A Marriage.

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The next is a fragment of a sarcophagus representing Dionysus with a thyrsus in his hand, supported by a satyr, round whose neck he has thrown his right arm. Dionysus appears in a state of inebriation. Both the figures are standing underneath an arch, which is supported on either side by the terminus of a satyr, and the whole is placed within a portico supported by two fluted pilasters of the Ionic order.

The next is a fragment of a sarcophagus found at Rome near the Mausoleum of Augustus, and supposed to represent a Poet and a Muse. It represents two figures, under an arcade supported by obliquely-fluted columns; one of them is the figure of an elderly man seated, holding a scroll in his left hand, the other is a standing female figure supporting a mask in her right hand.

The next is one of the four sides of a sarcophagus executed in alto-relievo, brought from Athens, and representing five of the labours of Heracles. In four of them-the capture of the Mænalian stag, the death of Diomedes, the conquest of the Amazon, and the combat with Geryon may be made out. In the fifth, the figure of Heracles himself is all that remains. This marble formerly belonged to Owen Salusbury Brereton, Esq.

We have now mentioned all those sarcophagi which seem to deserve separate notice: besides these, there are a considerable number of bas-reliefs and fragments, all of them, probably, originally portions of sarcophagi. We will briefly enumerate here those which appear to be of most interest. They are, a bas-relief representing an old satyr attempting to strip a nymph of her garments. A small circular bas-relief cut out of a sarcophagus, representing the satyr Comus or Marsyas playing on the double flute. The front of a sarcophagus representing a series of Cupids in the character of Dionysus and his cortége. A bas-relief representing a male and female divinity holding each a cornucopia, and probably Pluto and Eirene --this monument was presented by Sir Joseph Banks, Bart. Mar

syas tied up to a tree ready to be flayed. A bas-relief from a sarcophagus, on which is a race of four quadrigæ and horses in the Circus, represented as run by Cupids. A bas-relief representing two men filling a wine-vessel, and two others attending a caldron on a fire. A bas-relief of the two Dioscuri standing within a distyle temple between them is a lighted altar. A bas-relief representing Asclepius (or Esculapius) reclining on a lectisternium, and holding a patera; the left hand of Hygieia or Salus, who was seated at the left of the couch, still remains; and a serpent rising and eating at the table.

3. Etruscan and Roman Sepulchral Remains.

The Museum is not rich in sepulchral remains from the ancient cities of Etruria. There are, however, a few monuments, to which we shall briefly call attention. The Etruscan remains consist of sarcophagi and urns. Of the first, No. 45 is a curious one in terracotta, discovered in a tomb in Tuscania, the front of which is decorated by two dolphins; on the cover is the recumbent figure of a young woman, with one leg bent under the other; her head, which is decorated with a wreath of roses, rests upon her right arm. There are also four other sarcophagi, discovered in a tomb near the road leading from Tuscania to Tarquinii: their fronts are decorated with sculpture and inscriptions, and on the cover of each is a recumbent statue of the person whose remains were deposited within. One of these, in terracotta, has a recumbent female figure similar to the one described under No. 45. The front is marked with two branches of palm.

There are also two other sarcophagi; one found at Tarquinia, decorated with sculptures, representing on three sides the sacrifice of human victims, and on one end a gladiatorial exhibition. Within this sarcophagus were found the bones of the deceased, with his shield and other armour. The other, found at Polemarzo: its cover is in the form of a roof, terminating at the cornice with tiles and masks. Upon the ridge of the roof are, at each end, a sphinx, and in the middle two serpents. All the sides are decorated with sculpture, among which, on the front, are two genii, and on the back a genius and an armed warrior. Of the second class, or urns, No. 25 is one in baked clay, with a representation of the story of the Hero Echetlus on the front, which is well told in Pausanias, Attic., c. xxxii. It is said that when the Greeks were contending with the Persians at Marathon, a man in dress and appearance like a rustic suddenly appeared in the battle, who, after he had slain

many of the barbarians with a ploughshare, suddenly vanished from the scene; and that when the Athenians inquired of the oracle who this unknown friend was, they were simply bid to worship Echetlus as a Hero. On the cover is a recumbent female figure represented asleep, with her head resting on a pillow. Upon the border of the urn, over the bas-relief, is a short inscription in Etruscan characters, slightly cut into the clay.

