Stucco Reliefs of the First and Second Centuries still extent in Rome

Stucco Reliefs of the First and Second Centuries still extant in Rome In: Memoirs of the American Academy in Rome, IV - 1924 - p. 9 -/20? S SSA with plates pò WADSWaATIALE-L- D AGD Ánan Wads wort Fl iy En And, - Mole) /5 Ba WapswortH. E.-L.: MAAR Rome 1995 9 Mucco reliefs ot the firat aid accond centuries etl extant in me: MAAR 1925 „102.2. | Technique ! ut co mposit sitiun des stnes : descrip ipti tion des reliefs cunserves x Rome: classement des print ipaux motifs: riche illustration Loggers ° ble v9 As A 0324) Fraés JWJ

Stucco Reliefs of the First and Second Centuries Still Extant in Rome Author(s): Emily L. Wadsworth Reviewed work(s): Source: Memoirs of the American Academy in Rome, Vol. 4 (1924), pp. 9-102 Published by: University of Michigan Press for the American Academy in Rome Stable URL: http://www.jstor.org/stable/4238518 . Accessed: 03/04/2012 11:13 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. American Academy in Rome and University of Michigan Press are collaborating with JSTOR to digitize, preserve and extend access to Memoirs of the American Academy in Rome. http://www.jstor.org

STUCCO RELIEFS OF THE FIRST AND SECONDCENTURIES STILL EXTANT IN ROME. EMILYL. WADSWORTH. (PLATESI-XLIX) HISTORYOF STUCCO DECORATION. a subsidiary whichis essentially TUCCOdecoration, art,lendingitselfto givenarchitectonicsurfaces, developed at an earlyperiodinthehistoryof architecture. Wallsmade of reeds,and clay, rubbleand clay,or eventhesun-burnt brickof a moreadvanced age, the elementswithoutsuchprotection couldnot withstand as a hard,close-grained coatof theaestheticvalueof a smooth,finestucco,covering plasteror stuccooffered. Eventually, as well as coarse,unsightly its use for of construction established inaccuracies materials, remains all time,even whenit was no longerstructurally necessary.Earlyarchitectural in Egyptillustrate the use of stuccoat this its secondstage. It was there appliedto brickor limestone servedas a surface walls,oninteriors as wellas exteriors, andsometimes for painteddecoration.Stuccoreliefsare a stilllaterdevelopment, belonging to a more advancedperiodin thehistoryof art. It is logicalthattheyshoulddevelopin a country wherestuccoworkwas commonbut marblewas lackingfor sculptural purposes.The of theeighteenth earliestof thesereliefsareEgyptian describes dynasty.Flinders-Petrie1 someof them,of whichthe chariotof Tahutmesis an example,where the stuccowas laid on a flat canvasbase stretchedoverwood and thenmodelled.The relief itselfis low, smoothand full of detail. In othercases,wherethis decorationwas on a stone S 1 FUNDERS-PETRIE, Arts and Craftsof AncientEgypt, p. 144. See also A Historyof Egypt, 11,p. 40, by the of the coffinof Aahmes sameauthor,for a description Nefertari,madeof stuccoon layersof linen.

EMILYL. WADSWORTH carvedin reliefor in intagliobeforethe plasterwas background 1, the latterwas roughly appliedand givenits finalmodelling 2. In Crete,in the Late MinoanII period,which is roughlycontemporary with the was welldeveloped.Intheexcavations eighteenth of the dynasty,stuccoreliefdecoration Palaceat Cnossusmanyfragments to sucharchitectural 8 have been found. In addition detailsas pilastercapitalsand cornices,therewere remainsof a ceilingdesignof spirals of humanand otherfiguresin highrelief. and rosettes,and somestrikingrepresentations menand possibly formpartof a procession All the formerappearto represent of youths bearingtribute. Sir ArthurEvans4 has drawnan analogybetweenthisprocession and IIIon theRekhmara of Tahutmes that of the Keft tributaries tomb. AmongtheCnossan of a sphinx,a rightshoulder thereare portionsof the fore-part fragments, and fore-arm of a man,a left fore-arm holdinga long pointedcup5, the backandearof a malehead crownedwithfleurs-de-lis, anda maletorso6 withan ornamental chainof the sameflower motivearoundthe neck. Anotherreliefcontainedbullsand a tree. Onebull'shead7, in life size or over,showsspiritand animation to a high degreeof naturalism The 8. modellingof the humanfigures,althoughdry and hard,showsan accurateknowledge of anatomy.The stuccoitselfis extremelyhard,in manyinstancesoutlasting the slabsof of the palace. The reliefswere coloredin the same gypsumused in the construction naturalistic mannerthat is displayedin the frescoes.While they haveseveralpointsin commonwith thoseof Egyptand mayhave been influenced by them9, the spiritand techniqueare purelyMinoan. Evansdescribesothers10foundin the Queen'sMegaron and approach in 1902,whichhavean entirelydifferenttechnique morenearlyto Roman 11 reliefdecoration of theAugustan of this classis a fragment Age. A goodillustration of a birdof brilliantcoloringon a whiteground. Instead of beingin reliefon a plane surface,the wingwas partlycut in intaglioin the background.As Evanssays, 1 it looksas if an artistaccustomed to the techniqueof gem engraving had transferred the processto mouldedgessoduro'. 1 WILKINSON,The Ancient Egyptians, 11,pp.286 f. 2 In thetombof Akhenaten (XVIIIdynasty), FLINDERS-PETRIE, (A Historyof Egypt,11,p. 220), hasdescribed themainchamber asbeingcarvedandpaintedon a stucco coating.The stuccohad droppedoff, leavingtracesof the carvingon the limestonewall,wherethe artistcut throughthe stucco. The question is raisedas to whether the stonebackground was cut beforeor afterthe stucco was applied. ' B. S. A., VI, pp. 43 f.; VII, pp. 15 ff. 4 B. S. A., VI, pp. 13 ff.; VII, p. 15. 5 B. S. A., VIl, P. 89, Fig. 29; H. G. SPEARING, Childhood of Art, Fig. 283. 6 B. S. A., VII, Fig. 6, p. 17; SPEARING,op. cit., Fig. 284. 7 B. S. A., VI, p. 52, Fig. 10. 8 R. S. SEAGER,Excavations ontheIslandof Pseira, Crete,Univ.of Penn.,1910,Pl. V, givespartof a plaster reliefrepresenting a Minoanlady in richlyembroidered dress. Unfortunately, thereliefwasnotdeeplyburied,so the survivingfragments are very rotten. However,the modelling seems to be bold,withoutthe vigorof the Cnossanreliefs. I H. G. SPEARING,TheChildhood oJArt,p. 344 (note to Fig. 283). It is heresuggested thatthebetterEgyptian artof the XVIIl dynastywas influenced by the Cretan. 10 B. S. A., VIII,p. 51. 1"B. S. A., VIII,Fig. 26, a, b, arndc.

