DOI Page / Citation link:
https://doi.org/10.11588/diglit.37251#0043
SECONDO PORTICO 2, 3
15
a deep overfall. The cloak, of different material, passes from front of 1.
thigh up over the shoulder, across the back, and then round the waist,
the end, which is tucked through, hanging in front of r. thigh. Over all
is a leather waistbelt, with a cross-strap which passes over the r. shoulder
and is joined to the belt in front by a plaque in the form of a ram's head
to 1. Two drill-holes at back were for the attachment of the quiver,
which was placed in the same direction as the cross-strap of the belt, but
outside the drapery.
The body appears to be copied from an Hellenistic adaptation of
a late fifth-century or fourth-century type of Artemis (cf. Reinach, ii.
316. 8). Amelung has drawn our attention to two similar statues at
Seville (Gomez-Moreno and Pijoan : flAzArzb/^ <A Az-yzz^/agzh AlsyVzzc/a,
figs. 12 and 13), the first of which is of fine work, in which the texture of
the materials is carefully differentiated. The second has a head in the
style of Damophon. In the present statue the head is a much idealized
portrait in the style of the first half of the second century A. D., perhaps
Hadrianic. Formerly on the Capitoline tower, holding a cross as St. Helena
or Christian Rome. Plastered over and used as decoration on the roof of the
Palazzo dell'Esposizione, Via Nazionale, whence it was brought to its pre-
sent position in May 1921, and its coat of plaster removed' (see Addenda).
Mariani, /t'aj.Ky/za AArZ'F, viil. 1921, p. 325.
3. STATUE OF A BARBARIAN CHIEF (pi. 6).
FI. 3-24 m. Marble, z/zwaA". Restored : patches on lower part of r. and
1. arms, on garment, and on toes.
Statue of a bearded barbarian chief, standing on the r. leg with the
1. drawn aside. He wears trousers and shoes, which are fastened with
a cross-gartering knotted over the trousers at the ankle. There are three
engraved lines on the trousers above the knee. He also wears a tunic
belted at the waist, and a mantle fastened at the r. shoulder with a fibula.
The mantle covers the front of the body and r. upper arm, and hangs
down the back. It has a long fringe of fur and two bands, one at the
hem and the other on the fur. The hands are cut off short at the wrist.
The hair, which, like the beard and moustache, is short and curling, falls
in ringlets on the forehead and behind the ears. It is confined by
a narrow fillet. There are wrinkles on the forehead and above the nose.
The iris and pupil are rendered. The block of marble has been left
roughly smoothed between the legs and below the fringe on each side.
The plinth is ancient.
Effective work, probably of the time of Septimius Severus. It was sup-
posed by Winckelmann (y/<. <rzb) that the barbarians (nos. 3 and 7) had been
designedly represented with their hands and arms respectively cut short,
a reference to the mutilations ordered by M. Licinius Luculius after his
campaign of 72 B. c. against the Scordisci, a tribe of upper Pannonia.
But the statues are clearly of later date, and were probably set up to
commemorate the Parthian campaign of Septimius Severus, while the
smooth surfaces of the wrists may be explained as due to preparation for
restorations never completed.
* Former nos. 2 (Statue of Apollo) and 4 (Statue of Flermes) have been removed
to the Borghese Gardens, and the present nos. substituted.
15
a deep overfall. The cloak, of different material, passes from front of 1.
thigh up over the shoulder, across the back, and then round the waist,
the end, which is tucked through, hanging in front of r. thigh. Over all
is a leather waistbelt, with a cross-strap which passes over the r. shoulder
and is joined to the belt in front by a plaque in the form of a ram's head
to 1. Two drill-holes at back were for the attachment of the quiver,
which was placed in the same direction as the cross-strap of the belt, but
outside the drapery.
The body appears to be copied from an Hellenistic adaptation of
a late fifth-century or fourth-century type of Artemis (cf. Reinach, ii.
316. 8). Amelung has drawn our attention to two similar statues at
Seville (Gomez-Moreno and Pijoan : flAzArzb/^ <A Az-yzz^/agzh AlsyVzzc/a,
figs. 12 and 13), the first of which is of fine work, in which the texture of
the materials is carefully differentiated. The second has a head in the
style of Damophon. In the present statue the head is a much idealized
portrait in the style of the first half of the second century A. D., perhaps
Hadrianic. Formerly on the Capitoline tower, holding a cross as St. Helena
or Christian Rome. Plastered over and used as decoration on the roof of the
Palazzo dell'Esposizione, Via Nazionale, whence it was brought to its pre-
sent position in May 1921, and its coat of plaster removed' (see Addenda).
Mariani, /t'aj.Ky/za AArZ'F, viil. 1921, p. 325.
3. STATUE OF A BARBARIAN CHIEF (pi. 6).
FI. 3-24 m. Marble, z/zwaA". Restored : patches on lower part of r. and
1. arms, on garment, and on toes.
Statue of a bearded barbarian chief, standing on the r. leg with the
1. drawn aside. He wears trousers and shoes, which are fastened with
a cross-gartering knotted over the trousers at the ankle. There are three
engraved lines on the trousers above the knee. He also wears a tunic
belted at the waist, and a mantle fastened at the r. shoulder with a fibula.
The mantle covers the front of the body and r. upper arm, and hangs
down the back. It has a long fringe of fur and two bands, one at the
hem and the other on the fur. The hands are cut off short at the wrist.
The hair, which, like the beard and moustache, is short and curling, falls
in ringlets on the forehead and behind the ears. It is confined by
a narrow fillet. There are wrinkles on the forehead and above the nose.
The iris and pupil are rendered. The block of marble has been left
roughly smoothed between the legs and below the fringe on each side.
The plinth is ancient.
Effective work, probably of the time of Septimius Severus. It was sup-
posed by Winckelmann (y/<. <rzb) that the barbarians (nos. 3 and 7) had been
designedly represented with their hands and arms respectively cut short,
a reference to the mutilations ordered by M. Licinius Luculius after his
campaign of 72 B. c. against the Scordisci, a tribe of upper Pannonia.
But the statues are clearly of later date, and were probably set up to
commemorate the Parthian campaign of Septimius Severus, while the
smooth surfaces of the wrists may be explained as due to preparation for
restorations never completed.
* Former nos. 2 (Statue of Apollo) and 4 (Statue of Flermes) have been removed
to the Borghese Gardens, and the present nos. substituted.