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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 con

struction.

VIII. ROMAN ALTARS.

In

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. 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.

racter.

The next is an altar of Roman work, also representing Egyptian figures, and resembling the one first described in its general chaIn 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.

The next is the front of a votive altar, with an inscription for the safe return of Septimus Severus and his family from some expedition. The portions of the inscription which bore the name of Geta have been erased, agreeably to the order of his brother Caracalla. Besides these are some altars which bear no inscription from which we can determine to whom they are certainly to be referred. The first is an altar which has probably, from the symbols on it, been dedicated to Apollo. In front is a festoon or wreath of laurel leaves and berries, suspended from the corners of the cornice. Upon it stands a raven with a berry in its mouth, and on each side of the altar is a laurel tree. The next is an altar, in front of which are two birds, probably doves, drinking; above them a thick festoon or garland of laurel-leaves, suspended by long and broad fillets from two skulls of bulls, between which is a large floral ornament.

The next is a votive altar to Dionysus; on the front of which is Silenus riding on a panther. In his left hand he grasps a thyrsus, and with his right he supports him, being in a state of intoxication, by holding the tail of a panther. Above him are a pair of cymbals. On one side of the altar is a præfericulum, and on the other a patera. This monument formerly belonged to Piranesi, from whom it was purchased in 1771.

The next is an altar of a square form, ornamented with sphinxes at the upper and lower corners, and with bas-reliefs representing Apollo holding a lyre at a table, on which are a raven, tripod, and three rolls of manuscripts. On the other side is a sacrifice of a ram, and a female holding a torch and feeding a deer. This monument was presented by Sir William Hamilton in 1779.-A square altar or cippus decorated with festoons; an ibis destroying a serpent; jug and patera, and heads of Jupiter Ammon. This monument was formerly in the Villa Buccino, at Rome.-The bas-relief portion of a small cippus or altar, representing Dionysus leaning on Ariadne's shoulders while she plays the lyre.-A small cippus or altar, decorated with rams' heads, festoons, birds, insects, and human heads. -And a few more objects of a similar nature, which we do not think require particularizing.

IX.-MISCELLANEOUS BAS-RELIEFS, &c., ARCHITECTURAL AND DECORATIVE.

Besides the objects above classed and enumerated, there are a large collection which do not readily fall under the heads we have already mentioned, and which, perhaps, it may be most simple to group under the one heading of Miscellaneous. Many of them are

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subjects from domestic life, and some may probably be nothing more than portions of architectural decorations. Of these, we will notice

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No. 7, a vase of an extremely elegant oval form, with two upright handles, ornamented all round with Bacchanalian figures, which are executed in a style of great excellence. The subject seems to be the celebration of the Dionysiac orgies by a number of persons who imitate the dresses and characters of Satyrs and male and female Bacchantes. One figure, which may be intended for Dionysus himself, carries a thyrsus in his right hand, and wears the skin of a panther. A Satyr carries an amphora of wine, and the female Bacchantes are dressed in thin transparent drapery, which floats in the air,—one of them with her hair dishevelled, holding a knife, and another the hind limbs of a kid. The male Bacchantes are represented of different ages. This vase was found at Monte Cagnuolo, near the ancient Lanuvium, on the site of the villa of Antoninus Pius. No. 9 is another vase, the subject of which is Bacchanalian. It is of an oval form, has two upright double handles, which spring from the necks of swans, and four figures in relief on its body, all of whom are joining the wild and irregular dance of Dionysus. The first is a female Bacchante, holding a thyrsus in her right hand; the second, a young Satyr playing on the cymbals; the third, an aged Satyr bearing a vase upon his head; and the fourth is another young Satyr, playing upon the tibia or double pipe. A considerable portion of this vase has been restored. The next is a figure of the Sphinx, the head being that of a female with a mild and pleasing expression of countenance, the hair parted in front and arranged at the side in wavy masses, and collected in a knot behind. The form of the body bears some resemblance to a greyhound, but the claws are longer and sharper, and the tail that of a lion. Large expanded wings issue from the fore part of the shoulder-blade, and the breast, which is animal and not human, is furnished with feathers. There cannot be much doubt that it must once have formed the base of a magnificent candelabrum, to which it was attached by the strong square projection from the back, concealed within the wings. This sphinx is in exactly the same attitude as on some of the gold coins of Augustus. It was found by Mr. Gavin Hamilton in the ruins of the villa of Antoninus Pius, near the ancient Lanuvium.

No. 5 is a very beautiful candelabrum, which has, however, been considerably restored. The upper part was found in the ruins of the villa of Antoninus Pius. The three figures on the pedestal have belonged to a candelabrum of a similar kind. One of these figures

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