STUCCO RELIEFS In GreeceduringtheClassicalperiod,stuccoreliefsdo not seemto have beenused. coatingof stuccowasappliedto walls,especiallyto thoseof coarseor porous The ordinary haverevealedno evidenceof its stonewhen standingin exposedplaces,butexcavations of Artemisat Stymof the old sanctuary beingmodelled.Pausanias1,in his description birds. It was the Stymphalian phalus,says: ' At the roofof the templeare represented difficulto distinguish clearlywhetherthey were madeof wood or of gypsum,but so faras I couldjudge,they seemedto be of woodratherthangypsum' . In this sense, thatthis passagerefersto reliefsis highlyconjectural.Pausanias interpretation Blu-mner's2 seemsratherto have in mindfiguresin the round. Otherliteraryreferencesto stucco althoughnegativevidenceis by nomeans reliefsin Greeceare lacking,andaccordingly, if indeedusedat all. As we may inferthatthey wereat leastveryuncommon conclusive, wouldseemto haveno placeforthem. Privatehouses, a matterof fact Greekarchitecture if of sun-dried brick,have scarcelysurvivedat all, andit is doubtful usuallyconstructed as we knowthattheGreeksusedas dwellings, constructions suchsimpleand unpretentious wouldhave had elaboratestuccodecoration.In Solon'stime,a law waspassedprohibiting the use of even plainplasterin tombs. On the otherhand,the templesand other were madeas gorgeousand richas possible.Theirsplendor,however, publicbuildings in marbleand uponbrilliantpolychromy.The one placewhere dependedon sculpture stuccoreliefsmighthave beenexpectedwas in theircofferedceilings,but all evidence androsettes, mouldings seemsto lead to the conclusion thatthecoffers,withtheirenriched were carvedout of marble,or wherethe spanwas too great,out of wood,whichwas thenpaintedand gilded. On the otherhand,in Etruscan art, we have one excellentexampleof stuccorelief in the TombadegliStucchiat Cervetri decoration 5. Herethewallsandpillarsarecovered and,in themost with representations of various animals, armor,domestic utensils, household a Scyllaand a Cerberus.Havingthe samehard place,oppositethe entrance, prominent and smoothqualityas the Egyptianand Cnossanreliefs,butlackingthe life and spiritof the latter,they havetheappearance of plastercastsof realobjects,fastenedto the walls. Amongthe Romans,the use of stuccodoes not seemto have been commonuntil a comparatively late date. Livy6 mentionsthe fact that M. AemiliusLepidusin 179 its firstcoat of this materialand Plutarch7 B. C. gave the templeof JupiterCapitolinus 1 PAUS.,VIl, 22, 7, Trans.by J. G. Frazer. und Terminologie BLiMNER, Technologie der Gebei Griechen undRdmern(1875), 11, werbeundKuinste p. 143. 1 Cic., de Leg.,11,26, 64, 65: ne quissepulchrum.... operetectorioexornariliceat. 2 4 FOWLERand WHEELER,GreekArchaeology, p. 118. 1 G. DENNIS,Citiesand Cemeteries of Etruria,3d ed., 1,pp. 249ff. Forillustratons, Lo Stucco,Pls. 1,11. 6 Livy.,40, 51, 3: aedemJovisin Capitoliocolumnasquecircapoliendasalbolocavit. 7 PLur.,Cat.Mai., 4, 4: TCOv be' wavAccov av"3ov eTvatxexoviaie,vqv. Seealso,GEu.XIII,24, In6esucav (23), 1: M. Cato, villas suas inexcultaset rudes,ne tectorioquidempraelitas fuissedicit ad annumusque aetatis suae septuagesimnu.

EMILY L. WADSWORTH gives as an exampleof the simplicityof life of the elderCato thatnot one of his cottages had plasteredwalls. Reliefs in stuccofirstbeganto be usedfor decoration duringthe last centurybeforeour era, probablyafter the subjugation of Campaniaby Sulla. The Campanian cities,of whichPompeiiandPuteoliare good examples,hadreached a more luxuriousand artisticplane of life than had Rome. This was partlydue to the of the people, but more, perhaps,to their closer communication with the temperament East, especiallywith Alexandria. At this time Alexandria,under the last Ptolemies, was at her zenith. In additionto being the most powerfulcenter of Hellenismin the Greek world, she was the great tradecenter, fromwhich grain,cloth,carpets,glassware, paperand other luxurieswere embarkedfor Italy. The mainItalianportof entry,before the dredgingand improvement of the harbourof Ostiaby Claudius,was Puteoli. Along with the merchandise, there pouredinto Campaniaa horde of Orientalsbringingwith them their religions,customsand culture. The excavationsat Pompeihave shownhow profoundlythey affectedthe life of that region. The firsttwo stylesof wall decoration apparentlyoriginatedin Alexandria1and the last two2, whatevertheirprovenience,are full of Alexandrianinfluence. In the landscapesof the secondand fourthstyles,the architecture,vegetation,animalsand humanfiguresdisplayEgyptiancharacteristics.There are crocodiles,hippopotami, pygmiesand the countlessgrotesquecreaturesin whichAlexandrian art delighted'. Mosaics,sculpture(especiallythe smallbronzes),householdutensilsand furniturewere under this same influence. It is naturalto concludethat stuccoreliefs, which exemplifythe same spiritand technique,have the same motives,and are used in conjunction with so many objectsof Alexandrianderivation,had a commonorigin,or at least receivedin that city the main impulseof theirdevelopment 4. To be sure,no stucco reliefs like those of Pompeii or of Rome have been actuallyfoundin the excavations at Alexandria',and literaryproof is lackingforthis theoryof their origin; butthe internal evidenceis strong. The close of the Republicanperiodat Rome saw the beginningof this invasionof foreignart. Under the Flavianpalaceson the Palatine, there are several Republican houses6,whichhavestuccoreliefdecoration in connectionwith wall paintingsof the second style. One room has lunetteswith a polishedred ground,on which are large animal grotesques of whitestuccoin highrelief. One of theselunettes,remarkably well preserved, 1 MAU, Geschichle derdec.Wandmalerei in Pompeii, p. 123. See also M. ROSTOVrZEFF, J. H. S., 1919, pp. 144 ff. 2 IPPEL,Der dritlePompejanische Stil. Thiscontains an argument for an Egyptianoriginfor the 3rd Style. 3 HERODIAN, IV, 8, 7, 9. 4 R. PAGENSTECHER, Landschaftliche Reliefs, p. 50, declaresstucco reliefs originatedin Alexandriaas decorationfor walls. ' This informationwas given me by Dr. Rudolph Pagenstecherof Rostock. 6 The findsin these houses, discovered in 1912, have not as yet been officially published. See: Year's Workin Class.Studies,1912, p. 10; 1913, p. 22; BONI, J. R. S., 1913, pp. 247 ff.

