a higher heel and foie. 'Juvenal vi. 504.
25.	Virgil, Eel. viL 32. mentions the color puniceus, and Aen. i. 341. the Jurpureus.
PLATE XXXVI.
'Three of the legs of the frame feem to reach to the ground ; one of the two in front certainly does : the other ends at the table, on which it refls: the table has its own four legs befides. A.
7.	Alexander greatly offended the mother of Darius by offering to fur-nifh her with weaving materials; thinking it would prove an agreeable amufement to her and her companions in their captivity : but he inftantly reconciled himfelf to her again, by affuring her that no affront was meant; for that the vert he had on was the work of his own mother’s hands. A.
C S
VOL. I.
PLATE
PLATE
XXXVII.
Thofe who fay, that the antients always painted dolphins crooked, may be convinced of the contrary from this reprefentation. See Pennant. A.
9.	If there were three horfes (which was very common) they went abreaft : the middle horfe was in the fhafts, jugalis; the two outer ones drew by traces; as if we were to add another on the off-fide of the fhaft-horfc of our poft-chaifes, as the French often do their bidet. If there were four horfes, then I reckon the two middle ones went in the fhafts, which need be only a fimple bar, or pole, betwixt them; and the fame between them and each outfide horfe, that drew by a trace on his outer fide. The Greeks called the horfe in the traces, or ropes, crapca®*. Homer
’Brctpyop©-*.
It is not properly a yoke by which the car is drawn ; but it is the bar which keeps the two-wheeled car from tipping over, as in modern curricles. One rarely fees in medals, &c. how the carriage is drawn : fome-times only reins in the cattle's mouths appear. A.
10.	This fancy of the painter is a plain imitation of a chariot-race in the circus, in which one driver is generally reprefented over-turned. Sec Sophocl. EleSira, and n. 6. on the following plate. Somewhat like large handles are plainly vifible, particularly on the neareft chariot: perhaps they were defigned to raife the fides up to the knees of the driver as he Hands, without increafing the weight. A.
PLATE XXXVIII.
6.	I hardly allow any bench ; he might Hand upright in the back part 1 as it is, he reclines againft the Hoping, or circular fore-part. A.
7.	There are no figns of feathers on the backs of thefe griffons. 1 fee no mane to the griffon on the right; but lbmewhat that might pafs for a yoke, if the other had the fame though ’tis not uncommon on medals, to fee reins, &c. on the near horfe, which are omitted on the diftant one;, perhaps to avoid uniformity or confufon. A.
See a car drawn by griffons in Caylus i. Ixv. 3.
13.	In general, the altars did not rife higher than the knees of the ftanders-by. See Caylus. A.
Noah’s altar is the firft we read of: but, fince Cain and Abel offered, facrifices, we may fairly prefume they alfo had their altars.
14.	The remark which is made at the beginning of this note, is true of all their obfervations. Many of the prevailing notions concerning fer-pents have probably arifen from an univerfal tradition of the (hare the fer-pent had in the fall of mankind. This animal was given as an attribute
to
co me goa or rnync; eitner becauie it is uled as a reitorative, or became it calls its fkin, and Teems to renew its health and age. A.
15.	Agathodaemon is common on medals: he has an human face; fo the ferpent here reprefented is not him. See what is called the temple of the ferpent Cnuphis, in Norden, p. 101, 8°. Saint Scheck Haridi is dill worflnped under that form, p. 42. A.
There is a Draco volans, or flying lizard, found in the Ead Indies and Africa, but by no means anfwering to the horrid ideas which the fables of dragons have raifed among the ignorant. This is a harmlefs animal, feeding only on infedts, and living upon trees; all other dragons are fabulous or fadtitious : “ non naturae (fays IJnnaeus) fed artis opus eximium.” Had nature given fome of the ferpent tribe thofe wings which fable has lent them, the dories which have been raifed of dragons might have been realized.
PLATE XXXIX,
10.	See feveral lamp-dands figured in Caylust vol. iii. pi. xxxvii, and, *vol. v. pi. xciv. &c.
12. 1 believe the Vitruvian fcroll was not known to be upon any adtual building till Mr. Stuart reprefented it in his beautiful plates of 1Demoflhe* nes's Lanthorn. If an ornament executed in the bed period of Grecian architecture, and approved by Vitruvius, could be fo totally lod ; no wonder this ornament, which he condemned, could not be found by Philander. The Vitruvian fcroll may be collected from fome medals, but appears plainly on many pieces of Tufcan pottery, A.
Here are not only the barpaginetuli, but alfo the curled leaves which Vitruvius mentions in the fame paflage. A.
No great knowledge of perfpe&ive is neceflary, to fee from this and the following plates, how ignorant the ancient painters were o-f that art.-
PLATE XLl.
The little wheel, or fhield, as it is here called, is the flat bafket that was fee n fide-ways, or edge-ways, in the lad plates and pi, xliii, xliv. A. 3. See pi, xliii, xliv, xlviii, xlix. A.
O g «
plat e
PLATE
XLII.
7. Becaufe the Greeks had doors opening outwards, they made a noife within to give warning to paflengers in the ftreet before they opened the doors. See Terence s Comedies• A.
PLATE XLIV.
See the triton upon the temple of the Winds at Athens, in Stuart. A. “ Coeruleum tritona vocat,” Ovid, Met am. i.
PLATE XLW
There is a fourth (hip, which is not mentioned in the account* A.
5. Medals are uniformly againft the opinion of more rows of oars than one ; and ’tis not eafy to fay, why they fhould never reprefent a fingle fhip of the more extraordinary ftruCture. The fame is true too of bas-reliefs, except only Trajan’s column but ’tis perhaps faulty in this particular, as in feveral others in which a bad perfpefiive prevails; as in the end of a bridge, which is fo turned, that the army appear plainly to go through the river, on theoutfide of the bridge. In fhort, Count Caylus, fays, that Pere Languedoc has intirely confuted this opinion. A.
