T. 79. Clytie.

Naples from the Laurenzano family, in whose possession it had been for many years, and is in exquisite workmanship.

T. 54 is also the head of a female larger than life, the name of whom cannot be determinately assigned, as there is no distinguishing attribute. It was at one time generally considered to represent Juno, but it differs materially from those representations of that Goddess with which we are acquainted. The head is not encircled by a diadem, the eyes are small, and there is not the severity and gravity which we might anticipate in a Juno. Mr. Combe has given it the name of Dione, the mother of Venus, to whom the matronly character of the countenance appears to be appropriate. The ears have been pierced to receive ear-rings, and the hair, which is parted in a straight line down the middle of the head, is disposed on each side in wavy locks, somewhat in the style of the Venus found at Ostia. The whole of the head, with the exception of the nose, is antique; the bust is modern.

T. 86 is a fine head, larger than life, inclined to the right and looking upwards. Its general character has led to the supposition that it represents one of the Homeric heroes, perhaps Menelaos,

as it resembles the head of that hero in the groups which represent him carrying off the body of Patroclus. The hair of the head, though not long, is in bold and distinct masses, and the beard is short and cut close to the face. This head was found by Mr. Gavin Hamilton in 1771, in the Pantanella at Hadrian's villa. A similar head, found near it, is now in the Vatican. The nose and a small portion of each lip, a part of the lobe of the left ear, and a tuft of hair on the top of the head are modern.

T. 62 is a terminal head of the Indian or bearded Dionysus, in a style imitated from the archaic. A broad diadem surrounds the head, and the hair appears in its natural state. This head was found in 1790, in that part of Hadrian's villa which is supposed to have been the Pinacotheca. The whole of the head is antique except the curls on the left shoulder. T. 63 is another terminal statue of Dionysus, differing considerably from the preceding, but also imitated from the Archaic. The head is crowned by a broad diadem, nearly concealed by the hair above the forehead, which is turned back over it. Long tresses descend on each side the shoulders, and the hair below the temples on each side is represented in small round curls, carefully disposed in such a manner as to resemble the form of a bunch of grapes. The wedge-like form of the beard, whence Dionysus was called Sphênopôgôn, is peculiar. The whole head is in fine preservation and unrestored. It was originally in the collection of Cardinal Albani, and was brought from Rome by Mr. Lyde Browne.

T. 64 is a beautiful terminus of Dionysus, in remarkably fine preservation, representing him crowned with a diadem, the hair falling over the forehead in long unformal, irregular curls, and the beard flowing and natural. This term, which is six feet eight inches high, and with the plinth must originally have been above seven feet high, is quite entire and unrestored. It was found in 1771 at Baiæ, and was brought to England by Dr. Adair. T. 65, like the one we have just described, was found at Baiæ in 1771, and brought to England by Dr. Adair. It is, like the three preceding sculptures, a ter

wwww
T. 64. Dionysus.

minal head of Dionysus, crowned by a broad diadem. It differs from all of them in the disposition of the hair, which falls over the forehead, and is very carefully disposed in curls; the beard is also very richly curled, and two spiral locks of hair descend on each side of the neck. This sculpture is quite perfect except a small portion of the back of the head which is lost. It has undergone no restoration.

T. 69 is a peculiar representation of two terminal heads joined back to back: one is the bearded Bacchus, and the other Libera. The arrangement of the hair is the same in each: three rows of spiral curls fall over the forehead, two larger ones of the same form hang down on each side of the temples, and a long straight lock descends on each side of the breast. Both heads are ornamented with a narrow diadem. This sculpture represents Dionysus under his androgynous type, as partaking of both sexes. It was found near Rome by Mr. Gavin Hamilton. The end of each nose has been restored, but in other respects the heads are entire. There is another small representation of terminal heads of Bacchus and Libera, about seven inches and a half in height, in a case. No. 7 is a terminal head of Libera, about one foot four inches in height. The hair is divided above the forehead, and forms two large bows on each side of the head. The nose has been restored. There are some other small heads of the same subject. One a small terminal head from the collection of Sir William Hamilton, marked 20; a second in yellow marble, No. 21; a third in red marble, with hollow eyesockets, No. 22; a fourth in reddish yellow marble, with a necklace

of ivy leaves, No. 23; and a fifth in white marble, No. 24, the breast covered with drapery.

The busts above mentioned express one type of the character of Dionysus-that in which he appears as the God of boundaries: his statues, and, more especially, his bas-reliefs, in which he appears in processions of various kinds with attendant Satyrs and dancing and rejoicing figures, express the Greek conception of his character still more fully. His worship is generally what may be called a worship of nature; it indicates the influence of the natural passions over the intellectual portion of man's nature. Dionysiac forms generally, therefore, represent this natural life, with its effects upon the human mind conceived in different stages, sometimes in nobler, sometimes in less noble forms. Dionysus himself is generally of a stately and majestic form, with a magnificent luxuriance of curling hair, restrained by the mitra, a gently-flowing beard, clear and blooming features, and when draped, wearing garments of an oriental richness in texture. When young, he appears as an Ephebos, the outlines of his form flowing softly into one another, without any prominent muscular development, and bespeaking the half-feminine character of the god, the features of the countenance presenting at the same time a peculiar blending of happy intoxication

with a dark and undefined longing, beautifully refined. The mitra round the forehead, and the vine or ivy crown, throwing its shade from above, produce an advantageous effect on the general expression of his countenance; the hair flows down softly and in long ringlets on the shoulders.

T. 78 is a head, formerly in the villa of Pope Sixtus V. called the Villa Montalto, at Rome, covered with the Phrygian or pyramidal hood, and the lower part of the face and neck clothed with drapery. The expression of the face is that of youthfulness, possibly to denote the youthful beauty of both sexes. It has been supposed, therefore, to represent Bacchus with his male and female qualities, under his title of Adonis or Aidoneus. The peculiar head-dress has also been sup