/. Villa Borghese. ROME. I. TV. and E. Hills. 183
V. Room. In the centre, Apollo and Daphne, a much admired
work of Bernini, executed in his 18th year (1616). Right wall:
cxvn. Apollo with a griffin and tripod, an archaistic work; cxvi.
Three-sided base, with Mercury, Venus, and Bacchus. Wall oppo¬
site the entrance : oxv. Statuette of a boy playing with a bird ; cxm.
Statuette of a fettered boy. Exit wall: evil. Fisherman and herds¬
men, a genre group, intended for the decoration of a fountain.
VI. Room ('Galleria') with modern porphyry busts of emperors.
In the centre, a porphyry bath said to have been found in the mau¬
soleum of Hadrian. In the doorway to the Salone is a beautiful
antique vessel of ophite, the only specimen of the kind in Rome.
The marble incrustation of the walls deserves notice. The statues
in the recesses are for the most part mediocre and freely restored.
The herma of Bacchus, a bronze head with a beautiful alabaster ped¬
estal, at the exit, is modern.
VII. Room. To the right of the entrance: clxxxi. Archaic female
bust, perhaps a portrait. By the window to the right, clxxvii.
Torso of Venus with Cupid. To the left, clxxvi. Modern copy of the
'Thorn Extractor'. Exit-wall: clxxii. Sleeping hermaphrodite.
VIII. Room. In the centre, Bernini, jEneas and Anchises, the
first large work of the artist, then in his 15th year (1613). By the
entrance, cic. iEsculapius and Telesphorus, gods of healing. Right
wall: cvnc. Leda and the swan. Opposite the entrance, clxxxviii.
Late-Roman tombstone. Exit-wall: clxxxiv. Algardi, Putti in
relief; clxxxiii. Athena.
IX. Room. In the centre, cc. Satyr on a Dolphin (fountain-
figure), the model of the Jonah in Santa Maria del Popolo formerly
ascribed to Raphael (p. 149). Entrance-wall: cci. Youthful Maenad;
com. Paris. Exit-wall: ccxv. Venus; ccxvi. Archaic female figure,
an early Peloponnesian original work.
X. Room. In the centre, *ccxxv. Dancing Satyr, wrongly restored
(he originally played on a double flute). Opposite the entrance,
ccxxxvn. Seated figure of a philosopher, resembling the Menander
in the Vatican (p. 340). Exit-wall: ccxxxn. Satyr of Praxiteles.
The fine ceiling-paintings by Conca should be noticed.
An adjoining room and a pavilion on the other side of a small
garden contain sculptures for sale.
We now return to the Galleria (R. VI) and ascend the staircase
to the —
**Picture Gallery, the rooms of which are marked on our plan
with Arabic figures. The Borghese gallery, recently purchased by
the Italian government, and the most important in Rome next to that
of the Vatican, still contains more masterpieces than any of the
private collections, in spite of the recent removal of several of its
treasures. The 15th Century is naturally less fully represented
than subsequent epochs, as the gallery was founded at a time when
the works of that period were not yet generally appreciated. It con-