STUCCORELIEFS has two spiritedgriffinsin heraldicopposition on eitherside of a conventionalized plant motive. Severalvaultsalsohavestuccoreliefs,butin everyinstance, to theyaresubsidiary thecolorscheme. Mouldings andsmallcameolike figuresweremodelledon coloredbackgrounds,and thencoveredwith gold leaf. The purposein usingstuccowas to secure effectsof lightand shadewhichits plasticqualitiesmakepossible.These housescontain the only exampleswhichwe haveof stuccoreliefsof the Republican period. The periodof JuliusCaesarbelongsratherto the Empirethan to the Republic. With closercontactwith Egypt,Rome becameacquainted with Easternluxurywithout the use of any intermediary.In 46 B. C., Cleopatracameto Romewith her retinue and wasestablished by CaesartransTiberimin bortist. Inthisconnection it is interesting to notethat the mostbeautifuland technically perfectof all Romanstuccoreliefswere foundin a house,datedby MissVan Deman2as belonging to theperiodof JuliusCaesar, on the rightbankof the Tiberwhereonce lay the gardensof and situated,moreover, the Caesars.These reliefs,and the wall paintingsfoundwith them,containmoreAlexandriancharacteristics thando the otherexamplesof wall and ceilingdecoration found in Romeand its vicinity. Fromthis periodon, the positionof stuccoreliefsin Romaninteriordecoration was established.Underthe EarlyEmpire,withits greatimpetus in buildingand remodelling, Rome was transformed froma moreor less provincialtown into an imposingcapital, and HellenisticArt becameRomanImperialArt, with the set purposeof glorifyingRome. Easternartistsand workmenflockedto the Capitalor were broughtas slaves,to create with theirmoreadvancedskilland techniqueobjectsto adornthe city. The emperors were amongthe mostenthusiastic patronsof thisnew art, and it is to the remainsof their that we owe muchof whatwe knowaboutstuccoreliefs. buildings The spaciousandloftyhallsof the Imperial villas,palacesand baths,werespanned by huge vaultsof concrete. Whereverit was structurally possible,marbleveneeringwas -used,arranged to display'to the best advantage the naturalbeautyof the stone in its veiningand color. But, for vaults,this materialwas hardlypracticable, becauseof its weight, and becauseit did not easily lenditself to curvedsurfaces. On the otherhand, stucco,eitherpaintedor in relief,glassmosaics,or combinations of all these,offereda decorationadaptableto the architectonic surface. It was easily appliedand couldbe made highly ornamental.The simplestdecorationwas paintedstucco or fresco; but the most artisticand effectivewas that in relief. That the lattervarietywas the usualdecoration for vaultsof baths,we knowfrom Vitruvius'instructions3 and fromextantremains.The 1 E. MEYER, CaesarsMonarchie, 515. p. 2 A. J. A., 1912, P. 248, note 5. ' VITR., 5, 10, 3: inferior pars (camerarum)... opere albariosive tectoriopoliatur.Also,PLIN.,nat.,36, 189: Agrippa.... in thermis .... figulinum opusencaustopinxit in calidis,reliquaalbarioadornavit.

EMILY L. WADSWORTH Bathsat Pompeiifurnishthe best examples,but thoseof Caracalla, and of Hadrian's Villa showtracesin a moreor lessfragmentary on the structures condition.The various Palatine,Nero'sGoldenHouse, Hadrian'sVilla at Tivoli and Domitian's AlbanVilla give us furtherexamplesfromImperial of the private buildings.Tombsand columbaria citizensare stillanothersourcefor stuccoreliefs. Fromthe numerous whichare examples still extant,and the drawingsmadeof otherswhichare now destroyed,it wouldseem was very popularfor sepulchral thatthis decoration in vogue purposes.It was probably alsofortheprivatehouse,although we havebut few and fragmentary remainsas testimony to thisfact. Howeveras stuccoreliefswere primarily usedfor vaultings, and as vaultsare the ravagesof wars,firesand time,we may wellbe surprised less apt to withstand that so manyare still extant. Literary references inClassical arefew,scatteredand authors to thisformof decoration not alwaysclear. The termsgypsumand stuccoseemto be confused'.The formerwas probablymorelike our plasterof Paris,while the latterwasa plasterwhichdriedmore slowly. Opustectoriumor tectorium2 alone,meansthe coveringof the wallsand ceilings. It mightbe a simplecoat of plasteror a morecompletefoundation requiredfor frescoes and reliefs. It is thereforethe generaltermfor interiorwalland vaultdecoration which may be compared to the modernoneof plasteror plastering.Vitruvius, however,seems to use it of frescodecoration'.Albarium, or opusalbarium was originally the whiteslip of hard,close-grained stuccosimulating marblethatwasusedonstoneorbrick. InVitruvius it is usedwith referenceto cornicesand whitestuccodecoration suchas wouldinclude that in relief. The technicaltermfor stuccoreliefswas sigilla4or signaaedificiorum5, but fromthe rareoccurence of thesewordsin the authors, it wouldseemthatthelooser expressionof opus albariumwas more commonlyemployed. After the Antonines,stucco reliefswith otherbranches of decorativeart enteredupon their decline, graduallyto becomeforgottenand buriedamongthe ruinsof Rome. About a thousandyears later, at the end of the fiftiethcentury,when an interestand desire. had arisenamongthe princesof the Churchandthe Statefor ancientmarblesto decorate their palacesand villas, the titularCardinalof San Pietro in Vincoli startedto excavate on the site of the Bathsof Titus in searchof statues'. He foundseveral,amongwhich 1 BLUMNER, op. cit., 11, 143 and notes, says that gypsumlike clay wasusedfor reliefdecoration although stuccowasa moreusefulmaterial.He givesas anexample of thesegypsumreliefs,the decorationof sometombs outsidethe Portadel Popolo,which were inaccessible to himandwhichare nowno longerin existence.From picturesby Cabbott(Stucchifiguratiesistentiin unanlico sepolcrofuori dellc muradi Roma, 1795), andtheiranalogyto otherRomantombsit seemsmorelikelythatthe reliefswere of stucco. 2 See DAREMBERG and SAGLIO under tectorium. See also BLUMNER, op. cit., for opus tectorium and opus albarium. 3 VITR., 5, 10, 3; 6, 7, 3. ' PLIN.,nat., 36, 59, 2 (183): usus gypsiin albariis,sigillisaedificiorum et coronisgratissimus. Also, DIc., VII, 1, 13, 7; XXXIII, 7, 12, 23. a ISID., XVI, 3, 9; XIX, 12. 1 For a historyof theexcavations in Nero'sGolden F. WEECE, Jahrb., 1913, pp. 137 ff. House,

STUCCORELIEFS wasthefamous Laocoongroup,and, incidentally, as he brokethrough intoroomsbelonging to the GoldenHouseof Nero, marvelous walland vaultdecorations in frescoandstucco in almostperfectcondition.Admiration andwonderspreadat once amongthe artistsand I of theancients art-lovers of the day. ThustheI grotesques ofmany becametheinspiration of the greaterartistsof the Renaissance, who imitatedthemin theirown interiordecorations.Amongsuchartistswere Raffaeland his pupil,Giovannida Udine,who were amongthe firstvisitors1to the GoldenHouseand who usedit in designing the Loggia of the Vaticanand the Villa Madama. In Vasari'sLife of Giovannida Udine2, we read: ' cavandosi da San Pieroin Vincolafrale ruineed anticaglie del palazzodi Tito per trovarfigurefuronoritrovatealcunestanzesotterra,ricopertetuttee pienedi grotteschine,di figurepiccolee di storie,con alcuniornamenti di stucchibassi". Moreover, Giovanni wasso enthusiastic, thatbesidespayingfrequent visitsto thegrotteor subterranean rooms,and makingdrawings, he experimented with thestuccoitselfuntilhe founda composition verylikethatwhichtheRomanshadused. Because of hissuccess,hewasappointed byRaffael,whodid thedesigning, to havechargeof thestuccoworkin theLoggiaofLeoX. Interestin the GoldenHousedid not wane,but other and later artistsvisitedit, making copiesor designs.Manyof thesehavebeenpreserved , (among which,thedrawings of Cameron,Mirriand Piranesiarethe bestknown),and havehelpedmaterially in preservingknowledge of the delicatestuccodecoration to posterity. It is astonishing thatin spiteof the important partRomanstuccoreliefshaveplayed in interiordecoration sincetheirdiscoveryin the Renaissance, so littlehas beenwritten4 aboutthe originals.Renaissance and modernworkin this materialhas been discussed, but with littleor no mention of whatwasreallythe foundation. It is forthis reasonthat I haveattempted to describethe development, technique, useand motivesof Romanstucco reliefs,drawingmy illustrations fromthe specimens nowextantin Romeandits vicinity. Severalof the largerexampleshave been previously published butrepetition seemsjustifiablein an effortto makethe listcomplete,andin viewof thefact thatthe descriptions, in differentlanguages, are oftendifficultof access,and are in manycasesinaccurate or incomplete. 1 For a list of visitorswho scratchedtheirnames on the walls, see WEEGE, op. cit., pp. 141 ff. 2 VASARI,Life of Giovanni da Udine,VI, 551 f. ' WEEGE, op. cit., Pp. 158 ff. 4 DAREMBERG and SAGLIO (S. V. teclorium)devote ninebrieflines to stucco reliefs. The onlyexceptionis the new Manueld'Archeologie Romaine(1916) of Cagnat and Chapot,which has a brief chapterwith bibliography and several illustrations. Also, GEO. P. BANKART, an architectand craftsman,in his book TheArt of the Plasterer,devotes several chapters to ancient stuccoes with numerousillustrations.

