SALA DEGLI ORTI MECENAZIANI 15-17

164
leaning on a long yWz277z, while the r. arm is bent at the elbow and ex-
tended forward. A cloak appears on the 1. shoulder and is wound round
the 1. arm. By the 7^2/22772 reclines a buffalo represented on a much
reduced scale and serving simply as an attribute for identification.
It is a replica of a type commonly used for Ganymede, a good
example of which is in the Vatican (Afksw CA'2?7i27722772/2', 287, Amelung,
Eh/, Czz/., i, p. 702 ; HelbigS, 103), where the presence of the eagle
makes the interpretation as Ganymede certain. C. L. Visconti, therefore,
who is followed by Reinach (ii. 474), called this statue also Ganymede;
and though the buffalo might seem to serve more adequately as an
identification of Paris, the body is certainly that of a young boy.
Found in the Villa Casali on the Caelian.
AM//. Awi. xiii (1885), p. 176; xv (1887), P- 27 f., pi. ii (C. L. Visconti);
Reinach, ii. 474. 3 ; Roscher, iii. 1604 (Turk).
16. MALE TORSO (pi. 56).
H. -763 m. Parian marble. Unrestored. Missing : head, arms from below
shoulders, yw/j, legs from below knees.
The mark on the 1. hip probably shows where the 1. hand rested.
The projection on the r. thigh perhaps served to attach the tree-trunk
support, since the r. arm is extended downwards away from the body.
Thus we have the figure of a nude youth upright with the weight on
the 1. leg and the head probably turned a little towards the r. shoulder,
with 1. hand on hip and r. extended downwards with an attribute. He
has long hair with two locks falling on the shoulders. The type is Praxi-
telean—a variation of the satyr motive in which the body is leaned more
obliquely on a tree-trunk: cf. also no. 4—and the style seems also of the
same school. The copy itself appears to be the highly polished work of
the Hadrianic age and probably represents a youthful god—from the
shoulder locks most likely Apollo or Dionysus.
17. APHRODITE (pi. 55).
H. 1-18 m., (excl. base) 1-13 m. Pentelic marble. Unrestored. Missing:
head, r. arm from shoulder with raised drapery, 1. arm from elbow (attached sepa-
rately with an iron dowel), edges of drapery. The toes are damaged.
This is an ordinary imperial copy of the statue-type best represented
by the Aphrodite of Frbjus in the Louvre ; the replicas are very numerous
(cf. Bernoulli, AyAWz'A, pp. 86 ff., who, however, does not mention this
statue), since the type was highly popular under the early Empire, and
may have been used by Arcesilaus to represent Venus Genetrix, the
divine ancestress of the Julian House, in the statue set up by Caesar in
his Forum (Plin. TV /V. xxxv, 156), though the evidence of coins on this
point is inconclusive (cf. Cohen, &Z/72722Z, 73-5 ; 7/2222^/27222, 237, &c.). It
undoubtedly goes back to the fifth century B. c., but it is impossible to
name with certainty the artist, or even the school, to which we owe it.
Alcamenes was suggested by Furtwangler (art. in Roscher,
p. 412; p. 82); Callimachus by Reinach (7%?.r 2272/2^22^^,
p. 91); in HelbigA 1539, it is attributed to the school of Ionia and
N. Greece, represented in painting by Polygnotus (cf. on (V/. Z22772.,
no. 37), and B. Schroeder, yG/M. xxix (1914), p. igi, in discussing
the type and kindred works, sees in the group the influence, not of
bronze technique, but of a school of draughtsmen who aimed at pre-