Museo Pio-Clementino. ROME. IV. Bight Bank. 397
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 and 520, were found with the Apollo near Tivoli in 1774,
and are probably reproductions of a group by Praxiteles or of his
school. In the centre of the right wall : *516. Apollo Musagetes, in
a long robe, with an air of poetic rapture. To the left of the Apollo :
517. Terpsichore (Muse of dancing); to the right, 515. Calliope
(epic poetry); 511. Erato (erotic poetry). Then, on the other side:
499. Melpomene (tragedy); *503. Thalia (comedy); 505. Clio
(history); *508. Polyhymnia (higher lyric poetry). Between 503
and 505 is 504. Female statue restored as Urania (Muse of astro-
nomy); opposite, 520. Nymph restored as Euterpe (music). — Inter-
spersed among the Muses are portrait-hermae: to the left, 509.
Metrodorus, the favourite pupil of Epicurus; 507. Antisthenes, the
Cynic; 506. Demosthenes; 502. iEschines; 500. Zeno (?), more prob¬
ably a celebrated astronomer, perhaps Aratus; 498. Epicurus; to
the right, 512. Epimenides of Crete ; 518. Hermes-bust of a Strateges
of the 4th cent. B.C., erroneously named Themistocles; 519. Plato
(the inscription 'Zeno' is modern).
Room on the other side, forming also the ante-room of the
Sala degli Animali: (right) 494. Greek portrait-hermes; 495. Apollo
Citharoedus (restored as Bacchus); 496. Sophocles at an advanced
age. Left side: 492. Hermes of Sophocles, with a fragmentary in¬
scription, which permitted the identification of the famous statue
in the Lateran Museum (p. 349); 490. Hermes of Diogenes; 489.
Greek war-dance, marble slab from a frieze.
VI. Sala degli Animali, containing a number of animal-pieces
in white and coloured marble, most of them freely restored. A great
part of the floor is paved with antique mosaics.
This hall is divided into two sections by means of four granite
columns, which form a passage from the Sala delle Muse into the court
of the Belvedere (p. 399). To the right: 182. Head of a braying ass;
194. Sow and litter; 202. Colossal camel's head (fountain-spout) ; 208.
Hercules with Geryon; 210. Diana; 213. Hercules and Cerberus; 228.
Triton carrying off a Nymph, in conception and execution recalling the
rococò works or the 18th cent., with a modern pedestal; 232. Minotaur.
To the left : 116. Two greyhounds playing ; 113a, 125a. Mosaics from
Hadrian's Villa; 124. Sacrifice of Mithras; 134. Hercules with the slain
Nemean lion ; 137. Hercules slaying Diomedes ; 138. Centaur with a Cupid
on his back (a replica of the younger centaur in the Capitoline Museum,
p. 276); 149. Commodus on horseback (Bernini's model for the statue
of Constantine mentioned on p. 374); 151. Sheep sacrificed on the aitar;
153. Small group of a goat-herd and his goats ; 157 (in the next window),
Relief of a cow and calf.
VII. Galleria delle Statue, originally a summer-house of
Innocent Vili., converted into a museum by Clement XIV. and
Pius VI. The lunettes and ceiling stili show traces of the armorial
bearings and emblems painted for Innocent Vili., part of the