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

58 SALA DEI FASTI CONSOLARI i—DELLE OCHE

near Ponzano (ed. Pertz, TlAzz. Gc7*77z. Afzk/. iii. 695) as marking the site
of executions (cf. the painting formerly in the Lateran transept published
by Lanciani, TVw AhAr <?/* 0/^ A<?77ZG p. 59, and Infessura, Az'arzh, ed,
Tommasini, ph iii). On Nov. 13, 14*71, 100 florins were assigned to the
Conservatori by Sixtus IV for the preparation of a place to receive the
figure (Arch. Vat., Mandata 14*71-3, f. 51A ap. Muntz, A^p. HrzA. xxxii
(1876), p. i6i,cf. xhii(i882), p. 25); and on December 15 an inscription
was set up to celebrate the Pope's donation of this and other bronzes
(Forceiia, i. 16, cf. Ca/*. Caz*. i, Introd. p. 1). It was at first placed over
the entrance of the Palazzo dei Conservatori (cf. the sketch by Heems-
kerck, ii, f. 72, Htitsen-Egger, pi. 2), and the figures of the twins were added
before 1509/ when they are first mentioned by Albertini, 0/'zzj'rzz/zz77z A?
Afz'rzz^z'/z'^zzy Ai A., f. 61A It was, however, removed to the interior of the
palace before 1544, in which year Marliani (^72/. Aozzzzz^ p. 44)
describes it as zzzywVzhz zzzzAzh.rz'y'r^ zzzz/awz; Aldrovandi mentions it as
being z'72 2272a A^z'a <rc/'2'7'/a rz^zartfa jo/wa /a zz'//a ^zazza (p. 275). In
1586 (Forceiia, i. 86) it was removed to a room on the upper floor within
the palace, hence called the -SYazzza <A//a Zzz^a (Inv. 1627, &c.). For a
time it stood in the Salone in the Museo Capitolino (Baedeker, CAzzYa/
Aafy (1875), 183. After 1876 it was transferred to the Sala dei Capitani,
and has recently (1921) been removed to its present place in the Sala dei
Fasti Consolari. See Addenda.
Lafrery, -Sy^rzz/zzz?;, 216, Quaritch (dated 1552, cf. Ehrle, zyS. r;7., p. 56, no. 120);
Boissard, ii, p. 14; Yaccaria, 138 ; Franzini, D 16; Armeilini,i, title; Muller-Wieseler,
Z?g77^7zza'Ar, i. 38,228; Rayet, ATczzzzzzzgzzA A i. 27; Baumeister,
i, p. 5:0, fig. 552; Brunn-Bruckmann, 318; Tomassetti, Ap'77;. zifzYz'. i (1886), p. 11 f.;
Dieterich, AA. Afzzi. Iv (1900), pp. 203 ff.; A*;;//. (Aw;, xxxi (1903), p. 136 ; Lanciani,
A^zc/ TzzAy <V<9/zf pp. 36 ft.; Petersen, A7;b, viii (1908), pp. 440 ft., ix (1909),
pp. 29 ff.; Soltan, Arr/Vy/i xii (1909), pp. 121 ff. ; Reinach, ii, p. 728.4;
Petersen, Few zzf/zw Ac/;;*, p. 22, fig. 11; Helbigk 983; Ducati, C/arjAzz,
p. 236, fig. 231 ; De Sanctis, Az'v. 777. xxxviii (1910), p. 73 t.
Alin. 6042; And. 1720; B. 1666S; M. 747.

SALA DELLE OCHE
1. MALE PORTRAIT BUST OF FLAVIAN PERIOD (pi. 15).
H. .37 m. Marble, .yzvrAzA?. Restored: nose, upper lip. Edge of 1. ear
broken.
Portrait of elderly beardless man with head to r. He has curly hair
over the forehead and ears, and smooth locks brushed forward on the neck.
Face broad, with lines from the nostrils. The bust, which is draped in
tunic and toga, is unbroken and has preserved its circular plinth.
Moderate work of the Flavian period. The head has at various
times passed as a portrait of Brutus, of Philip of Macedon, of Hannibal, and
of the father of Trajan. Given by Clement XI in 1705 (Forceiia, i. 205).
Inv. 1723 (9).
* The traditional ascription of the restored twins to Guglielmo della Porta, who
settled in Rome in r 337, cannot be upheld, unless two successive restorations be
assumed. Venturi xxii (1919), 133) attributes them to Antonio Pollaiuolo.