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T. 6.—Egyptian Tumbler.
edge of the plinth, in order to support the body, and the feet are crossed one over the other. There can be little doubt that this and similar figures represent Davus, or some other popular character on the Roman stage. The legs of this statue from the knees to the ankles, and the fore part of the right arm to the wrist, have been restored. It was found in 1773 in the Villa Fonsega on the Coelian Hill. The next statue (T. 6) to which we shall call attention is a very quaint representation of an Egyptian or Nubian tumbler practising his art on the back of a tame crocodile. Such exhibitions were not uncommon in the public games at Rome under the Emperors. The type of the countenance is that of one of the African races. The nose is compressed, the lips large and projecting, and the hair in rows full of curl. Herodotus speaks of tame crocodiles, which would come at the call of the priests and permit themselves to be handled. jElian notices them among the animals which are capable of gratitude to man; and Pliny and Strabo make especial mention of the skill of the people of Tentyra in subduing these reptiles. In this group, the head and tail of the crocodile, the right leg, left knee, and left elbow of the tumbler are modern restorations. Mithras.
We take next two statues representing Fishermen. The First (T. 46) wears a conical cap, such as is usually placed upon the head of Ulysses and other sea-faring men. A square-shaped mantle of leather is fastened upon his left shoulder in a knot; a dolphin forming the support of the figure. He is stepping forward, and appears to be bargaining with some customer for the contents of his wallet. The action is spirited, and the general composition as graceful as is consistent with the character and occupation of the person. The arms from below the elbow have undergone restoration, as is also the case with the heel of the right foot and the fore-part of the left. The Second (T. 47) is standing near the stump of a tree, on which is placed his wicker basket, containing apparently an eel, two oysters, and some small fish. His only clothing is a short rough tunic, probably composed of the skin of a sheep, with the wool left in short shaggy tufts. The hair of this figure is short, rugged, and crisp; the beard is expressed by thick detached tufts; and the muscular development is remarkably hard, rough, and exaggerated, and well illustrates the description of Pliny, who speaks of the horny flesh of fishermen. The arms, and the legs from the knees downwards, have been restored.
The next (T. 42) is a terminal bust of a youth apparently about nine years of age, in the character of Hermes. It is of peculiar shape, having shoulders which are partially covered by a chlamys. On the terminus below the bust are various attributes of Hermes. The head has been broken off and rejoined. This monument was found at Frascati, in 1772. The quadrangular pillar of wood or stone was the usual method of representing Hermes. Such figures were placed, at Athens, before the doors of temples and private houses, at the corners of streets, on the high road, and as landmarks in the country. From the last use they derive their name of termini.
There are two groups remaining, which seem worthy of particular note as examples of the manner in which the Romans adopted Deities from the Oriental systems of Mythology. They are called Mithras, deriving their name from the Persian word for the Sun. The First represents a young man, who has seized a bull and forced him to the ground. On his head is a Persian cap and tiara, and tunic: above which a cloak, fastened at the shoulder, floats in the air. He presses the bull to the ground with his left knee, and strikes a dagger into his shoulder with his right hand. A dog and serpent raise themselves to lick the blood which trickles from the wound, while a scorpion fastens on the bull beneath. Behind the bull are two small figures, probably priests of Mithras; one holding an inverted torch in his right hand, which the other also has probably carried in an upright position. This sculpture is in very coarse marble, and the workmanship is poor. On the plinth is a dedication to the Solar God Mithras, by Alcimus, a farm-servant of Tiberius Claudius Livianus. The subject of the Second group is similar, and most of the details are the same as in the last; but the workmanship and the marble out of which it is cut are much superior. The figure, too, of the youth who is slaying the bull is