DOI Page / Citation link:
https://doi.org/10.11588/diglit.37251#0276
240
GIARDINO 48-51
of it is filled with roses (?) in bud and blossom. On the r. side of the
pilaster is a similar arrangement, on the 1. the design is defaced.
Provenance unknown.
49. FRONT OF CHRISTIAN SARCOPHAGUS (pi. 94).
H. -gy m., L. 1.42 m. Parian marble. Restored: patch at upper r. corner,
and on face of figure at the 1.
Front of striated sarcophagus with central panel, in which are three
male figures. The faces are much injured. The figure in the centre
stands with his head turned to the man on his r. and his 1. hand raised to
the man on his 1. He wears a tunic and toga with yz'zzzzr. The figure on
his r. seems to approach him with some object (purse ?) in his r., that on
his 1. to be a spectator of the scene. Both are dressed like the central
figure.
Rough work. The scene has been doubtfully interpreted as a repre-
sentation of the Betrayal, but it is perhaps safer to regard it as depicting
an between two of the faithful.
Found near the so-called temple of Alinerva Medica near Porta
Maggiore.
Gatti, /?%//. Gwz. xv (i88y), pp. 20g ff., pi. XII.
50. HEADLESS STATUE OF MUSE (?) (pi. 88).
H. i-iy m. Pentelic marble. Restored: 1. foot. On the 1. side a piece of
mantle has been rejoined, and above it is a smoothed and polished surface with
a dowel-hole. On the r. side and r. breast are similar smoothed but not polished
surfaces, and there is another on the r. leg above the ankle. All were evidently
intended for
Statue of a woman in a long tunic and mantle which is closely
wrapped about her and of which she holds a fold in her covered r. hand.
She stands on the r. leg with the 1. drawn aside. The type is also repre-
sented by a statue in the Vatican, (Mr/z'A A/ 102 i? (Amelung,
Hz/. Czz/. ii, p. 308), as well as a statuette in the Museo Chiaramonti,
174 D (Amelung, 0^. rz/. i, p. 419), and has been compared by Watzinger,
A^r/z7z^r fFz7zr^Vz7zzz7Z7zj^r^z'zz7Zzz7z, 63, with figures on reliefs (ib. Pis. I, II.
4) which show that it should be restored with a lyre in the 1. hand: he
suggests that the original was one of the group of Muses by the Rhodian
sculptor Philiscus (Plin. /V. A/, xxxvi. 34).
Moderate Roman copy.
Given by Signora Castellani.
-/??;//. Gczzz. xiii (i88g), pp. iy6. 18, where height is given as 1-30 m.; but this
may have included the base.
51. FRAGMENT OF CORNICE (pi. 88).
H. -62 m., L. 1-16 m. Luna marble. Unrestored.
Fragment of a cornice (at present placed upside down) with five rows
of mouldings. From present top downwards (%) elaborate palmette, (Z)
tooth, (<r) egg-and-dart, (h) overlapping leaves, (<z) tongue-and-dart. The
cornice is placed on two fragments of a smaller cornice with egg-and-
tongue moulding and cymation.
Provenance unknown.
GIARDINO 48-51
of it is filled with roses (?) in bud and blossom. On the r. side of the
pilaster is a similar arrangement, on the 1. the design is defaced.
Provenance unknown.
49. FRONT OF CHRISTIAN SARCOPHAGUS (pi. 94).
H. -gy m., L. 1.42 m. Parian marble. Restored: patch at upper r. corner,
and on face of figure at the 1.
Front of striated sarcophagus with central panel, in which are three
male figures. The faces are much injured. The figure in the centre
stands with his head turned to the man on his r. and his 1. hand raised to
the man on his 1. He wears a tunic and toga with yz'zzzzr. The figure on
his r. seems to approach him with some object (purse ?) in his r., that on
his 1. to be a spectator of the scene. Both are dressed like the central
figure.
Rough work. The scene has been doubtfully interpreted as a repre-
sentation of the Betrayal, but it is perhaps safer to regard it as depicting
an between two of the faithful.
Found near the so-called temple of Alinerva Medica near Porta
Maggiore.
Gatti, /?%//. Gwz. xv (i88y), pp. 20g ff., pi. XII.
50. HEADLESS STATUE OF MUSE (?) (pi. 88).
H. i-iy m. Pentelic marble. Restored: 1. foot. On the 1. side a piece of
mantle has been rejoined, and above it is a smoothed and polished surface with
a dowel-hole. On the r. side and r. breast are similar smoothed but not polished
surfaces, and there is another on the r. leg above the ankle. All were evidently
intended for
Statue of a woman in a long tunic and mantle which is closely
wrapped about her and of which she holds a fold in her covered r. hand.
She stands on the r. leg with the 1. drawn aside. The type is also repre-
sented by a statue in the Vatican, (Mr/z'A A/ 102 i? (Amelung,
Hz/. Czz/. ii, p. 308), as well as a statuette in the Museo Chiaramonti,
174 D (Amelung, 0^. rz/. i, p. 419), and has been compared by Watzinger,
A^r/z7z^r fFz7zr^Vz7zzz7Z7zj^r^z'zz7Zzz7z, 63, with figures on reliefs (ib. Pis. I, II.
4) which show that it should be restored with a lyre in the 1. hand: he
suggests that the original was one of the group of Muses by the Rhodian
sculptor Philiscus (Plin. /V. A/, xxxvi. 34).
Moderate Roman copy.
Given by Signora Castellani.
-/??;//. Gczzz. xiii (i88g), pp. iy6. 18, where height is given as 1-30 m.; but this
may have included the base.
51. FRAGMENT OF CORNICE (pi. 88).
H. -62 m., L. 1-16 m. Luna marble. Unrestored.
Fragment of a cornice (at present placed upside down) with five rows
of mouldings. From present top downwards (%) elaborate palmette, (Z)
tooth, (<r) egg-and-dart, (h) overlapping leaves, (<z) tongue-and-dart. The
cornice is placed on two fragments of a smaller cornice with egg-and-
tongue moulding and cymation.
Provenance unknown.