7. Who would argue from a fhip confumed by fire, and actually funk out of fight, all but a fmall part, rather than from three fwimming at large ? Indeed I fee no fuch thing as they alledge in the funk fhip; the refraction of the water may diflort the oars. A*
13. The ftandard is the legionary one. A*
PLATE XLVL
2.	There is the appearance of a modern top of a chimney above the
roof. A.	-
3.	How could they mount to the top to manage the light?-Nor did I ever fee any thing lefs like an altar. A.
We are informed by this plate, among others, that the ancients had no more regard to the dilpofition of light and (hade, than they had to per-fpe&ive. L.
PLATE
PLATE XLVIT.
3. The torques, ring, or collar, that appears round the parrot’s neck in the print, does nor belong to the bird, but to the harnefs. A.
VoJJius's words are only thefe : “ Non dubito quin vox fit ab Indis, unde
avis ipfa the word PJittacus is undoubtedly of Indian original, for the bird comes from that country.
Ptolemy Philadelpbus was a great colledlor of natural curiofities. See' Diodorus Siculus, Strabo, and Arrian. A.
Though parrots are now fo common in Europe, a poet might ftill ufe Ovid's topic of
“ extremo munus ab orbe datum.” A..
Pliny does not fay, that parrots were never feen by any Europeans before thefe travellers dilcovered them at Gagaudes; but that they werefirß feen fro?n that ifiand; which might be long before the date of this expedition.
The Romans were fond of grotefque fubjedts: the whims of the Greeks were of a graver cafL Plate xc. n. 3. reprefents a lion on a car drawn by two cocks ; this is on an amethyft. The other is on a red jafper, and reprefents a dolphin drawn by two caterpillars. Thefe feem to be the mere caprice of the artift, and to have nothing of that allegory,, which it is much more eafy to- fancy than, to give fatisfadtion to perfons of fenfe concerning it. Caylusr vol. ii. p. 316.
There has beea another pidture of this grotefque kind found in Herculaneum : it reprefents a chariot drawn by a griffon, with a butterfly driving. See Catalogue, ».71.
In CayluSy vol. v. pi. liv. 5. there is a ferpent riding on an horfe: the. ferpent holds the reins in his mouth,, and the horfe is galloping.
PLATE XLVIIL
4. Amafeus does not fay, that the Athenians put up the fliieTd in memory of their having overcome the Lacedaemonians; but only (though* that perhaps was wrong) that it was offered by the Athenians, Sec. upon taking the town of Tanagra,. which had affifted the Lacedaemonians whereas the Greek fays juft the contrary, that it was a prefent from Tanagra, a city in alliance with Sparta, and was the tythe of the fpoils obtained in. a vidtory from the Athenians, Sec.. But the language was what one might expedt from Sparta and its neighbouring allies. A.
A drunkard might call his cup his fhield (as Falfajf calls his dram-bottle a piftol); but, how a warrior could call his flfield a cup, is not lo-apparent. A..
12..	The
i2. 1 ho crocodile was lacred in lome provinces ot Hgypt only: in others juft the contrary. A.
PLATE XLIX.
The circular dome (in the lower compartment) inclofed with a fquare embattled parapet, is exceedingly like fome of the Mamalukes tombs in pi. cxxxi. of Norden: it is probably no water-houfe ; at leaft, if we may truft the perfpective, the bucket can never get into it: the weli ihould feem to be nearer to the fpe&ator than any part of the pidlure, and confe-quently does not appear. T. he fquare tower, diminifhing upwards, without windows, and only a fingle entrance, is exa&ly like many in Norden; where they generally appear on each fide of a great gateway; but are fome-times fingle. A.
3. See Norden, pi. liii. middle figure; but the frame in the picture is larger, and takes up more wood than ufe requires. In Norden the men always pull at the rope itfelf, dire&ly over the bucket; and not at the end of the lever, or handle of the fwipe, as here: and their practice is right and convenient. A.
PLATE L.
The altar in the fccond picture has not an Egyptian air. We Ihould call it a ftand : ’tis like our candlefticks. A.
The unknown thing in the left hand of Ifis, in the third picture, is certainly the Tau. See Caylus. A.
1
THE
X.
T H B
I N D E
A.
_/\.BANTES, p. 18. ». 6.
Achilles and Chiron, pi. viiu
------his beauty, p. 35. n. 10.
-----------education,	p.	11. n. 5. p. 35. n. 9.
--------reprefented	barefcot,	p.	35. n. ic>.
•-----{killed in muficand poetry,/». 33. n. 9.
------why fo called, p. 34. n. 9.
Acrochiiifmon, what, p. 78. n. 5.
Admetus, p. 49. n. 6.
Aegeus, king of Athens, p. 17. ».5, Aefculapius, the air, p. 166.
-------------wnrftiiped	under	the form of a
ferpenr, p. 164.
Aglaia, p. 3 and 4. n* 16.
Agriculture, p. 145. n 3.
Alcmena, />. 30. />. 29. n. 3. p. 30. n. 8, 9, 14.
Aleus, p. 23. ». 5.
Alex nder of Athens, p. 2. ». 9, 10.
Alioffi, what, p. 5. n. 20.
Altar, Cecrops the firft of the Greeks who made one, p. 163. n. 13.
------firft erected by Noah, Ibid.
------round, with a ferpent, pi. xxxviii. n. 2.
Altäre, whether different from Ara, p. 163.
”• J3-
Altars of the infernal deities, called Foci, ibid.
.-----in allegory, fymbols of a divinity, 6cc.
p. 11, n. 5. and p. 13.
------their forms and height, p. 163. n. 13.
—— why eredted on hills, ibid.
Ambubajae, what, p. 134. n. 10.
Amiculum, p. 93. n. 8.
Amphitryon, p. 30. p. 29. n. 3. p. 30. n. 8.
/>. 31. n. 14.
Ampton, what, p. 138. n. 6.
Amyftis, what, p. 64. n. 10.
Anclabris, the facred table, />. 57. n. 11. Androgeus, fon of Minos, p. 17 . n. $- /». 20«
«. 13, I4‘
Angerona, thegoddefs, p, 168. n. 23. Animals, pi. xliii.
