DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.37251#0187
SALA DEGLI ORTI MECENAZIANI
NoTE.—AH the monuments in this room, unless otherwise stated,
were found at various times on the Esquiline; the site was occupied by
a group of parks (^or/z), most of which passed into the hands of the
Emperors under the Julio-Claudian dynasty. The position of the /iorzY
from which this room derives its name, cannot be precisely
determined, and no proof can be given that the monuments belonged
to them ; cf. Jordan-Hiilsen, 7o^o^7W/5zr i. 3, pp. 347 ff.
1. FEMALE HERM (pi. 55).
H. 1-45501. Marble,.yrzY/AAr. Restoredioplaster: headandlockstoshoulders
with fillet; hair on the back except the end, lower part of herm from hips below the
of the garment; r. side of the breast. Missing : right arm from mid-biceps,
1. arm from elbow, feet and end of herm.
The Herm is a variant of the type represented by no. 1$, from
which its head is restored. Variations consist in the greater length of the
overfall, the different treatment of the shoulder locks, which are arranged
in a double plait instead of a wavy strand, and the absence of an under-
rAz'/ozz, which leaves arms and neck bare. The drapery is, if anything, a
little more conventional, with its symmetrical folds on each side of the body.
Work probably of the early Imperial period. See Addenda.
M. 326$.
2. RELIEF OF A MAENAD (pi. 55).
H. 1-435 m., Hr. -71m. Marble, Unrestored. Missing: right
bottom corner, end of nose, 1. breast, moulding on top : surface badly damaged.
The slab is slightly convex and must have belonged to a large puteal
or circular altar (Helbig suggests the basis for a tripod or for a statue of
Dionysus) of about 2 m. in diameter ; four other slabs with similar figures
are preserved at Madrid (Winter, /or. A/., pis. II, III; Arndt-Amelung,
1683-6) ; cf. also a terra-cotta frieze from the Villa of Voconius Pollio in
the Museo delle Terme (Helbig^, 1321).
The Maenad advances to the 1. in ecstasy with 1. leg forward, head
lowered, shoulders thrown back, and r. hand raised behind head with
knife, while the 1. holds hind-quarters of a kid. She is clad in a thin
r^z'/07z with ^o^)or and overfall, which is open on 1. shoulder to leave the
breast bare. A flying mantle in wild disorder is held up by the r. hand,
and Alls up the background. The hair is confined in a rzzrror.
This type, which lends itself easily to decorative purposes, is a
frequent subject on neo-Attic reliefs, and is derived no doubt from
Hellenistic adaptations of an earlier original. Helbig points out that the
bunched-up drapery round the waist is skilfully made to conceal a certain
lack of organic fusion between the movement of the torso and that of the
lower part of the body. This touch of archaism, which betrays a sculptor
of the pre-Pheidian epoch, is best seized if we compare this figure with
the TVzAA from the Balustrade at Athens, where the transparent draperies
are used to accentuate the perfect rhythm that now pervades the figures.
Dutschke (for. rz'/.) remarks that the treatment of the drapery, as in most
NoTE.—AH the monuments in this room, unless otherwise stated,
were found at various times on the Esquiline; the site was occupied by
a group of parks (^or/z), most of which passed into the hands of the
Emperors under the Julio-Claudian dynasty. The position of the /iorzY
from which this room derives its name, cannot be precisely
determined, and no proof can be given that the monuments belonged
to them ; cf. Jordan-Hiilsen, 7o^o^7W/5zr i. 3, pp. 347 ff.
1. FEMALE HERM (pi. 55).
H. 1-45501. Marble,.yrzY/AAr. Restoredioplaster: headandlockstoshoulders
with fillet; hair on the back except the end, lower part of herm from hips below the
of the garment; r. side of the breast. Missing : right arm from mid-biceps,
1. arm from elbow, feet and end of herm.
The Herm is a variant of the type represented by no. 1$, from
which its head is restored. Variations consist in the greater length of the
overfall, the different treatment of the shoulder locks, which are arranged
in a double plait instead of a wavy strand, and the absence of an under-
rAz'/ozz, which leaves arms and neck bare. The drapery is, if anything, a
little more conventional, with its symmetrical folds on each side of the body.
Work probably of the early Imperial period. See Addenda.
M. 326$.
2. RELIEF OF A MAENAD (pi. 55).
H. 1-435 m., Hr. -71m. Marble, Unrestored. Missing: right
bottom corner, end of nose, 1. breast, moulding on top : surface badly damaged.
The slab is slightly convex and must have belonged to a large puteal
or circular altar (Helbig suggests the basis for a tripod or for a statue of
Dionysus) of about 2 m. in diameter ; four other slabs with similar figures
are preserved at Madrid (Winter, /or. A/., pis. II, III; Arndt-Amelung,
1683-6) ; cf. also a terra-cotta frieze from the Villa of Voconius Pollio in
the Museo delle Terme (Helbig^, 1321).
The Maenad advances to the 1. in ecstasy with 1. leg forward, head
lowered, shoulders thrown back, and r. hand raised behind head with
knife, while the 1. holds hind-quarters of a kid. She is clad in a thin
r^z'/07z with ^o^)or and overfall, which is open on 1. shoulder to leave the
breast bare. A flying mantle in wild disorder is held up by the r. hand,
and Alls up the background. The hair is confined in a rzzrror.
This type, which lends itself easily to decorative purposes, is a
frequent subject on neo-Attic reliefs, and is derived no doubt from
Hellenistic adaptations of an earlier original. Helbig points out that the
bunched-up drapery round the waist is skilfully made to conceal a certain
lack of organic fusion between the movement of the torso and that of the
lower part of the body. This touch of archaism, which betrays a sculptor
of the pre-Pheidian epoch, is best seized if we compare this figure with
the TVzAA from the Balustrade at Athens, where the transparent draperies
are used to accentuate the perfect rhythm that now pervades the figures.
Dutschke (for. rz'/.) remarks that the treatment of the drapery, as in most