EMILYL. WADSWORTH TECHNIQUEAND COMPOSITION. An examination of the composition of the stuccoreliefsin and nearRomeshows manypointsof difference as well as certainunderlying of similarity.The best principles stuccois thatdatingfromtheearlyEmpire. It is firm,close-grained andwhite,andwhen pulverisedandrubbedbetweenthefingers,has the fine,smoothconsistency of talcumpowder. Reliefs made with this stuccoare delicateand clearwith a peculiarlyfluidqualityas we see, forexample,in the Farnesinavaults. About the timeof Domitianmuchof the stucco becomescoarserand heavier. It is hard,almostwith the hardnessand durabilityof concrete, is no longerpure white, but rathercreamyin color,and is gritty enoughto show the separategrainsof its composition.The stuccoof the Antonineperiod,and especially that which is still later, is apt to be very friableand have an uneventexture. These statementsare merelyroughgeneralizations of tendenciesrevealingthemselves in the differentexamplesI haveexamined. Unfortunately, thereis not an unbrokenline of dated stuccodecorationfromwhich conclusions can be drawnnoris it alwayspossible to determinethe periodto which the exampleswe have belong. The earliestdate for a given piece of stucco,when found in situ,is that of the wall to which it is fastened, but in some cases, muchtime mayhave elapsedbetweenthe construction of the wall and its decoration,or the wall mayhave been redecoratedat a laterperiod. Moreover,like wall paintings,there are variationsin compositionsof the same period. Some were made by artists;otherswere done carelesslyand with cheapermaterials. Some were intendedto be seen by artificialight only, or from a distance,while others were for the more intimatedecorationof a privatehouse. A third factor which influencedthe textureof the stuccowas whether it was to be coloredand gilded or to be left in its naturalstate. All stuccohas lime for a base, to which is added sand and powderedmarbleor some such grittysubstanceto give it body. Other materialsmay be added to quicken or retardthe setting,to increaseits adhesivequalities,or to affectits color. The problem is to producea stuccowhich will set slowly, in orderthat the modellingmay be done while it is still soft, and which will at the same time presenta pleasingsurfacewhen dry, and yet be hard anddurable. The Romanstuccohad all of thesequalities,perhaps becausethe utmostpainswere taken to get just the rightmaterials,andto prepareand mix them properly. The lime, which servesas a base,does not appearin a free state butin a combinationsuch as the calciumcarbonates,chalk, marbleor calcite. Lime, or to be exact,

STUCCORELIEFS quicklime, is obtainedby calciningone of thesecarbonates.If theresultingpowderis of water,it slakes,thatis, it throwsoutheat,swellsto twoor mixedwithits equivalent fallsto a powderknownas slakedlime or hydrate threetimesits bulk,and subsequently of lime. Its affinity for carbonicacidis thusrestored.Afterbeingmixedwithwaterand in stucco,it hardensby absorbing the otheringredients carbonicacid fromthe air. The qualityof the limedependslargelyon the choiceof materialand the method of slaking.Vitruviusays1: nWithregardto lime,we mustbe carefulthatit is burned froma stonewhich,whethersoft or hard, is in any case white. Lime madeof close parts:limeof poroustone grainedstoneof the hardersort,will be goodin structural in stucco". As for the slaking,he says2: n Stuccoworkwill be all rightif the best lime,takenin lumps,is slakeda goodwhilebefore3it is to be used,so that if any lumphas not been burnedlong enoughin the kiln, it will be forcedto throwoff its burned heat duringthe longcourseof slakingin the water,and will thusbe thoroughly slakedbut fresh,it has little to the sameconsistency.Whenit is takennot thoroughly crudebits concealedin it and so, whenapplied,it blisters. When suchbits complete theirslakingafterthey are on the building,they breakup and spoilthe smoothpolish has beenpaid to the slakingand greaterpains of the plaster.But whenproperattention for the work,take a hoe, and applyit to have thusbeen employedin the preparation the slakedlimein themortarbed,justas you hew wood. If it sticksto the hoein bits, the lime is not yet tempered;and whenthe ironis drawnout dry and clean, it will showthatthe limeis weak and thirsty;butwhenthe lime is richandproperlyslaked, it will stickto the tool like glue,provingthatit is completelytempered '. The secondingredient to Vitruvius,for in stuccowas pulverized marble,according of the samekind. In someplacesthe we read5: I Marbleis not produced everywhere grainslike salt, and thiskindwhencrushedand lumpsare foundto containtransparent in plasterwork. In placeswherethisis not found,the groundis extremelyserviceable brokenbits of marbleor I chips11as theyare called,whichmarbleworkersthrowdown and usedin plasterafterbeingsifted. Instill as they work,may be crushedand ground therearemany andEphesus of Magnesia otherplaces,- forexampleon theborderland placeswhereit can be dug up all readyto use, withoutthe needof grindingor sifting, but as fine as any that is crushedand siftedby hand". ProfessorVenturini,directorof ' VITR., 2, 5, 1. (The translations are those of M. H. Morgan, 1914). See also PLIN., nal., 36, 174, who agrees with this passage. 2 VITR., 7, 2, 1-2. 3 PLIN., nat., 36, 176: n intritaquoqueea quo veaediumlegibusinvenitur tustior eo melior,in antiquorum ne recentioretrimautereturredemptor. 4 PUN., nal., 36, 177: In Graeciatectorisetiamharenatumquo inducturisuntpriusin mortarioligneisvectibus marmoratiest in subigendodonec subigunt.experimentum calxrutrononcohaereat,contrain albarioopereut macerata ceu glutinumhaereat.macerarinon nisi ex glaeba oportet. 5 VITRI2 7, 6

