Museo Pio-dementino. ROME. IV. Right Bank. 299
Dentaurs, and masks. In the centre a magnificent basin of porphyry
[rom the Baths of Diocletian. On the right and left of the entrance,
554. Julia Domna, wife of Septimius Severus ; 553. Plotina, wife
of Trajan. Then, to the left, 552. Juno Sospita, from Lanuvium
(p. 384), copy of an ancient Latin image made in the age of the
Antonines; 551. Claudius; 550. Statue of Claudius as Jupiter,
from Lanuvium ; 549. Jupiter Serapis ; 548. Nerva, on the pedestal
a fine relief, but of doubtful meaning ; 547. Sea-god, found near
Pozzuoli, perhaps a personification of the Bay of Naples or the
Mediterranean Sea, the ornaments of leaves and fruits indicating
the riches of the shòres ; *546. So-called Barberini Juno ; 545. Bust
of Antinous; 544. Hercules, colossal statue in gilded bronze (12 ft.
in height), found immured in 1864 near the theatre of Pompey
(p. 192) ; 543. Colossal head of Hadrian, in Pentelic marble, from
that emperor's mausoleum (Castello S. Angelo; comp. p. 266);
*542. Female statue restored as Ceres (probably a copy of the Hera
of Alcamenes, about 400 B. C) ; 541. Faustina, wife of Antoninus
Pius ; 540. Antinous as Bacchus, from Hadrian's Praenestine villa
(p. 382; 'Antinous Braschi'); the unchiselled state of the body seems
to indicate that the statue was originally draped, perhaps with metal ;
the present drapery, however, is modem. **539. Bust of Zeus from
Otricoli, the finest and most celebrated extant, formerly regarded
as a reproduction of the Zeus of Phidias (p. xliii), whereas, according
to modem crities, the head is a late modification of the Phidian
type. Then, 556. Pertinax; 555. Genius of Augustus. At the en¬
trance to the next room : 537, 538. Tragedy, Comedy, two hermse
from Hadrian's Villa.
V. Sala delle Muse. We first enter an Ante-Room: (left) *525.
Pericles ; 524. Sappho (?) ; 523. Aspasia (?), so-called from the modem
inscription on the base. Right: 531. Periander of Corinth; 530.
Lycurgus (?) ; 528. Bias, the misanthrope of the Seven Wise Men.
The magnificent Sala itself, also constructed by Simonetti under
Pius VI., is octagonal in form, covered with a dome, and adorned
with sixteen columns of Carrara marble. It derives its name from
the statues of the Muses preserved here, which, with the exception
of Nos. 504, 520, were found with the Apollo near Tivoli in 1774.
In the centre of the right wall : *516. Apollo Musagetes, in a long
robe, with an air of poetic rapture, standing on an aitar with a
representation of the Lares. To the right of the Apollo: 515.
Calliope (Muse of epic poetry); to the left, 511. Erato (erotic
poetry) ; right, 517. Terpsichore (dancing) ; left *520. Euterpe (mu¬
sic). Then, on the other side: 499. Melpomene (tragedy); 503.
Thalia (comedy) ; 504. Urania (astronomy) ; 505. Clio (history) ;
508. Polyhymnia (higher lyric poetry). — Among the Muses are a
number of portrait-hermae ; to the left, 509. Metrodorus, the
favourite pupil of Epicurus; 507. Antisthenes, the Cynic; 506.
Demosthenes ; 502. ^Eschines ; 500. Zeno (?), more probably a ce-