76 Route 4.
6th Room. Netherlands and German Schools: 7. Portrait of a cardinal,
master unknown: 12. Breughel (?). Landscape; 22. Amberger (?), Portrait;
41. Luc. Craiuuh, Christ and the adulteress.
7th Room: Rembrandt, Portrait; 12. Netherl. School, Portrait; 36. Cru¬
cifix, after Van Duck; 61. Collection of miniatures of the House of Farnese-.
"73. Miereeelt. Portrait: 78. F.rd. Bol, Portrait: 85. Van Ceulen, Portrait:
89. Nabusson, Villa Medici at Rome.
In the 6th Room of the paintings is the entrance to the
C olle ction of Vases.
distributed in 8 different rooms, one of great extent and value, and espe¬
cially rich in specimens of the large and magnificent vases of Lower Italy.
The want of a catalogue renders it difficult to atl'ord very precise informa¬
tion. The specimens placed on pillars and those contained in the four last
rooms are the finest in the collection. The rooms are paved with ancient
mosaics , restored where defective. — As Greek vase-painting was adopted
by the Etruscans and modified according to the national taste, so this branch
of art was strongly biassed in Lower Italy by the peculiar character of its
inhabitants. The vases are here of large and imposing dimensions, and the
artists, not satisfied with the mere decoration of painting, have frequently
superadded reliefs to adorn the necks and handles. Their aim appears to
have been to cover, if possible, the entire surface of the vase with the co¬
lours. The different series of representations, one above another, which
they bear, are often without connection; or the centre is occupied by an
architectural design and surrounded irregularly with groups. The figures
are generally of a somewhat effeminate mould and great care appears to
have been employed in representing rich but scantily folded garments. The
representations are for the most part borrowed from the ancient Greek tra¬
gedy, but in some cases scenes of a more Italian character are encountered.
The period of their manufacture is believed to have been shortly subsequent
to the reign of Alexander the Great.
A circular apartment is next [entered, jn which a door to
the 1. leads to the
formerly preserved at the Palazzo Santangelo (p. 58), purchased in 1865 by
the city of Naples and confided to the care of the Muse Nazionale
1st Room; Vases. In the cabinet in the centre, a vase with Baccha¬
nalian scene; r. a vase from Ruvo with the death of Meleager. In the
middle of the cabinet on the 1. , Bacchanalian feast with an armed
dancing woman. To the r. by the window a "cabinet with drinking-horns
2nd Room: Terracottas and small bronzes. L. by the entrance a vase
fri ni Nola. with the return of Hephaestus to Olympus.
3rd Room: Collection of coins, one of the most extensive in Italy
(about 43,000 in number), especially valuable on account of its ancient Ita¬
lian specimens. Catalogue by Fiorelli recently published. In the table by
the window an interesting selection of "tos grate" and other Italian coins.
By the window a vase with Pelops and IFnomaos. In the centre a vase
with Orpheus in the infernal regions. By the wall of the egress. Mercury
and Spes. relief mosaics from Metapontum, unique of their kind.
The visitor returns hence to the first (circular) saloon of the
Collection of Vases.
1st Room: A variety of nnpainted vases. Those preserved in the two
cabinets opp. the entrance, and the three placed on pillars in front of them
aic specimens of the earliest stage of the development of this art. They