Anubis, p. 198. n. 14»
Aphrodifion, p. 77. n. 4.
Apodidrafcinda, a kind of play, p. 139. n. 8. Apollodorus, p. 3. n. 14.
Apples, facred to Venus and Cupid, p. 162. n 11.
• ■ 1 - ■ expreflive of fenfual pleafure, p. 163..
».ii.
Arachne, p. 153. n. 7.
Architecture, plates of, pi. xxxix, xl, xli, xlii, xliii, xliv- xlvi.
Areopagites, p. $o. n. 6.
Argives, firft ufed the clypeus, p. 122. ». 16» Ariadne, daughter of Minos, p. 1-7. n. 5.
p. 18. n. 9. p. 19. n. 13.
Arion, a horfe, fon of Ceres by Neptune,
p. 12. ». 7.
Ariffaeus, the fitft who fnared wild beads,
P~ IS6- n' 5-
Arne, Neptune’s nurfe, p. 12. v. 6.
Artifts, maintained at the public charge im Athens, p. 142. n. 7.
Arts, manual, p. 142. n. 7.
-----mechanic, ibid.
-----not two to be followed at Athens, ibid,
-----fervile, ibid*
Afpendius, a famous harper, />. 35. n. 11. Als, a fymbol of the Nile, p. 198. n. 17-Afferion, p. 20. n. 14.
Affragalizontes, p. 6. n. 20.
Athenians, their tribute to Crete, p. 19. n. 11.
Atrium, how fituated, p. 179. n. 4. Averrunci Dei, p. 30. ».11.
Auge, daughter of Aleus, />. 23. n. 5. p. 25. ». 9.
&.
Bacchanals, their original, p. Cq. n. 4.
Bacchants,
.caccnants, pi. vm, xx, xxv, xxvi. p. 09. «. 4. p. 71. n. g. p. 86. n. 2, 3, 4. p. 87. «. 7. p. 92. n. 6. p. 107. n. g. p. 109. ». 3. p. 110. ». 4.
Bacchus, />. 6g. «. 4. />„ 106. «. 6.
---------the	full	cultivator	of	figs,	p. 97. n. 8.
Biclinium, what, p. 65. ». 13.
Biga, what, p. 138. «.5.
Birds, pi. xlvi.
Biremes, p. 187. n. 3.
Birota, p. 138. n. 4.
Board, painting on, p. 16. >7.4.
Boys, at play, pi. xxxii, xxxiii, xxxiv.
-	---dancing, pi. xxx, xxxi, xxxii.
—• driving cars on the water, pi. xxxvii. n. 2.
—— fifhing, pi. xxxvi. n. 2.
-----hunting, pi. xxxvii. n. 1.
—— playing on flutes, pi. xxxi.
—	--- winged,	pi.	xxx,	&c.
—— working, pi. xxxiv. ». 2. pi. xxxv. pL xxxvi. 71. 1.
Bracelets, p. 8t. ». 4. p. 93. n. 7.
Bufkins, p. 15. n. ip.
a
Calantica, p. 101. ». 4.
Calceus, p. 9.7. n. in p. 15D. n. 23. Caliendrum, p. 101. ». 4.
Cahhula, p. 96. n. 4.
Calyptra, p. 101. n. 4.
Candelabra, columns fo called, p. 172. n. iO. Cantharus, what, p. 143. ». 10.
Capitium, p. 96. n. 4.
Carians, firft ufed the creft to the helmet, p. 122. n. 15.
Caroenum, a .kind of fweet wine, p. 149. n. 17.
Carpenters, worfhiped Sylvanus,/». 142. n. 6.
---------a confiderable company at Rome,
&c. p. 143. n. 7.
Carriages, ancient, p. 138. n. 4, 5. p. 157.
*■ 9~	,
---------drawn by dolphins, pi.	xxxvii.-». 2.
p. 157,	». 8, 9.
Centaur, celeftial, p. 114. ». 4.
Centaurs, p. 7. p. g. ». 10. pU xxv. />. 107. ». 7, 8, 9. pi. xxvi. p. no. ». 3. £>/. xxvii. p. 113. n. a, 3. pi. xxviii.
Centaurs, female, pi. xxvi. p. 109. ». 2. p. z 10. ». 6. p. 112. n. 10.
—----------their origin,	p.	106.	n.	5.
Cephalodefmium, p. 101. ». 4.
Ceres, her clandeftine parturition,^. 12. ». 7.
p. 25. «. 7.
Cernophori, who, p. gg. n. 5.
Cetii, the fame with the Italians and Romans, p. 26. ». 12.
Chariots, Uirceniian, p. 138. n. 3. p. 159.
n, 6.
Chenifcus, what, p. ig\. ».8.
Cheirapfia, what, p. 78. ». 3.
Chiron and Achilles, pi. viii.
--------his	birth	and	learning,	p. 33. v. 4.
-----------mafter	of	Achilles, p. n. ». 5. p. 33.
n. g. p. 113. n. 6.
--------the	celeftial centaur, p. 114. ». 4.
--------the firft hunter, p. 34. », 6.
Ciborium, what, p. 172. ». 9.
Circenfian games, p. 98. n. 4. p. 138. n. 3.
p. 139. ». 7.
Cifium, what, p. 138. ». 4.
Clifmus, p. 119. n. 3.
Clofter, fon of Arachne, invented the fpin-d!e, /». 153. ». 7.
Clypeus, firit ufed by the Argives, p. 122.
«. 16.
--------its form, ibid.
Cneph, the Egyptian name for a ferpent, p.
164. p. 168. ». 20.
Cockalls, game at, pi. i. p, 5. «. 19.
Collars of gold or filver, worn by children, p. 32. n. 23.
Cothurnum, oifferent forts, p. 15. ». 10.
-----------worn by hunters, p. 150, n. 23.
------------------- tragedians,	f.	15.	n.	10.
Courtefans, anciently diftinguifhed by coloured cloaths, p. 88. n. 10.
Credemnum, p. ion ». 4.
Crembali, p. 117. n. 4.
Crepida, p. zoo. ». 7.