EMILYL. WADSWORTH the Schoolof AppliedDesignin Rome,has analysedand experimented on stuccountil of the stuccoof theAugustan he is now able to producea perfectimitation age. Instead of pulverized marble,he usescalc-spar(calcitespatica),a calcium carbonate, madeupof whiteor yellowish transparent crystalsin a rhombohedral system. It is stillfoundin abundancenearTivoli1andVenturinihaspointedoutthe factthatcrystalsof it can be distinguishedin muchof the Romanstucco.He concludes,therefore, thatit was probably to this mineralthatVitruviusreferredby I marblewith transparent grainslike salt 1. Gypsumis anothermaterialwhichis sometimes mentioned as beingusedin stucco. It is a calciumsulphateand whencalcinedand groundto a powderbecomesplasterof Paris. If mixedwithwaterto forma thin paste,it setsrapidlyand expandsat theinstant froma mould. of setting,a peculiarity whichcausesit to take sharpanddelicateimpressions whenmoistened, mustbe usedimmediately, as it hardens Pliny2 says thatgypsum, rapidly; if so desired. He furtherstates: I It is very usefulin but that it can be repulverized stuccoworkandgivesa verypleasingeffectwhenusedforreliefsandcornices 1. Vitruvius3, in cornices,I lest, by setting on the otherhand,is emphaticagainsthe use of gypsum too quickly,it shouldkeeptheworkfromdryinguniformly '. Inview of theseopposing thatgypsum wasused-and,moreover, itseemsprobable forVitruvius usedfrequently, opinions, a serious if he had notthoughthatwhathe considered wouldnothavebeen so dogmatic, or reliefscastfrommoulds, was all too prevalent.Cornices defectin interiordecoration when madeof gypsum,wouldbe cheaper,andcouldbe moreeasilyandquicklyexecuted. At the sametime,they wouldproducemuchthe sameeffectas those madeby more for methods.Its greatestdefectwasits comparative laborious fragilityand it is doubtless this reasonthat the Romansavoidedusingit in theirstuccowork. Some of the later of gypsum andtheyareaccordingly friableandlesswellpreserved. showa percentage stuccoes are mentioned Severalothermaterials by classicalauthorsas beingusedin stucco. its settingqualitieswere regulatedand toughened Insomeinstances, by milk4, as in the earth5to whitenthe Templeof Minervaat Elis. Milkwas also usedwith Selinusian 1 Prof.Venturinihas called attentionto the fact allied to limestoneand especiallyvaluablefor reliefs and cornices,and thatthe best kindis that which is found been have this calc-spar of that crude lumps specular. in largequantitiesin a housein Pompeii(new exca3 VITR., 7, 3, 3: in hisque(coronis) minimegypsum vations). arisesconcerning debetadmisceri. . . uti ne praecipiendonon patiatur 2 PLIN.,nat.,36, 183. A question uno tenore opus inarescere. of it Pliny'suse of thewordgypsum.His description 4 PUN., nat., 36, 177: Elideaedisest Minervae andsetsrapidly impliesthat in thatit is kin to alabaster, qua fraterPhidiaePanaenustectorium induxitlacte et he knewto whathe wasreferring.But he also saysin refersmorespecithis passagethatit sometimeshas a grain likemarble crocosubactum.However,thispassage fically to is plaster than best for stucco to stucco. very the that and is very hard,and ' PLIN., nat., 35, 194: lacteicolons haec et aqua thatwhichis specular.It is possiblethathehereconfuses with gypsum. diluicelerrima, eadem(terraSelinusia) lactedilutatectocalc-sparor someothercalciumcarbonate riorumalbariainterpolantur. See alsoISID.,XVI, 3, 9, whereit is said thatgypsumis

STUCCORELIEFS wasparaetonium 1, whichPlinysayswasthemostunctuous composition.Anotherwhitening as a coatingforplasterbecauseof its smoothness 2. of all whitecolorsandthemosttenaceous are not givenby Vitruvius,and it is for thesevariousingredients The proportions morethanlikelythatthey couldnot havebeengivenwithexactness.He onlysays'that the materialshouldbe so temperedthatwhenmixedit doesnot stickto the trowel,but themanwho madethe the ironcomesout freelyand cleanfromthetrough.Doubtless, stucco,like manya cook,tooka littleof this and a littleof that and mixedit I until it lookedright". ProfessorVenturinigivesthe followingas his formulafor stucco4: one partold lime two partscalc-spar. beforethestucco that we learnhowa roomwasprepared It is also fromVitruvius" was applied. First,the vaultings unlessa flatcofferedceilingwasprewereconstructed, a sandmortar, a rendering coatwasapplied-then ferred. To thelowersideof thevaulting, and finallythe plasteror stuccomadewith marbledust. After this last coathad been wereset alongthe springof thevault. I Then1, he says, polished,theimpostmouldings I havingfinishedthe mouldings, coat to the walls,andafterapplya veryroughrendering coat getsfairlydry,spreaduponit the layersof sandmortar, wards,whenthe rendering and at the angles exactlyadjustedin lengthto rule and line, in heightto theplummet, for paintings.Whenit to square. The plasterwill thuspresenta faultlessappearance of gets fairlydry, spreadon a secondcoat,and thena third. The betterthe foundation sandmortarthatis laid on, the strongerand moredurablein its soliditywill be the coat have besidestherendering plastering.Whennotlessthanthreecoatsof sandmortar beenlaid on, thenwe mustmakethe mixturefor thelayersof powderedmarble.After this powderedmarblehas been spreadon and gets dry, lay on a mediumsecondcoat. 1 PLIN.,nat., 35, 36: e candidiscoloribus pinguissimumet tectori tenacissimum propterlevorem. 2 GEO. P. BANKART(Art of the Plasterer)mentions the use of rye dough,juice of figs,hog'slard, curdled milkand bloodby the ancientsin regulating the setting qualitiesof theirstucco. He givesPlinyas hisauthority (withoutreferences).I can find no evidencefor his statement.PLIN.,nat., 36, 180, in mentioning medicinal remedies derivedfromlime, givesinstructions for using hog'slard,liquidresin, honey,as well as vinegarand oil of roses. In 36, 181, he mentions Maltha,a cement, whichmayhavebeenusedfor sealing,madewiithhog's lard andfigs. Whateverthe object of this cement,it wa, not used on walls, for the substanceon whichit was used had to be rubbedwith oil first. In 35, 181, he says thatbitumenmixedwith barleymealmakesa peculiarkindof plaster,but this is surely not a stucco plaster. 3 VITR.,q7, 3, 6. 4 TITO VENTURINIPAPARI, La Pitturae I'Artedegli Stucchial tempodi Augusto,Lecture,etc., Rome, 1901; et Memoires,Fond. E. Piot, XIV, BuLARD, Monuments 1908, p. 180, gives as the analysis of the stucco at Delos: 90.09 gr. calciumcarbonate " .4.7 silica . 2.4 n aluminiumand iron . . 1.51 n magnesia. . water 5VITR., 7, 2, 2, and 7, 3, 1 ff.

