Museo Pio-Clementino. ROME. IV, Right Bank. 297
modera; some of the originai marginai figures are now in the
Thermae Museum (p. 146). At the entrance to the following room
(Sala Rotonda, p. 298): Bacchus. We here begin to enumerate the
more important sculptures : 566. Large sarcophagus in porphyry,
of Constantia, daughter of Constantine the Great, from her tomb,
afterwards the church of S. Costanza (p. 340); it is adorned with
vintage-scenes (perhaps in allusion to the Vineyard of the Lord).
*574. Venus, a copy of the Cnidian Venus of Praxiteles (p. xliv),
drapery of metal modera ; 578, 579. Egyptian Sphinxes (mentioned
above) ; 589. Sarcophagus of St. Helena, mother of Constantine,
from her tomb near Torre Pignattara (p. 344), transferred to the
Lateran by Anastasius IV., and thence to the Vatican by Pius VI.
By the stairs : to the right, 600. Recumbent river-god, said to have
been restored by Michael Angelo (opposite the entrance to the
Egyptian Museum, p. 307).
We now ascend the staircase (with 20 antique columns from
Praeneste), leading to the right to the —
II, Sala della Siga, a circular hall with a cupola.
In the centre: *623. Biga, or two-horse chariot, from which
the saloon derives its name. The body of the chariot, richly adorned
with leaves, which was used for centuries as an episopal throne in
S. Marco, and a part of the right horse (which, however, belonged
originally to another group) are alone ancient. *608. Bearded
Bacchus, inscribed 'Sardanapallos'; *610. Effeminate Bacchus; 611.
Combatant, resembling in attitude a figure of the group of Harm-
edius and Aristogeiton at Naples (the face is almost entirely mod¬
em); *612. Draped Statue, from the Palazzo Giustiniani in Venice ;
*615. Discobolus, of the Attic school, perhaps after Alcamenes
(p. xliv); 616. Statue of Phocion, Epaminondas, or Aristomenes(?) ;
*618. Discobolus of Myron (p. xliii); the originai was of bronze;
head modera, and inaccurately replaced ; it should have been turned
to the side, as in the much superior and excellently preserved re¬
plica in the Pai. Lancellotti (p. 179) ; 619. Roman charioteer, with
the curious straps about his body customary in races in the circus ;
621. Sarcophagus-relief, race of Pelops and ffinomaus; 609, 613
617. Sarcophagi, with chariot-races, the charioteers being Cupids.
The representations of the Circus, with the Metae or turning-posts,
and the Spina or centrai wall, should be noted. On the spina were placed
allkinds of sacred objects and also the apparatus for counting the races ;
on the completion of each round one of the wooden eggs was removed
from the spina and one of the dolphins was turned round. Comp. also p. 348.
Turning to the right on leaving the Sala della Biga, straight in
front of the staircase, we reach the —
III. Galleria dei Candelabri, a corridor 110 yds. in length.
The ceiling-paintings, by L. Seitz (1883-86), consist partly of in-
cidents in the pontificate of Leo XIII., partly of allegorical scenes
(Apotheosis of St. Thomas Aquinas ; Arts and Sciences under the
protection of the church). The handsome marble pavement is new,