Creft of the helmet, firft ufed by the Carians, p. 122. ». 13.
Crocodiles, how hunted, p. 201. ». 10.
------—----not peculiar to the Nile, p. 202*
n. 4.
-----------fymbols of the Nile, ibid.
Crocota, what, p. 78. ». 6. p. 96. n. 4. Crofs, Hermetic, p. 204. n. 18.
Crotala, p. 91. ». 4. p. 127. n. 3. p. 132.
». 8.
Crumata, p. 136. ».'6.
Cupid and the fun, the fame, p. 162. n. ir.
-----playing on a lyre, and in a car drawn
by griffons, pi. xxxviii. p. 138. n. 3.
—— put for the power exciting things to regularity, p. 162. n. 11.
-------- fprung from chaos, ibid.
—----why faid to be the fon of Venus, p.
161. ». 10.
Cupids, fons of Mars and Venus, p. 123. n. 18.
--------two,	p. 161. n. 10.
■ ■	—	• three, according to others, ibid.
Cufhions, fluffed with rofes, p. 122. ». 13.
■	■ • their ufc among the ancients, p. 121.
n. 8.	Cyclopes,
Cymbals, p. 71. n. 10, II, 11. p. 86. n. 5. p. 91. n. 4. p. 92. n. 5, 6. p. 117. «. 4.
D.
Daedalus, contriver of the labyrinth, />. 20. n. 14.
Dance, a neceffary part of education among the Spartans, p. 126.
—— called cemophorum, p. 99. n. 5.
-■ dishonourable among the Romans, p. 126. p. 127. n. 5.
■ of the Graces, p. 83. ». 2.
... Pyrrhic, p. 126.
Dancers, pi. xvii toxxiv.
Dancing, p. 125. «.4.
—	-■ at banquets, p. 80. «. 3. p. 81. «.
10. p. 84. n. 3. p. 125. w. 4.
efteemed among the Greeks, p. 125.
n. 4.
Decks to (hips, when, and by whom, invented, p. 188. n. 9.
Defrutum, a kind of fweet wine, p. 149.
• «. 17.
Diana, her flatue, p. 54.	20.	/>. 57,	9.
—— flags facred to her, p. 156. n. 3.
•----- hunted only timid animals, ibid.
Dido, pi. xiii.
Dielciftinda, what, p. 136. n. 8.
Diphrus, p. 119. n. 3.
Diptycha, what, p. 44. n. 10.
Divination, its origin, p. 163. n. 17. Dolphins carry Cupid, p. 157. n.8.
--------facred to Venus, ibid.
--------their fondnefs for mankind, ibid.
Doors, folding j appropriated to temples, p.
180. n. 7.
Dofinus, what colour, p. 105. n. 2.
Doves, facred to Venus, p. 120. n. 7. Dragons, how they differ from ferpents, p. 163. n. 15.
-------facred to .lEfculapius, p. 164.
-------their fize and colours, ibid.
——— venomous only in Africa, ibid. Dryads, p. 197. n. 5, 6.
Duck, the fymbol of winter, p. 203. n. 6.
E.
Eagle, given to heroes, p. 27. w. 13.
Egyptian antiquities, pi. xlvui, xlix, 1. Egyptians, applied to mechanic arts, p. 142. v. 7.
_____---the priefls and foldiery moll efteem-
ed among them, p. 143. n. 7.
Elciftinda, what, p. 13O. n. 8.
Eleßra, fifter of Iphigenia, p. 52- »• 12.
Vol. I.
Epomis, p. 32. «. 18.
Efomis, p. 100. n. 6.
Eteocles, p. 49. n. 6.
Euriftheus, p. 30. n. 8.
Eurytus the centaur, p. 8.
F.
family meal, pi. xiv.
Faun, with a bacchant, pi. xv.
-----------an	hermaphrodite,	pi.	xvi.
Fauns, their figure, p. 68. n. 3. p. 73, n. 3. Faunus, p. 25. p. 26. n. 12. p. 68. n. 3.
—■	- • addicted to hunting, p. 156. n. 5.
p.iSS.n.3.
-------king of the Aborigines, p. 26. n. 12.
-------the fame with Pan, p, 68. n. 3.
Feafts of love, p. 161. n. 10.
Fecafii, what, p. 130. n. 23.
Ferula, abounds in Egypt, p. 203. n. 1 r.
-----carried by Bacchus and Oliris, ibid.
Fillets, ornaments of victims, p. 56. n. 7.
——— worn by kings and queens, p. 60. n. 8. Fifh, pi. xlv.
-----not eaten by the heroes, p. 153. n. 8.
Filhing, forbidden by Piato, ibid.
-------implements, p. 133. n, 9.
-------methods of it among the ancients,
p. 153. n. 10.
Fiitula, the moft ancient mufical inftrument, p. 159. n. 5.
Flora, p. 26. n. 12.
Flute, p. 139. n. 5.
-----banilhed b) Plato, ibid.
-----its ancient ftrudlure, p. 39. n. 3.
-----much efteemed, p. 130. n. 3.
-----ftngle and double, p.131. w. 4.
-----wbo invented it, p. 38. «. e.
Foci, the altars of the infernal deines, p. 163.
n. 13.
Fortune, p. 23. n. 7.
Forum, what, p. 147. n. u.
Fruit, pi. xlvi.
Fruits afiigned to love, p. 160 n. 8.
Fungus of a fword, what, />.. 59. n. 3. Fuiics, p. 49. n. 6.
G.
Galaeae, what, p. 188. n. 7.
Galatea, p. 42 and w. 3. p. 43. n. 12, 13.
Oallies, pi. xlv. p. 186..	3.
Games, Circcnfian, p. 98. n. 4. p. 13S.W. 3.
P- 139- "• 7-. ,	.	0
Cxarlands, worn in dancing, p. 128. n. 6. Genii, pi. xxx toxxxvi.
-— called Dacmo.ies and Pra: lit.s, p. i65. H h	Genii
VJ v.
7 f -
f -	"*	/
■-----their nature and office, 14». R. Ö.