EMILYL. WADSWORTH Whenthathas been appliedand well rubbeddown,spreadon a finercoat. The walls beingthusrenderedsolidby threecoatsof sandmortar and as manyof marble ', willnot be liableto cracksor to any otherdefect. And further,suchwalls,owingto thesolid foundation givenby thorough workingwith polishinginstruments, and the smoothness of it, due to the hardand dazzlingwhite marble,will bringout in brilliantsplendorthe colorswhichare laid on at the sametimewith the polishing no It is interesting to note thatthreecoatsonly are prescribed forvaults,whileseven are for walls. Stuccoreliefswere usedprimarily on vaults,andthosewhichare broken so thatthey can be examined, do notshowmorethanthreelayers. The majority of the paintedwalldecorations also do not havemorethanthreeandsometimes onlytwo. Venturiniarguesthat duringthe Augustanage a three coatstandard,in preferenceto the morecomplicated sevencoat one of Vitruvius, was used for frescoesand stuccoreliefs alike. Thismayhave beenactuallythe case,but it seemslikelythatthesevencoatswere considered, by thebestauthority, to be preferable, butonlyforwallpaintings.Thiswould be necessary becauseof the hardand highlypolishedsurfacewhichwasdesired.Stucco reliefs,on the otherhand,wouldneed merelya rendering coat and the finalcoat,with an intermediary one if the stuccoworkerso preferred, for vaultswerenot subjectedto the samewearand tearas the walls,neitherwere they polished.The samewould be true also if the vaultswere decoratedwith frescoesinsteadof reliefs2. As for the relief decorationitself3, whether on vault or wall, it was made directly upon the top layer of plaster, while the latter was still damp and soft. It was applied in one of two ways, which differed slightly, accordingto whether the backgroundof the reliefs was plain or colored. In the firstcase, which seems to have been the moreusual one, the outlines of the general design were sketchedupon the surface,in most instances from a patternor cartoon. This was especiallytrue when the design was formedby means of mouldings. As for the mouldings,they were applied upon the sketched lines, before the larger spaces and panels were decorated. Mouldingswith a simpleprofile were run, while enriched ones - the egg and dart, wave, water-leaf, etc. - were applied in strips from moulds or else a mould was pressed upon the plainmouldingswhich had previously been run. Sometimesthey were retouchedby hand or by tools. In a few cases the design may have been made by hand without the use of a mould. However, the regularityof the patternsand the numerouscases where the imprintof the mouldcanstill be detected4 1 PLIN., nat., 36, 176: Tectorium, nisi quod ter harenatoet bis marmoratoinductumest, numquamsatis splendorishabet. 2 On the few painted vaults I have been able to examine,there is no indicationof a polish, let alone a highly waxed polish. 3BLUMNER,Technologie u. Terminologie, 11,pp. 139ff. The bulkof my information has beengainedfrom studyingthe stuccoesthemselves andmodernmethodsof modelling. 4 IntheFarnesina reliefs,theimprint of themoulds beclearlyseen,evenin thephotographs. See P1.11,Fig.1.

STUCCORELIEFS the smaller onesused arguesagainsthe lattersupposition. Separateornaments, especially in repetition,such as rosettes,masks,swans,centaurs,griffins,amphorae, etc., were also formedin moulds,appliedand pressedwhile dampinto the stucco1background by hand and tools. They were likewiseretouched,especiallyif they were rosettesor wouldoccupy prominentplaces in the decorativescheme. In this way, each motive,thoughseemingly was individualized of mechanicalreproduction unimportant, and lostthe appearance which it wouldotherwisehave had. Landscapes,mythological scenes,grotesquesand the otherelementsin the decoration were then sketchedin the spacesdesignedfor them. Stucco was applied by hand to 2, and modelledfree-handas a sculptordoes to-day,by fill in and cover these sketches tools and fingers. The reliefsmightbe high or low. At timesthe background itselfwas modelled,or a part of the designwas merelysketcheduponit, to givethe effect of persthe case with landscapebackgrounds', pectiveor very low relief. This is particularly anddraperies of bacchantes.Incisedlinesweresometimes wingedfigures,delicatearabesques 4, but this was a shortcut methodto avoiddelicatemodmade on the reliefsthemselves elling, and was not done in the best work. The artistworkedsurelyand swiftly,for mistakescould not be easilyrectifiedafter the plasterwas dry. If by any chance,the plasterhad dried before the reliefswere was scratchedor pittedto give a purchaseto the applied,the surfaceof the background stucco. In severalinstances', the reliefshave not adhered,but in the majorityof cases, it is as difficultto breakoff a figurein relief as it is to breakthe wholelayer of plaster. The processdifferedslightlywhenthe reliefswere appliedto a coloredbackground. In that case, the surfacewas firstpaintedand, if on a wall, polished. The hard, dry groundhad to be thoroughly roughenedto receivethe wet stucco. The latterwas modelled as describedabove, but with the differencethatit couldnot be workedin with the background. The figures,which couldnot be veryelaborate,and were usuallymerelysingle motives like amorini,animals,or conventionalizeddesigns,had to be clear-cutlike cameos, and in comparatively high relief to offsetthe coloredbackground.There are fewer of these reliefson colored groundsthan there are of the pure white. 1 BLUMNER, op. cit., pp. 150 f. saysformsof wood or someothermaterialwere probablypressedinto the stuccosurfacewhileit wasstilldampandfor thisreason so manyfiguresandornaments arealikein somebuildings. After the impressionwas made,the ready and dried reliefwasfastenedto thesurfaceby mortar.The surface of themouldedreliefwhichwaspressedto the wallwas left roughso thatit wouldadherebetter. Thereis no evidencefor thisin thestuccoeswhich I haveexamined.Instead,the retouching of the relief afterit was pressedinto the wall showsit was applied while damp. 2 In several cases,thesesketcheswere not covered entirelyby the plaster;in otherstheplasterhasdropped off, revealingthelinesbeneathin thestuccobackground. ' See Farnesina reliefsespecially,Pls. 1, ff. 4 See Tombof the Valerii,PIs. XX, ff. I See reliefsof theFarnesina andUnderground Basilica, PIs. 1, ff., and XXXVI, if.

EMILY L. WADSWORTH Colorand goldleaf were oftenappliedto the stuccoreliefsand also to the backafterthey were completedand dry. Naturallythe goldleaf has disappeared, grounds, but excavation alongwithplaceswherereliefandall recordsand a few minutepatches1 and substantiate to some have beenhackedoff to obtainthe gold2, proveits popularity remarkthat vaultsand wallsin his day were like so many degreePliny'sextravagant or gold platedvases. The colorhas been betterpreserved,especiallyin underground buriedrooms.It was appliedby brushor, as wasoftenthecase whenvery smalldetails itself. Thislattermethod was mixedinto the composition had to be coloredseparately, savedtimeand gave greaterprecision. withthe stuccoreliefsare found,at times,marineshells,glassmosaics, Incombination stones. The firsttwo are commonin Pompeiiand seem enamelsand even semi-precious in privatedwellings,andin vaultsof to havebeen very popularfor the nichefountains were alsoprobably usedin the vaultsof palaces 4. The mosaics publicor privatebaths and pastesimiand villas,as we readin classicaliterature5.Precioustonesor enamels but whenthey were, they musthave tatingthemwere evidentlyusedmoresparingly, and have produceda gorgeouseffect6* eclipsedthe simplereliefdecoration as thereliefs,cannot be classified madeof thesamematerial although Stuccocornices, betweenthe with themas they are primarily architectural. They oftenforma transition reliefson the wall and thoseon the vault,or betweenreliefsand frescoes.Sometimes, bucrania, amoin relief7, suchas rosettes, dolphins, by smallornaments they areelaborated rini,etc. These motives,whenusedon cornices,can not be consideredas reliefs,but as eggsanddarts,dentilsor waterleaf designs. in thesamecategory merelyas enrichments, Thereare hundreds of examplesof thesecornicesin Rome and Pompeii,of excellent and high artisticquality,but they are outsidethe scopeof this article. workmanship This is true of the Republicanhouseson the Palatine. I 2 Ibid. 3 PLIN.,nat.,33, 57. See also,HOR.,carm., 11,18, 1: Non eburnequeaureum Mearenidetin domolacunar. I Bathsof Caracalla, MIDDLETON,Remainsof Anc. Rome,11,p. 162. 5 PUN., nat., 36, 189. In speaking of mosaicsthe authorsays thatsincethetimeof Sullawhenthey were firstintroducedthey haveleftthe groundforthe arched vaultsof buildings. 6 In one of the vaultsunderthe FlavianPalaceon the Palatine, there are roundedbits of lapis lazuli inlaid in the stucco. 7 See cornicesin the Villaof Liviaat PrimaPorta (P1.X, Fig. 1), Tombof thePancratii (Pls. XXV, ff.), and the Tombof the Valerii(Pls. XX; XXI, Fig. 1; XXIV, Fig. 2).

