Pai. Corsini. ROME. IV. Right Bank. 317
Last Judgment, Ascension; 30. is erroneously attributed to Titian; 31,
32. N. Poussin, Landscapes.
8th Room: 6. Claude Lorrain (ì), Landscape; *7. G. Poussin, Land¬
scape ; 10. Polidoro da Caravaggio, History of Niobe, design in the form of
a frieze; 11. N.Poussin, Holy Family; 12. Ere. Grandi, St. George; 13.
Guido Reni, La Contemplazione ; "15, 21, 23. G. Poussin, Landscapes ; 24.
Quercino, St. Jerome ; 25. Ribera, St. Jerome ; '•'40. Murillo, Madonna. —
The adjoining Cabinet contains pictures of the older Fiorentine and Sienese
schools, most of them of little value, and badly preserved. 23. Gher.
Stamina, Madonna ; 26. After Perugino, Madonna.
9th Room : 2. Teniers, Interior of a stable ; 8. Lod. Carrocci, Pietà, sketch
for No. 20 in the 2nd R. ; 9. Velazquez, Innocent X. (copy of the picture in
the Pai. Doria); 28, 29. Salv. Rosa, Battles; 36 Titian (1), Portrait; 49.
Gherardesca da Siena. Madonna.
The Library of this palace (adm., see p. 125 ; entrance by the prin¬
cipal portai; traverse the open corridor to the right before the main stair¬
case. and ascend the winding staircase to the lst floor), founded by Card.
Neri Corsini, is one of the largest in Rome. Its eight rooms contain
numerous MSS. and books of great value, and one of the most extensive
collections of Engravings in the world.
At the S. end of the Lungara stands the Museo Torlonia (PI. II,
10 ; entrance Vicolo Corsini 5), the property of Prince Don Giulio
Torlonia, containing the most extensive collection of antiquities
in Rome after those at the Vatican and the Capitol (not open to
the public). The collection, which inclndes over 600 objects from
almost every epoch of Gracco-Roman art, consists chiefly of the
contents of the former Galleria Giustiniani, of a number of works
formerly in the Villa Albani, and of the yield of the late Prince
Torlonia's excavations. Catalogue by P. E. Visconti.
Ist Corridor (Compartrnents I-X). 4. Venus with the cestus; 19. Isis;
20. Egyptian deity Bes; 24. Head of an athlete (in the style of Lysippus);
25. Athlete restored as Hercules (in the style of Polycletus) ; 30. Lysias (?) ;
33. Isocrates; 43. Herod Agrippa; 44. Juba of Mauretania (?); 47. Venus
Anadyomene ; 49. Aristotle ; 50. Head of Hypnos, the god of sleep ; 60.
Leda and the swan.
2nd Corridor (Comp. Xt-XX). "64. Sitting figure of Livia, admirable
in attitude and in the disposai of the drapery (comp. the statue No. 77
and the Agrippina in the Capitoline Museum, p. 210); 63. Carneades; 65.
Zeno; "67. Alcibiades; 68. Latona with the twins Apollo and Diana; 72.
Tiberius as a hero, statuette; "77. Sitting Portrail-figure of a Woman, an
excellent Greek work, perhaps representing Olympias, the mother of
Alexander the Great (head, left shoulder, etc, skilfully restored by Von
der Làunitz); "82. Sitting male figure, the so-called Filosofo de'' Ruspoli;
86. Head of Hermes (in the style of Praxiteles); 91. Alexander the Great;
101. Nymph ; 116. Two wrestling satyrs, an interesting example of the
numerous skilful restorations in this collection, the only ancient parts
being the body of one combatant and the head and a piece of the base
of the other ; 117. Statue of the orator Hortensius, found in his villa
3rd Corridor (Comp. XXI-XXX). 118. Julius Csesar; 133. Old fisher-
man, highly realistic; 137. Muse; 141. Draped statue, restored as Niobe;
146. Venus Euplcea (the goddess of navigation), found at Porto (p. 394);
150. Triangular base of a candelabrum, with relief of the dancing Horse
151, 157. Satyr and Hermaphrodite ; 154. Telesphorus (the god of healing),
in rosso antico ; 161. Sophocles ; 163. Homer ; 164. Augustus, sitting figure.
4th Corridor (Comp. XXXI-XXXIII). 167. Fragment of a group, re¬
presenting Scylla devouring one of the companions of Ulysses (wrongly
restored as Milo of Croton in combat with a wild animai); 173. Euterpe;
174. Cupid and Psyche. — We now return to Comp. XXX. and pass thence
into the —