/>. 165. r. 17. p. 166.
------whar, />. 166.
Genius of a place, what, p. 165. fl. 17* and 166.
Germans, ancient, tied up their hair, p. 110. n. 4.
Gilvus, what colour, p. 105* »• 2.
Goofe, a favourite viftim, p. 203. R. 6.
------frequent in Egyptian antiquities, ibid.
Gorgons, p. 140. n. 4.
Graces, not originally reprefented naked, p.
83’ »• a-
Gradivus, a name of Mars, p. 122. n. 17. Grafs, one of the attributes of Mars, ibid. Grafshopper, driving a parrot, pi. xlvii. Grecians boiled their wines, p. 148. R. 17*
■ ■ ■ ■- went barefoot, p. 18. n. 6. p. 32. n. 21.
--------------  bareheaded,	p.	18.	n.	6.
.-------- wore a tuft of hair on the upper part
of their heads, ibid.
•—----wore rings on the left hand, p* 18*
and n. 10.
Griffon, what kind of animal, p. 159. n. 7. Griffons drawing Cupid, pi. xxxviii. n.
—-----— facred to Cupid, p. 160. n. 7. p. 162.
n. u.
.----- facred to the fun, p. 159. n. 7. p.
162- r. rt.
Grotefque paintings, p. 169. n. 4. p~l“]l. n. 8.
G yllus, a grafshopper, p. 194.. n. 5.
»-----a man’s name, ibid.
H.
Halteres, p. 129. r. 9.
Hamadryads, p. 197. n. 3..
Harp, the manner of playing on it, p~ 35. n. 11. p. 158. n. 4.
-----tne number of its firings, p. 36. w. 12.
------whether the fame with the lyre, p. 35.
n. 12.
------who invented it, ibid.
Harpaginetuli, what, p. 173’	J1»	*2.
Harpocrates, figured, in pi. xxxviii. n. 2.
1-----------his fymbols, p. 168. n. 20.
-—	 how	reprefented,	ibid,	and	n. 23,
Hawk, facred in Egypt, p. 203- «• 9.
-----fymbol of the fun, ibid.
He?!tb, facrifice to it, pi. xxxviii. n. 2. p. 165. n. 17.
Helmet, invented by the Spartans, p. 122. n. 14.
Hepfen a, a kii d of fweet wine, p. 148. «. 17.
— ------? ----
- r. 12; 14.
-------->his birth, p. 29. r. 3.
--------his ftrangling the ferpents, pi. vii.
p. 29. and n. 2, 3, 5, 6. p. 30. n. 7.
--------why called Alcides, p. 30. n. 7.
Heroes, reprefented naked, p. 17. p. 18. n. 6.
--------their extraordinary fiature, p. 18. n. 7.
--------wore (kins, p.. 10. n. 3.
Hinds, draw Diana’s chariot, p. 136. n. 5.
-------- whether they have horns, ibid.
Hippodamia, wife of Pirithous, p. 7. n. 5.
P- 8.
Hippopotamus, found in the Nile, p. 202. w.3.
........— — mark of that river, ibid.
-----------------taught	the Egyptians the art
of bleeding, ibid.
Hood, p. 31. and p. 32. n. 18. p. lor. n. 4. Horns, ufed for drinking, p. 64. n. 9.
Horfes, their colours, p. 111. n. 7. p. 1x4, «.5.
Horti, what, p. 201. n. 7,
Hunting dogs, their properties, p. 156. R. 6*
--------efteemed by the ancients,/». 154. n. 3;
--------followed by Scipioand Trajan,p. 15$.
--------inftruments, p. 155. n. 4.
-----— invented by Diana, p. 154. n. 3,
-------— its different kinds, p. 15b. n. 5,
Hygieia, daughter of iTfculapius, p. 166»
--------the air, ibid.
Hypothymiades, what* p. hi. ».8».
I.-
Iagnis, p. 38. n. 3.
-------inventor of the flute, p. 39. n. g..
Idlenefs* laws againft it at Athens, p. 142. n. 7.
Herira, p. 3. and p. 4. n. 13.
Images, on the heads of fhips, p. 191. n. 6. Infcription on a picture, pi. xxxviii. n. 2.
and p. 163.
Iphiclus, p. 30. p. 29. R. 3. p. 30. R. 13. Iphigenia, her hiftory, p. 48. R. 4, 5. p. 31* R. 8. p. 36. r. 4.
Tfis, p. b8. r. 4. pi. 1. p. 203. R. 8.
—	called Pan, and Myrionyma, p. 204. r. 13.
—	her ftatues crowned with ferpents, p. 204.
R. 12-
—	the fame with the Moon and Venus, p. 204. r. 14, 17. p. 205,. r. 19.
“Juno, her attributes, p. 103. n. 8.
Jupiter, Hercaeus, or Patrius, had three eyes, p. 44. r. 8.
Ivy,
----- worn by Bacchus and his priefts, p. go.
n. 2-
Ixion, p. 33. n. 4. p. 106. «. 5.
L.
Labarum, the military ftandard, p. 201. n. 5. Labyrinth, in Crete, p. ig. n. 13.
----------in	Egypt, ibid.
Lacus, what, p. 148. n. 14.
Lamia, a kind of mafk, p. 141. n. 4. Lamp-ftands, columns fo called, p. 172. n. 10.
Landfcapes, pi. xlvi, xlviii, xlix, 1.
Lapithae, a people of Theffaly, p. 7. n. 5.
p. g. n. 10.
Lafts, p. 14g. n. ig. p. 150. ». 21, 24. Latinus, fon of Hercules, p. 26. n. 12. Latona, p. 3. n. 12.
Leeks, worn in the Circenfian games, p. g8. T «• 4-
Letters, their ancient form, />. 52. n. 11. Liberalia, p. bg. n. 4.
Libidines, what, p. 74. n. 7. p. 77. n. 3. Liburnäe, what, p. 188. n. 7.
Limbus, what, p. 8g. n. n.
Lingula, what, p. 147. n. 7.
Lion, an attendant on heroes, p. 27. n. 14. Liveries, their origin, p. gg. n. 4.
