DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.15100#0147
94
or the ass, might have induced the artist to pause before he ven-
tured in his restoration to produce an elephant of such small
dimensions ; but his blunder is perfectly unaccountable when the
hind parts of the animal shew such unequivocal proofs of its hav-
ing been of the panther tribe. The last figures in the picture are
an old and young Satyr, but they are modern.
The restorations of this monument are numerous, consisting of
the nose, right leg from knee to ancle, right arm from the breast
to the wrist of the Satyr behind the car, part of the right foot and
left hand of Bacchus, all the Cupid except the head and wings, the
right hands and arms of the Centaurs, also their right legs and
lower part of the fore and the right hind leg of the one playing on
the lyre, the wheels of the car, the right hand and arm of Pan, and
the right arm of the Bacchante holding the grapes, all the upper
part of the Satyr next to this Bacchante except his right hand and
the pedum it holds, the nose, both legs, and right arm from above
the elbow to the wrist of the Satyr supporting Silenus, the right
foot of that deity, the right leg of the ass, the arms and right leg
of the Bacchante with the tympanum, and the left leg from above
the knee of the old dancing Satyr; the old and young Satyrs at
the end of the composition and all the elephant portion of the
animal are modern ; the dancing Satyr with the pedum behind the
ass has been partially repaired so that little of the original surface
remains. All these restorations were made before this monument
was removed from the gardens of the Villa Montalto, whence
it was purchased. It was first made known to the public in an
engraving by Baptista Franco in 1549, and afterwards by Bartoli
in his Admiranda Romanarum Antiquitatum Vestigia, plates xlviii,
and xlix.s
9 With this bas relief may be compared, one engraved, Mus. Pio Clement, v. tav. 7-
described by Gerhard, Beschreibung der Stadt Rom, ii. pt. 2, p. 152, and others
quoted, Miiller, Archaologie der Kunst, p. 5S6, s. 390, no. 5. See also the descrip-
or the ass, might have induced the artist to pause before he ven-
tured in his restoration to produce an elephant of such small
dimensions ; but his blunder is perfectly unaccountable when the
hind parts of the animal shew such unequivocal proofs of its hav-
ing been of the panther tribe. The last figures in the picture are
an old and young Satyr, but they are modern.
The restorations of this monument are numerous, consisting of
the nose, right leg from knee to ancle, right arm from the breast
to the wrist of the Satyr behind the car, part of the right foot and
left hand of Bacchus, all the Cupid except the head and wings, the
right hands and arms of the Centaurs, also their right legs and
lower part of the fore and the right hind leg of the one playing on
the lyre, the wheels of the car, the right hand and arm of Pan, and
the right arm of the Bacchante holding the grapes, all the upper
part of the Satyr next to this Bacchante except his right hand and
the pedum it holds, the nose, both legs, and right arm from above
the elbow to the wrist of the Satyr supporting Silenus, the right
foot of that deity, the right leg of the ass, the arms and right leg
of the Bacchante with the tympanum, and the left leg from above
the knee of the old dancing Satyr; the old and young Satyrs at
the end of the composition and all the elephant portion of the
animal are modern ; the dancing Satyr with the pedum behind the
ass has been partially repaired so that little of the original surface
remains. All these restorations were made before this monument
was removed from the gardens of the Villa Montalto, whence
it was purchased. It was first made known to the public in an
engraving by Baptista Franco in 1549, and afterwards by Bartoli
in his Admiranda Romanarum Antiquitatum Vestigia, plates xlviii,
and xlix.s
9 With this bas relief may be compared, one engraved, Mus. Pio Clement, v. tav. 7-
described by Gerhard, Beschreibung der Stadt Rom, ii. pt. 2, p. 152, and others
quoted, Miiller, Archaologie der Kunst, p. 5S6, s. 390, no. 5. See also the descrip-