STUCCORELIEFS THE FARNESINARELIEFS. In 1879 duringtheconstruction of the rightembankment of theTiber,theremains of a Romanhousewereuncovered in thegrounds of theFarnesina Villa. Itselaborate ground planandinterior decoration showedthatit hadonce beenthe homeof a personof unusual wealthandartistictaste,whileits construction of opusreticulatum withcorners anddoorposts of rectangular blocksof tufadate it duringtheperiodof JuliusCaesar1. Unfortunately, the househad to be destroyed, but the wall paintingswere carefullyremovedand the thousands of fragments of stuccoreliefsfoundamongthe debrisof threesleepingrooms werecarefully gathered togetherand set in bedsof plasterof Parisof thesamedimensions as the originalvaults. Both wall paintings2 and reliefs3are now on exhibition in the the latterare in six cases,eachcaseconNationalMuseumin Rome. Forconvenience, taininghalf of a vault,the divisionbeinglongitudinally alongthe crown. The stuccoeshow a beautifullightcreamcolored*surface with no tracesof polychromy,and havea smooth,close-grained texturesuchas is foundin no otherexample. The modelling is delicateand restrained, yet full of life and spirit. The three vaults4are similarin designand techniquealthoughone is largerand moreelaboratethanthe others. The artistmadethe divisionsof thedesignsubservient to the decoration of the compartments themselves by usingfine mouldings of low and delicateprofile.The mainemphasis restson the pictoral reliefsanddecorative ornaments of these compartments. The former,that is, the pictorialreliefs,are given prominent placesin the generalschemenearthe springof the vaultswheretheywouldeasilycatch the eye of the observer,while the latter,varyingin phantasy and importance, fromvictoriesand buststo candelabra and plantmotives,fill the intervening spacesand makea gradualtransition to the centerof the vaultwhich is the weakestpoint in the design. In thislast respect,thesevaultsare almostunique,for,exceptin caseswherea rhythmic patternis used,thereis usuallya centralfieldormedallion, which,whateverits size or shape,standsout with isolatedclearness.The variousfieldsand theirornaments are symmetricallyarranged in respect to the longitudinalaxes of the vaults, but rigidity is ' VAN DEMAN, A. 1. A., 1912,p. 248. See above p. 13. 2 R. PARIBENI, Guida, Museo NazionaleRomano, 3d ed. No. 700 ff. MAU,Ann.Inst.,1882,pp. 301 ff.; 1884, pp. 307 if.; 1885, pp. 302 ff.; Mon. Inst.XI, Pls. 44-48; Xll, Pls. 5-8, 17-34. 3 R. PARIBENI, Ibid.,No. 434 ff. 4 LANCIANI, N. S., 1879,p. 267; 1880,p. 127,suppI. PIs. 32-36; LESSING-MAU,Wandund Deckenschmuck eines Romischen Hausesaus Zeit des Augustus;BARNABEI,N. S., 1895,pp. 39 ff.; ROSTOWZEW, Rom. Mitt., 1911, pp. 34 ff.; K. RONCZEWSKI, im Gewuolbeschmuck Rdmischen Altertum, pp. 25 ff.

EMILY L. WADSWORTH avoidedby varietyin treatmentand irregularities of minordetails. So we find in all threevaults examplesof unfinished endsof ornamental friezesand acrossthe middleof the largerandof one of the smaller whichis architecturally ones,a composition impossible. The largevaultis perhaps the mostinteresting as well as the mostdecorative(See Pls. I-V)'. Alongthe loweredge of eachside of the vault,justabovethe corniceline, runsa frieze,approximately 3.50 m. longand.55 m. high whichis treatedindependently of the rest of the vault. It is dividedinto threepanelsof whichthe middleone is a littlemorethanhalf as longas the oneswhichflankit. All three are bordered by a delicatewave moulding.The centralpanelshaveadditional plainmouldings, set within at a distanceof 5 cms.whichemphasize the importance of the reliefsthey frame. In one of the middlepanels(See P1. I, Fig. 1 and P1. II), we havea groupof threefiguresin higherreliefthantherest of the vault. On theright,seatedon a throne, is a malefigureof heroicsize, clothedin a long chitonof heavywoolenmaterial with an Orientalnote in its longsleeves. He wearsa plaindiademand sandals, and hashis righthandraisedwith indexfingeroutstretched in an attitudeof authority.The upper partof his bodyis goneand all attributes to identifyhim are lacking,butfromhissize and attitudehe mustrepresent a god. Beforehimstandsa youth,witheasypose,holding outhisrighthandas if in supplication. He is nudeexceptfora chlamys overhisshoulders, whichfallsdownbehindhimin gracefulheavyfolds. In his left handhe holdsa staff or a spear. His head, with its shortthicklocksand cleancut profile,is distinctly Greek in character.At a shortdistancebehindhim standsan elderly,beardedman, resting heavilyon a long staffwhichhe holdsin bothhands.He wearsa shortDoric chiton, openingat the rightside, anda simplechlamys,and on hisfeet highlaced sandals.He alsoholdsin his left handwhatseemsto be a swordanda belt. His features areso full of lifeandso realisticthatone canfeelthe intensity of his interestin thescenebeforehim. The modelling of his bodyis excellent,givingtheimpression of age withmuscular activity in contrastto the firmroundflesh of the young man. The draperyof the figuresis exceptionally goodwith a distinctfeelingof realityand texture. The modellingof the humanformis verywelldone,although therearea fewawkward places,suchas the uplifted armof the god. The sceneis dramatic in its simplicity.The actorsstandon thelower frame of the compartmentand there is no background,except for the faint suggestionof a column above and between the two standingfigures. Petersenhas identified this relief in connectionwith the others fromthe same vault as being a scene of the Phaethonmyth2* He interpretsit as Phaethonaccompaniedby a servant or armor bearerbegging his father, I See also GUSMAN,L'Art De'coratifde Rome, 11, PI. 72 (a). 2 PETERSEN, Rom. met., 11, 19 if.; WILAMOWITZ, Hermes,XVII (O883), pp. 400 ff. Mitt., 1895, pp. 67 ff.; OV1D,

