Chapter 110 of 115 · 760 words · ~4 min read

CHAPTER LIII

. SCULPTURE

_Of the sculptures found at Pompeii_: Very few of the sculptures unearthed at Pompeii are treated or reproduced in the comprehensive works on ancient sculpture. The more important statues and reliefs found prior to 1865, as well as those discovered in Herculaneum, are published in the Real Museo Borbonico, with descriptive text; see the Index at the end of vol. 16, pp. 8-34. They are reproduced also by ROUX, with descriptive text by Barre, Herculanum et Pompei, vols. 6 and 7 (first part). These engravings, while in many cases faulty, are often serviceable to students at a distance in the identification of photographs, which are easily obtained through the Naples dealers. The better terra-cottas are published by VON ROHDEN, Die Terracotten von Pompeji (Stuttgart, 1880). A somewhat fuller treatment of Pompeian sculpture is given in OVERBECK-MAU, Pompeji, pp. 532-563.

_Heads of Epicurus, Demosthenes, and Callimachus_ [p. 447]: MAU, Bull. dell' Inst., 1876, pp. 242-243; BRIZIO, Ann. dell' Inst., vol. 45 (1873), pp. 98-106; MOMMSEN and ROBERT, Archaeologische Zeitung, 1880, pp. 32-36; Comparetti, La Villa Ercolanese dei Pisoni (Torino, 1883), pp. 33-53, pl. III, nos. 4, 7, 8; MAU, Bull. dell' Inst., 1883, pp. 89-96; for other references, see HELBIG, Fuehrer durch die oeffentlichen Sammlungen klassischer Altertuemer in Rom (Edit. 2, 2 vols., Leipzig, 1899), vol. 1, p. 319, no. 476.

_Busts of Virgil and Horace_ [p. 448] (found in October, 1868): Giornale degli scavi di Pompei, Nuova Serie, vol. 1 (1868), p. 133 and pl. 1; FIORELLI, Gli scavi di Pompei dal 1861 al 1872, p. 164; BERNOULLI, Roemische Ikonographie, vol. 1 (Stuttgart, 1882), pp. 127, 192; HELBIG, Fuehrer durch die oeffentlichen Sammlungen klassischer Altertuemer in Rom (Edit. 2), vol. 1, pp. 355-356. A further reason why Brutus cannot be represented in the Naples bust is that the similar bust in the Capitoline Museum in Rome (HELBIG, op. cit., no. 536) shows a person well on in years, while the prominence of Brutus lasted only for a brief period, and it is not likely that there should be preserved to us portraits representing him at periods so entirely different. _Susa mosaic_: Comptes rendus de l'Academie des Inscriptions et Belles-lettres, serie 4, vol. 24 (Paris, 1896), pp. 578-581 and pl. after p. 580; GAUCKLER, Les Mosaiques virgiliennes de Sousse, Monuments et Memoires publiees par l'Academie des Inscriptions et Belles-lettres, vol. 4 (Fondation Piot, 1897), pp. 233-234; FOWLER, Portraits of Virgil, School Review, vol. 6 (1898), pp. 598-605; Archaeologischer Anzeiger, Beiblatt zum Jahrb. des Inst., vol. 13 (1898), p. 114.

_Aphrodite and Spes_ [p. 450]: MAU, Bull, dell' Inst., 1873, pp. 233-235.

_Artemis_ [p. 450]: often reproduced, as Museo Borb., vol. 2, pl. 8; ROUX, Herculanum et Pompei, vol. 6, pl. 76, 77; BRUNN and BRUCKMANN, Denkmaeler griechischer und roemischer Sculptur, no. 356. _Identification with Artemis Laphria_ (Paus. VII. XVIII. 9): STUDNICZKA, Die archaische Artemis-statuette aus Pompeii, Roem. Mitth., vol. 3 (1888), pp. 277-302, and pl. 10; COLLIGNON, Histoire de la sculpture grecque, vol. 2 (Paris, 1897), pp. 656-657.

_Dancing satyr_ [p. 450]: Museo Borb., vol. 9, pl. 42; ROUX, Herculanum et Pompei, vol. 6, pl. 59; OVERBECK-MAU, Pompeji, pp. 549-551.

_Silenus carrying frame with glass vase_ [p. 451]: Museo Borb., vol. 16, pl. 29; FIORELLI, Gli scavi di Pompei dal 1861 al 1872, p. 159; OVERBECK-MAU, Pompeji, p. 552.

_Listening Dionysus_ [p. 452]: Giornale degli scavi di Pompei, 1862, p. 60 and pl. 14; FIORELLI, Gli scavi di Pompei dal 1861 al 1872, pp. 158-159; BENNDORF, Sulla statua Pompeiana creduta di Narcisso, Ann. dell' Inst., vol. 38 (1866), pp. 107-113; OVERBECK-MAU, Pompeji, pp. 552-555; HAUSER, Narcisso, Jahrb. des Inst., vol. 4 (1889), pp. 113-118; COLLIGNON, Histoire de la sculpture grecque, vol. 2, pp. 451-453; Museo Borb., vol. 16, pl. 28; BRUNN and BRUCKMANN, Denkmaeler, no. 384. Hauser in the article cited makes it appear probable that the figure had originally a somewhat different pose; the right foot rested flat upon the base, the left only on the heel, so that the body, instead of leaning forward, was slightly bent back. The present pose, however, was given to the figure in antiquity; according to G. Patroni, the wedge of lead under the right foot was in its present place when the statuette was discovered.

_Ephebus of 1900_ [p. 453]: Not. d. scavi, 1900, pp. 584-587 (7 illustrations); SOGLIANO, L'efebo in bronzo rinvenuto in Pompei, Mon. dei Lincei, vol. 10 (1901), pp. 641-654, pl. 16-26. This statue is assigned to the Roman period by WALDSTEIN, The Monthly Review, 1901, pp. 125-126, and PETERSEN, Roem. Mitth., vol. 16 (1901), p. 96.