Jones, Henry Stuart [Hrsg.]; Palazzo dei Conservatori <Rom> [Hrsg.]: A catalogue of the ancient sculptures preserved in the municipal collections of Rome: the sculptures of the Palazzo dei Conservatori (Text) (Oxford, 1926)

4

CORTILE

from time to time in Piazza di Pietra in the neighbourhood of the ancient
buiiding, commonly called the Basilica Neptuni, but, as it seems, really
the Hadrianeum. This temple, of which eleven columns are still z'zz yzAz,
was dedicated in A. D. 145 to the deified Hadrian by his successor
Antoninus Pius. With this date several topographical indications are in
accord, as for example bricks of Antonine date used in a drain under the
foundations. Nor does the style of the sculpture appear inconsistent,
although slight differences in the handling of the eye might suggest that
certain reliefs, e. g. nos. 4 and 6, which have the iris faintly indicated,
are earlier than others where the eye is fully rendered in the usual
manner. In any case the reliefs are good specimens of Roman work of
about this date (see Strong, /or. rz'/.). They appear to have been set in
a marble balustrade as a decoration of the lower part of the building,
reliefs of single figures alternating with those of trophies. Sixteen of the
former still exist, three at Naples, one in Palazzo Farnese, two in Palazzo
Odescalchi, seven in this museum, one in the Giardino della Pigna of the
Vatican, and two immured on the facade of the Villa Doria Pamphili.
Four others, which in the Middle Ages stood between the columns of the
portico of the Pantheon, have disappeared. Three of them, however,
were sketched, though much damaged, by an artist of the seventeenth
century (CcZ ZGz'&z*. xlviii. 101 = CW. Z<V. 4333, f. 55-7). Of
the trophies there are six, three here, two at Naples, and one on the stairs
of Palazzo Altieri: three others have disappeared, but were drawn in the
same sketch-book (20, 32, 16).
The names of the ' Provinces ' or Nations have been much discussed.
Suggested identifications are mentioned under the different numbers.
A very full account of the whole subject is given by Lucas (/<%*. rz'/. zzz/Hz),
and of the topographical question by the same author (Zzzr GZnZziZz^
Zv AA/Vzzzz^yz'/z'/hz z'zz ZNzzz, Programm des Kaiser-Wilhelm-Realgym-
nasiums in Berlin, 1904), and in Jordan-Hulsen, i- 3)
p. 608 ff., with further reff. For the artistic criticism of the sculpture
see esp. Strong, Wozzzzzzz Nrzz^/zzz^, 1. c. On personifications of Provinces
in Art cf. Jatta, Z<? z*rZ/'ZY^zzz'<2zz2<? yf^zzz'tzZ Z/Z Z^z,'3?z<Z zwzzzzzz^, Rome,
1908. References to illustrations are given under the individual num-
bers.
Canina, AAzzz*?)? 777<27'ZZ77/% i. pi. 3; Lanciani, Zwz. vi (i8y8), pp. 10 ff.,
pis. II, III, IV, V; Lucas, Z /ZZ. xv (1900), pp. 1 ff.; Bienkowski,
4?^ 4%7r5a7'%7*?z7/z pp. 60 ff.; Strong, 4Z?7/<77? PP- 243 if.,
pi. LXXV ; Amelung, p. 199; HelbigS, 888.
1. RELIEF OF A PROVINCE (pi. 2).
H. (panel) 1-/6 m., (figure) 1-51 m., Br. (panel) 1-46 m. Marble, frzpafrZzzM
Restored : small insertions of plaster in breaks of lower r. arm. Part of r. hand
broken. Large break on upper r. side of slab, and cornice lost except above head of
figure.
Female figure in high relief, looking down, with head turned
slightly to 1. Weight on r. leg, with 1. drawn aside. She wears
trousers, tunic fastened by a band below the breast, and mantle which
hangs over 1. arm and is brought round the r. side of the body, covering
t. leg and held by 1. hand on 1. thigh. The shoes are fastened by semi-
i The name given in Italy to an inferior quality of Parian.