Loom, weaver’s, pi. xxxvi. n. 1. p. 151.
»• 3> 4-	....
Lotus, the mark of an Egyptian divinity,
p. 203. n. 10.
-----ufed as an ornament for gods and'ma-
giflrates, ibid.
Love, divine, fenfual, and mixed, p. 161.
n. 10.
-----fea'fts of, among the Thefpians, ibid.
-----its origin, p. 162. n. n.
-----reprefented under three different forms,
p. 161. n. 10.
-----why called Amor, and Cupido, ibid.
Ludius, introduced grotefque painting, ^.160.
«.4.
Lyre, approved by Plato, p. 15g. n. 5.
-----players on it called phiiolopheis, ibid.
-----the inftrument of love, ibid.
-----thepiaifes of the gods lung to it, p. 15g.
»• 5-
-----whether the fame with the harp, p. 35.
n. 12.
-----who invented it, ibid.
M.
Mania, a kind of mafic, p. 141. n, 4.
Mantle, P- 31- P- 32* »•
7
Married perfons, why called conjuges, p. 162. n. it.
Mars, grafs one of bis attributes, p. 122.
n. 17.
—	-his origin, ibid.
-----the inventor of armour, p. 122- n. 14.
Mariyas and Olympus, pi. ix.
-------a mufician, p. 38.	3.
-------born in Phrygia,	ibid.
•------companion of Cybele, ibid.
-------confounded with Silenus and Pan,
p. 3g. n, 6.
-------contended with Apollo, p. 38. n. 3.
-------Aayed alive, ibid.
—	--his chalfity, ibid.
-------fon of Oeagrus, Iagnis, or Olympus, ibid.
Mafked chara£ters, p. 14. and n. 3.
Mafks, for women, p. 15. n. 8.
-----gorgon, t. 140. n. 4.
—— tragic, ibid. ■
-----whether ufed at funerals, p, 14. «. 4.
-----who invented them, p. 15. «. 8. p. i^q.
n. 3.
Meal, family, pi. xiv.
-----eaten fitting, before couches were ufed,
p. 63. n. 5, 8,
-----eaten with open doors, p. 63. «. 4.
MegaloJacmon, what, p. 166. Megalographia, what, p. 16. n. 3. Adelanippe, p. 10. n. 4.-Menalippe, Hid.
Military uniform, its origin, p. gg. >/. 4. Mills, water, p. 201. n. 8.
Minos, p. 17. n. 3..p, 18. n. g. p. 20. n. 14. Minotaur, defeription of him, p. 21. n. 16,
7#
---------devoured Athenian youths and virgins, p. 19. 71. 11.
---------flain by Thefeus, pi. v.
Mitra, p. 101. n. 4.
Monaulon, what, p. 131. n. 4.
Monde, p. 81. «.5.
Monochromi, p. i. n. 2, 3.
Mormolucia, what, p. 140. n. 4.
Mountains, facred to Jupiter, and the in general, p. 167. n. 19.
•--------worfhiped, ibid.
Mourning, white, anciently worn, p. 88. n.
gods
10.
Mulfum, what, p. 148. n. 17.
Multicia, what, p. 88. « 9.
Mufic, a nectflary part ot education among the Greeks, p. 132. n. g, 10.
-----belongs properly to love, p. 162. n. 11.
-----in what efiimation aniong the Egyptians,
P• 133» »34-H h 2
Mufic,
iviuiic, its rank among tne oreeks, p. 132. K. 10.
------not in high efteem among the Romans,
ibid.
—— rendered the gods propitious, p. 158. n. 5.
------ufed at all fefiivals, ibid.
Mufical instruments, p. 132. «. 9. p. 135.
”• 3> 4* P' 159' n* 5*	.	*
—----------------------put	into	the	hands 01
the deities, to fignify harmony and concord, p. 162. h, 11.
Muftum, its fignification, p. 148. «..15. Myinda, a kind of play, p. 139. «. 8. Myrothecium, what, p. 65.	16.
Myrtle, emblem of mirth, p. 128. «• 7*
------facred to Venus, p. 121. «. 9- />. 128.
«. 7*
Myfia, p. 25. «. 10.
N.
Nature, figured by a ferpent, p. 165. n. 17. Nauplius, p. 23. «. 5*
Necklaces, p. H2. n. 8.
Nepune, enamoured of Ceres, p. 12. n.’p.
------* the concealment of, p. n. and n. 6.
Niobe, p. 3. v. i 3.
Noah, toe h ft who ere&ed an altar, p. 163. n- 13-
Nud, cnaracleiiftical of heroes, p. 17. p. 18. h. 6.
Nymphs, who, p. 74. «. 5.
CL
Oars, how many banks among the ancients, p. 187. n. 3. p. 190. n. 4.
Olympus and Marfyas, pi. ix.
------his hiftory, p. 38. n. 4. p. 39. n. 6.
Orcftes, his efcape from Tauris, pi. xii.
—	--his hiltory, p. 47. n. 3. p. 48. «. 5.
p. 49 n. 6. p. 50. w. 7. p. 56.	4.
-— — ihe difcovery of him by his fitter, pi.
xi. p. 45. /. 46. n. 5.
Orpheus, his murder, p. 113. n. 6.
Ofiris, p. 68. n. 4. pi. 1. p. 203. n. 8.
------reprefented with the head of an hawk,
p. 203. n. 9.
—	■— ihe fame with Bacchus, p. 2O4. n. 16, 17. or the fun, p. 203. «.9.
P.
Painting, on board, p. 16. n. 4»
---— on walls, ibid.
------qix marble, p. 1, n. 4.
raintings, larcivious, p. 74. n. 7. p. 73. «. Bi 9.
Palla, the veft of tragedy, p. 15. n. 8. p. 93.
«. 8. p. 96. n. 4.
Pallium, p. 31. p. 32. n. 19.
Pan, p. 23. and n. 9, jo, 11. p. 26. n. 12. Parerga, what, p. 184. n. 7.
Parrot-,, drawing a car, pi. xlvii.