No. 24 is a similar urn, with the same story told in the same manner as on the last. The figures on the bas-relief in front retain a considerable portion of their original colour, and the inscription has been more strongly marked with red paint. No. 34 is a cinerary urn in baked clay, like the two preceding. The bas-relief in front represents the single combat between the two brothers Eteocles and Polynices. The two female figures, who are standing near the combatants, are Furies. An Etruscan inscription is painted in red letters on the upper part of this urn; on the cover is a recumbent female figure. Both the last described urns were originally in the

collection of Sir William Hamilton.

The most interesting account of the ancient sepulchres of Etruria. is that of Mrs. Hamilton Gray, who made a tour through this part of Italy in 1839, and has published an account of her visit to Veii, Tarquinia, Vulci, Tuscania, and Cære, or Agylla. (See Mrs. Hamilton Gray's 'Tour to the Sepulchres of Etruria,' Lond. 1841.)

There is a large collection of Roman sepulchral antiquities, consisting of urns, ollæ, sarcophagi, and monumental inscriptions, for the exhibition of which a room is now under the process of construction.

VIII.-ROMAN ALTARS.

Among the altars of Roman workmanship we shall notice first a very curious one, ornamented with figures imitative of Egyptian subjects, and having some reference to the worship of Isis. In front is a figure kneeling on both knees, having the claft upon the head and the shenti round the loins, a collar round her neck, and a bracelet on the upper part of the right arm. With both hands is held a small rectangular naos, or sacred cista, in which are two birds. On either side of the kneeling figure is an Ibis. On the left side of the altar is the bull Apis, walking; on the right two men, probably of the sacerdotal order, one reading from a roll of papyrus, and the other bearing a torch. On the back of the altar is a representation of Spring under the form of a youth, crowning himself with a wreath of roses, of which flowers a basket stands by

his side. This work is probably as late as the times of the Antonines, and was formerly in the Odeschalchi Museum.

The next is an altar of Roman work, also representing Egyptian figures, and resembling the one first described in its general character. In front is a similar kneeling figure, and on one side of him a candelabrum in form resembling a plant; over which is a human figure issuing from a ram's horn or shell. On the other side of the kneeling figure is a tripod table, on which is a vase containing a plant, over which is the Egyptian symbol of the globe and serpent. On the left side of the altar is the bull Apis walking, and on the right side Harpocrates with a cornucopiæ in his hand, standing in a car drawn by two hippopotami. On the back of the altar is a representation of Autumn, under the form of a youth holding some ears of corn in his right hand and a sickle in his left. A basket or tub stands at his right side, holding ears of corn. A similar altar was in the Odeschalchi Museum, and has been engraven by Bartoli.

The next is a votive altar from C. Tullius Hesper and Tullia Restituta, who was probably his wife, to Bona Dea Anneanensis. On the left side of the altar is a præfericulum, or ewer, containing the wine for a libation; and on the right a patera, or bowl, into which the wine was poured before it was thrown on the altar. This altar was found on the banks of the river Anio. The inscription has been published by Orelli. The guardian Goddess whom the Roman's designated as Bona Dea is described as the sister, wife, or daughter of Faunus. She was worshipped at Rome from the earliest times as a chaste and prophetic Divinity; and her worship was so exclusively confined to women, that men were not allowed even to know her name.

The next is a votive altar to Silvanus by Callistus, the farm servant of Caius Cælius Heliodorus. The figure of Sylvanus appears on the bas-relief nearly naked: in his right hand is a sickle, and in his left, in the fold of his mantle, a collection of fruits. A vessel for libations, with a lamb beneath, ornaments one of the sides of the altar; and on the other are a patera and hog. It was customary, as we know from Juvenal, to sacrifice hogs to this rustic Deity. A votive altar to the same Divinity was found in 1750, near Stanhope, in the county of Durham. It was dedicated by C. Tetius Victorius Micianus, in gratitude for the capture by him of a boar which had been sought in vain by other hunters.

The next is a small rectangular altar, dedicated by Aurelius Thimoteus to Diana. The front bears the dedication; the three other sides are decorated with mystical sculptures.