DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22421#0139
Letter IV.
TOWNLEY MARBLES : BUSTS.
75
dignified moderation of the older style ; the forehead and mouth
in particular are very noble ; the nose is new. On the other hand,
the short hair consists, as in the Egina statues, of detached spi-
rally twisted locks, which look as if they had been moistened.
The workmanship is very careful and decided. The other colossal
bust of Hercules, No. 75, found near Vesuvius, and presented
to the Museum by Sir William Hamilton, is entirely in the
later style, with very prominent forms. The swollen Pancra-
tiast ears, as they are called, are particularly developed. The
nose and part of the right cheek are new. The workmanship is
quite free and very good, the character more noble than in the
Farnese Hercules. The bust of Minerva (No. 16), found by
Gavin Hamilton, near Rome, is also an interesting example of
the transition style. The cheeks, in their breadth and fulness,
approach the Egyptian sculptures. On the other hand, the cha-
racter of the goddess is fully expressed in the finely formed nose
and the delicate open mouth. It is of Pariah marble, and the
workmanship very sharp. The sockets of the eyes were formerly
filled with some other material, and the locks of the hair and ear-
rings were of metal. This is proved by a spot of rust on the left
side, and a small piece of metal on the right; also by the ears
being pierced. The helmet with the two owls, and the tip of the
nose, are new. In the other bust of Minerva (No. 1) the great injury
it has sustained is the more to be lamented (the nose, chin, under
lip, a part of the upper lip, and one ear are new) from the circum-
stance that the forehead and cheeks are exceedingly grand and
noble ; the hair admirably managed — both far superior to the Pallas
of Velletri. Two marble vases (Nos. 7 and 9), with Bacchanalian
scenes, which, in form, invention, and the execution of the bas-
reliefs, have all the charm of Greek art. Unfortunately they have
required great restorations, particularly the last. No. 16, an
almost undraped Venus, about three feet high, found in the year
1775, near Ostia, is very remarkable for its noble slender propor-
tions and exquisite workmanship. The arms are new. Next to
this (No. 35) may be mentioned a terminal figure, about three
feet high, playing on the flute, found in the villa of Antoninus
Pius. The delicate workmanship of the curly, pointed beard
indicates a work of ancient Greek art; also the expression of the
mouth blowing the instrument is very natural. This statue, which
TOWNLEY MARBLES : BUSTS.
75
dignified moderation of the older style ; the forehead and mouth
in particular are very noble ; the nose is new. On the other hand,
the short hair consists, as in the Egina statues, of detached spi-
rally twisted locks, which look as if they had been moistened.
The workmanship is very careful and decided. The other colossal
bust of Hercules, No. 75, found near Vesuvius, and presented
to the Museum by Sir William Hamilton, is entirely in the
later style, with very prominent forms. The swollen Pancra-
tiast ears, as they are called, are particularly developed. The
nose and part of the right cheek are new. The workmanship is
quite free and very good, the character more noble than in the
Farnese Hercules. The bust of Minerva (No. 16), found by
Gavin Hamilton, near Rome, is also an interesting example of
the transition style. The cheeks, in their breadth and fulness,
approach the Egyptian sculptures. On the other hand, the cha-
racter of the goddess is fully expressed in the finely formed nose
and the delicate open mouth. It is of Pariah marble, and the
workmanship very sharp. The sockets of the eyes were formerly
filled with some other material, and the locks of the hair and ear-
rings were of metal. This is proved by a spot of rust on the left
side, and a small piece of metal on the right; also by the ears
being pierced. The helmet with the two owls, and the tip of the
nose, are new. In the other bust of Minerva (No. 1) the great injury
it has sustained is the more to be lamented (the nose, chin, under
lip, a part of the upper lip, and one ear are new) from the circum-
stance that the forehead and cheeks are exceedingly grand and
noble ; the hair admirably managed — both far superior to the Pallas
of Velletri. Two marble vases (Nos. 7 and 9), with Bacchanalian
scenes, which, in form, invention, and the execution of the bas-
reliefs, have all the charm of Greek art. Unfortunately they have
required great restorations, particularly the last. No. 16, an
almost undraped Venus, about three feet high, found in the year
1775, near Ostia, is very remarkable for its noble slender propor-
tions and exquisite workmanship. The arms are new. Next to
this (No. 35) may be mentioned a terminal figure, about three
feet high, playing on the flute, found in the villa of Antoninus
Pius. The delicate workmanship of the curly, pointed beard
indicates a work of ancient Greek art; also the expression of the
mouth blowing the instrument is very natural. This statue, which