Parrots, when firft known, p. 193.	3.
Pafiphae, />. 17. «.5. p. 20- «. 14.
Paufias of Sicyon, p. 21. n. 13.
Peace, her attributes, p. 25. h. 7. />. 101.
2. p. 102. «. 8.
Peacocks, pi. xliv.
Pearls, p. 81. ». 6. />. 87. «. S.
Pedicinus, what, p, 146. «. 5.
Peribaea, p. 19. n. 12.
Periphas, p. 18. n. 8.
—-------called Corynetes, ibid.
Perones, what, p. 150. n. 23.
Petafus, p. 32. «. 20.
Phalerae, p. 112. «.8. p. 117. n. 6.
Pharos, pi. xlvi. p. 190. w. 3.
Philyra, daughter of Oceanus, p. 33. ».4. Phoebe, p. 3. «. 14.
Phoenix, the tutor of Achilles, p. 11. «.5.
A 35- »• 9*-Phorminx, what, p. 36. h. 12. />/. X. Phrynicus, invented mafks foe women,/». 15. k. 8.
Piaacides, a kind of dance, p. 84. «. 7.
Pipe, the mod ancient mufical inftrument, p. 159. «.5.
Pirithous, king of the Lapithae, p. 7. «. 5.
p. 9. n. 10.
Pifander, author of Heraclea, p. 24. n. 6. Plectrum, its form, p. 34. n. 8^.
PI uteus, what, p. 177. and n.
Pluto, the helmet laid- to be made firft for him, p. 122. n. 14.
Polygnotus, p. 1. n. 3- p. 2. n. 8. p. 38. Polyphemus, pi. x. p. 41, 42. n. 4. p. 43. «.
6, 7. p. 44. n. 8, 9. p. 45. n. 13.
Pompeii, its lituation, p. 77. «. 2. Pref. xxi, Praeficae, hired mourners, p, 14. n. 4. Praetexta, what, p. 89.. «. 11.
Prefericulum, p. 96. n. 6.
Prelum, what, p. 146. n. 7.
Prefies, their names and ufes, p. 146. n. 4. .
--------their form, ibid, and p. 147. «. 10.
Privet, ufed in convivial chaplets, p. 98. n. 2« Providence, p. 25. n. 7. p. 27. n. 12.
Pfila, what, p. 62. «. 17.
Pfiitacus, a parrot, p. 193. «. 3.
— - the name of a city,
Pthia, p. ii. n. 3.
Pugillaies, what, />. 52. 17. 11.
Fulvinar,
Pyrrhus, inventor of a dance, p. 126.
Qi
Quadriga, what, p. 138. ». 5, Quinqueremes, p. 188. n. 7.
Quoits, p. 129. n. 9.
R.
Regina, daughter of Ceres, p. 12. and». 7. Rhea, her fcheme to preferve Jupiter and Neptune, p. 12. M. 6.
Rhombus, an inftrument of the bacchants, P- 7i- »• 13-
Romans, mechanic arts forbid among them by Romulus, p. 143. n. 7.
Rutabulum, what, p. 148. n. 16.
s-.-
Sacrifice to health, pi. xxxviii. ». 2r See p.
165. n. 17. p. 167; ». 20:
Saerificers, carried a bough, p. 168. «. 22.
------------crowned,	p.	168.	».	21.
Sacrifices, firft offered on hills, />. 167- ». ig.
-------human, p,. 53. ». 3.
Sambuca, a mufical inftrument, p. 133. ». .3. Sandaligerulae, who, p. 66. ». 16. Sandalothecae, what, ibid.
Sandals, p. 94. n. 11.
Sapa, a kind of fweet wine, />. 148. n. 17. Saturn and Philyra, p. 33. ». 4.
-------devoured his children, p.11. n. 6.
Satyrs, fons of Silenus, p. 68. n. 3. p. 73. «•4*
-------their figure,	and	p.	73.	».	3.
Saw, by whom invented, p. 143. n 9. Scaperda, what, p. 136. n. 8.
Scaphium,./>. ioi* n. 4.
Sceptre, the enfign of Jupiter, p. 30. n. 12.
p. 102. n. 7.
Sceptres, p. 102. ». 7. p. 121. ». 10.
--------of Juno, ibid. and />. 103. n. 8.
Schoenophiiinda, a kind of play, p. 137. n. 8. Scipio, fond of hunting, p. 153. n. 3. Scopas,,a ftatuary, p. 161. ». 10.
Scyros, the ifland, p. 11. n. 5.
Seats of calumny and impudence, p. 30. nt 6.~
■—— the different kinds among the ancients, p. 12 [. n. 12i Sellulae, what, p. 149. ». iS*.
Serpents, called cneph by the Egyptians, p; 164. p. 168. ». 20.
----------commanded	by	a	whiffle	and	rod,
p. 167. n. 20.
—------greedy of honey and fruits, />. 165.
n. 16,.
-------------------- of	nature, p. 165. n. 17.
-------the genii of places, p. 163. ». 17.
/. 166;
-------ufed in the proceffions of Ifis, p. 204.
«. 12.
-------why looked -upon as divine, p. 163.
n. j 4.
-------wreathed about columns, are emblems
of iEfculapius, p. 163. «. 17.
Shepherds, why called Tityri, p. 131. ».4. Shields, hung to the fides of vefl'els, p. 188. ». &. p. 191. n. 11.
-------hung up in temples, p. 196. n. 3, ,
Ships, pi. xlv, xlvi.	^
Shoemakers, pi. xxxv. ». 2. p. 149. n. 20.
-----------their	tools,	p.	130.	». 21.
Shoes, ftained with different colours, p. 93. n. 9. p. 94. ». 10, 11. p. 130. ». 23.
-------ufed among the ancients, p, 1 c0. ». 2-’.
Sigmata, what, p. 66. n. 1 8.
Sileni, p. 73. ». 3.
Silenus, p. 40. n. 6.
Sinoefa, a nymph. See Arne..
Siltium, p. 71. and n. 12.
Slaves, their habit, p. 10. ». 2.
Soccus, p. loo. ». 7.
Socrates, learned to dance when advanced in1 years, p. 126.
Solea, p. 97. ». 11.
Spartans, invented the helmet, p. 122. ». 14. Spinning, in great eifeem among the ancients^ p. 153. n. 7.
Stags, lacred to Diana, p. .156. n. 5.
Stibadia, what, p. 66. n. 18.
Strainers, how ufed, p. 66. n. 19.
Stucco painting, p. 16. ». 4.
Supparum, a woman’s garment, p. 65 n. 14.
p. 96. n. 4.
Syrraa, the lame with Palla, which fee..
t;.
Tables, facred, p. 31. ». g.,
-------their form, p. 66. n. 18.
Taenia, p. 84. n. 3.
Tapeftry, wove with fantaftic figures, p. 160.
”• 9\- . .
Tarentinidiae, what, p. 78. n. 7.
Tauris, city of, p. 55. n. y p. 5;. n. 9, 10*. T aurus, Pafiphae’s gallant, /. 20. n. 14. Telephus, furnamed Latinus, fon of Hercules, p. 26. n. 12.
-------thedifcovery (>f him, pi. vi.
Tellus, the goddefs, p. 23. ».9. p. 26. n. 12, Teuthras, king of Myfia, p. 23. n 5.
T hefeus and the minotaur, pi. v.
— killing Eurytus the centaur, pi ii.
T hefpians,
TheTpians, feafls of love among them, p. 16 x. n. io.
Thetis, daughter of Chiron, or Nereus, p.
34*	9-
--------wife	of Peleus, ibid.
Thoas, king of Tauris, p. 53. p. 56. n. 4.
Tholus, what, p. 183. n. 2.
Thrones, pi. xxix. p. 119. n. 3. p. 120. n.
4» 5-
Thyrfus, p. 70. n.'j. p. 71. n. 8.
Tibia, p. 130. n. 3. p. 159. n. 5.
-----banilned by Plato, p. 159. n. 3.
-----fingleand double, p. 131. n. 4.
Tityrina, what, p. 131. n. 4.
Torquis, p. 81. ».5* p. 117« n. 6.
Towers, p. 192- n. 12.
-------erected	on	the	decks	of	veffels, p.
188. n. i t.
Trades, had their tutelary deities, p. 142. n. 6. Tragic chara&ers, pi. iv. p. 15.
—----habit, p. 15. and n. 8, 9, 10.
Triangle, a mufical inftrument, j>. 135. ».3. Tricliniares, what, p. 65. n. 13.
Triremes, by whom invented, p. 190. n. 4^
-----------what,	p.	187.	n.	5.
Tritons, pi. xliv. p. 184.' and n. 8.
Tunic, p. 31. and n. 17. p. 100. n. 6. Tutela in {hips, what, p. 191. n. 6. Tympanum, p. 86. n. 5. p. 87. n. 6.
V.
Venus, a kind of dance, p. 84. n. 6.
-----armed, worlhiped at Sparta, p. 123.
n. 21.
-----conjugalis, p. 162. n. n.
-----daughter of day, ibid.
-----dolphins facred to her, p. 157. n. 8.
------- her car drawn by them, p. 46. n. 15.
-----her drefs, p. 81. n. 4, 6, 7. p. 103«
n. 8.
-----her throne, pi. xxix. n. 1. p. 120. n. 6.
•----maritalis, the fame with Juno, p. 10 j.
Venus, myrtia, p. I’ff.
-----put for the beauty, order, and fytnmetry
of the univerfe, p. 162. n. 11.
—— three ftatues of her under different’ forms, p. 161. n. 10.
-----vidlrix, p. 123. ».21.
-----worfhip of her introduced at Athens by
Thefeus, p. 161. n. 10.
Veftibulum, how fituated, p. 179. n. 2. p. 183. n. 5.
Veftments, long laced, worn by tragedians,
, P- 15- »• 9-
Vefuvius, its wholfomenefs, p. 167. n. 19. Victims, crowned, p. 56. and n. 8.
\ i£tory, p. 25. n. 7.
Violarii, what, p. 93. n. 2.
Vitruvius, explained, p. X'ji. n. 10. p. 173» ».12.
Vitta, p. 84. h. 3.
Unguents, mixed with wine, p. 65. «. 16.
-	— ufed at meals, ibid.
W.
Water-rtiillä, p. 201. n. 8.
Weavers inftruments, p. 152. n. 5.
Weäving; p. 151. ti. 4. p. 152. n. $.
-------gold thread, p. 152. n. 6.
White, worn by Women of character, p. 88. n. 10. p. 98. n. 3.
-------worn for modnling, p. 88. n, 10.
-------worn in the feftivals of Ceres, and at
banquets, &c. p. 98. n. 3.
.....-— whether a good colour for an horfe,
p. in. n. 7.
Wine-prefs, pi. xxxv. p. 146. n. 4, 5, 6, 7.
p. 147. ».8, 9, 10, 11. p. 148. n. 13, 14. Wines ; apples, fpices, tar, &c. mixed with them by the Romans, p. 149. n. 17.
-----boiled by the Greeks, p. 14.8. h, 17.
Wings, called pfila by the "Dorians, p. 62. ». 17.
Women, their habit, p. 15. n.‘9.
n. 8.
ERRATA.
Pref. pagexliv. line 28. for I read 4 Page 8,. line 1, for Plate i. read Plate ii.
20, line 13, for 29 read 18»
23, line 14, for obferve read obferves 27, line laft, for 209 rea*/219 41, line 9, for 249 r«i/ 259 61, line 29, for thread 142 S2, line 36, for Caryatides mi*/Caryatid 65, line 37, for anointed read anointing 81, line 30, for et read eft 84, line 12, for condidum re2</candidum 106, line 43» ,/ör wofiou read -nroßo»
120, line 15, for MezzabarbinorMt/Mezzabarba; and for Antonio rr^Antonino 168, line 6, after Mufeum infert [24]
»84, between lines 30 and 31 infert [8] Catalogue, n. 337 and 338 line 31, for [8] read [9]