STUCCORELIEFS in thisinterpretation is thatin none Helios,forthechariot of the sun. The onlydifficulty of the versions of the storyis thereevidenceforsucha servant. The corresponding panelon theothersideof the vaultis badlymutilated (SeeP1.I, Fig.2), buttracesof two femalefiguresanda horseandchariot canbe madeout. With the abovemythin mind,thismaybe identified the as the sistersof Phaethon preparing chariotforhim. in subject The largerpanelto theleft of the former reliefis morecomplicated (See PI.I, Fig. I andP1.V, Fig.1). At eitherside,in theforeground, thereis a projecting cornice supporting a winged, bearded sphinx, theSerapis resembling type,onwhoseforehead is the lotusbudcommon aresupported in representations of Isis. The cornices by nude malefiguresin highrelief,representing smallcalyxshaped Zeus,carrying ontheir capitals heads. Bothof the figuresare damaged, butas theywereevidently replicas,theycan be restored by comparison witheachother. Eachstandsin an easy attitudewith the weighton the leg nearerthe spectator.In the nearerhandwhichhangsat his side,is a fillet. The otherhandis outstretched, carrying aneaglewithoutspread wingsas if on the pointof flight. The heads,whichare beardedandhave longhairknottedat the napesof the neck,recallSerapisheadsratherthanthe regular Zeustype. Behindeach Zeus,therehangsfromthe corniceby a ribbon,a tamborine withtasselsdangling from the rim. In the background, at rightanglesto thesecornices, thereis a secondpairof in lowerrelief. Theyreston hermswithbeardedheadsof the Serapistype cornices andsupport two largeflutedjarswitha tallhandle.Fromthecenterof theupperframe of the panelhangsa pipeof sixgraduated of oakleavesand reedsanddelicate festoons acornsdrapedto eachof the maincornices. All thisis merelya foreground andframeforthe mainpartof the relief,whichis purely pictorial andpastoral in character.It evidently represents a sacredshrine consisting of two towersandseveral porticoes crowning the top andsidesof a verysteephill. In the background is a twistedandgnarled sacredtree. Beforethe left handtowerof the shrine,a womanis feedingor pattingan animal a dog. To therightof the resembling a man,hoodedandwitha shortunic,girtabouthis waist,is leaningforward shrine, as if to welcomethe womanwhois ascending the hill to the shrine.The foreground is buttwo realistic bullsanda thirdanimalmaybe distinguished. damaged, The corresponding panel (P1. I, Fig. 1) on the rightend of the friezeis too badly damagedto determineits content. Only the top of one corniceis left with a winged griffincrouchingon it insteadof a sphinx,as we had in the previouspanel. The left hand panel (See P1. I, Fig. 2 and P1. III) of the other half of the vault is the clearestone of the series, althoughit, too, has not escapedinjury1. The cornices I ROSTOWZEW, Rom. Mitt.,1911, p. 36.

EMILYL. WADSWORTH on smallbaseswithno indication are supported of by Hermesfigures,gracefully standing the weightthey are supposedto be carrying.Each holdsan elaborated caduceuswith hand. This is theonly attribute a wingedhandlein hisfurther by whichone canidentify the god. Fromhis shoulders hangsa heavycloak,weightedat thecornersand brought bustsof the Julianfamily acrosshis chestin a loose fold. The headrecallsthe portrait we haveanotherrusticshrine. in type. In the centerof thepanel,on a slighteminence, Thereis. the usualsacredtree and in a smallcircularenclosure,a sacredcolumnwith crookfastenedto the centerof the shaftby a an Ioniccapitaland with a shepherd's fillet. Besidethe columnis an elaborateroundtowerand an openporticowith festoons and acroteria.The formeris threestoried,havingmerelya doorin the firststory,two narrowwindowsin the secondand five in the top. The toweris also decoratedby betweenthe storiesand is surmounted plainmouldings by a conicalroofwithanornament shapedlikea pine coneat theapex. Above and to the leftis another groupof buildings on twoof composedof a tall squaretoweropenon one side, andflankedby propylons theothers. The twotowersareconnected by a coveredpassageway, verylightlymodelled. Threepeopleare climbingthe steepflightof stairsleadingup to the roundtowerfrom theleft: thefirst,a woman,bearson her heada mysticvannusor winnowing fan;behind her followa secondwomanandboy. In the centralforeground therearethreebullsand a goat,similarto the animalsin the firstpanelof the series. The fourthand last panel(P1. 1, Fig. 2) is very fragmentary. The cornices were supported by femalefiguresrecallingthe Caryatidsof the Erechtheum.Each wore a long chitonand held a sprayof wheat in the furtherhand,and thereforemay have represented Demeter.The thumband forefinger of the otherhandheld theskirtslightly lifted. Fragmentsof a semicircular a sacredtreeand severalhumanfigures colonnade, show that the centerof the relief was similarto the othersin style and subject. of the compartments The designand arrangement abovethe lowerfriezesare more complicated.Insteadof waves, the mouldingsare decoratedwith eggs and darts. Near the cornersof the vault are large squarefields containingsunfaces with radiatingfluted rays, a motivesuitableto the Phaethonsubject. The anglesaroundthe suns are filled by a conventionalized palmetteand scrolldesign. Proceedingupward,we have a band which crossesthe vault and is bent aroundthree sidesof the sun compartments.Its verticalsectionsare filledby candelabra motives,alikein generaldesignbutdifferingin minor details. Over the suns are sphinxgrotesquesfacingaway froma small centralfigure,a femalefigurebearinga pateraand poisedon a plant calyx. The longhorizontalsection in the centeris decoratedwith a gracefuland symmetricaldesignof sphinx grotesques combinedwith plantarabesques.In no place is the skill of the Romanstuccateurmore evident,or the delicatereliefsmoreexquisitethanin thisband. A patternwas evidently

STUCCORELIEFS followedfor each side of the vault,but different workmeninterpreted it, eachin hisown way and according to his own skill. Consider,for instance,in P1.I, Fig. 1, the three sectionsaroundthe righthand sun. In the two candelabra the artistinsertedtouches whichwere not requiredby the pattern.Two birds,perhapscockatoos, are introduced into the generaldesignas well as bell shapedflowersand extra little curlingtendrils. Such little toucheswouldscarcelyhave beenevidentin the wholedecorative schemeand showartisticexuberance on the part of the modeller.The same thingis true of the corresponding partof the otherside of the vault(P1. 1, Fig. 2). Here we have two birdsof a different species,but as charmingly gracefulas the others,if notmoreso. Then, abovethe sun,we havea curious hybridresembling a griffin, but with a humanbearded headand long curlinghorn. Above the centerof each side of the vault,thereis a smallsquarepanelwith a woman'shead and shoulders in comparatively highrelief,making it standout as one of the important featuresof the vault. The one in P1. I, Fig. 1 is realisticenoughto be a portrait.Her hairis rolledbackto the napeof herneckin a smallknotand a cloak is wrappedabouthershoulders in manyfolds. The secondbustis different (P1.1, Fig. 2 and P1.II,Fig. 2). The hairof thewomanis gathered in a looseknotover herforehead, afterthe fashionof the ApolloBelvedere somewhat 1. In her right handshe holdsa conventionalized flowerin the mannerof representations of Persephone. At eithersideof the heads, are tall narrowpanelswith armorbearingVictories (P1. II, Fig. 2 and P1. IV, Fig. 1)2. With theirlonggracefulwingsand theirtunics swirlingaboutheirankles,theystandon theirtoes likesomeof thefigures in theCampana reliefs3. The Victory on the right holds a crestedhelmetbefore her with both hands, while her companionon the left is sheathinga sword. The modellingsof the bodiesis generallygood and convincing,with the exceptionof the rightarm of the firstfigureand the clumsyfeet and anklesof the second. As usual,there is the individualtouch in the braceletand varietyin arrangement of hair and draperiesof the former. The Victories on the other side of the vault were evidentlymeantto be replicasof the firstpair, but they are unfortunately badly damaged. On eitherside of theselatterpanels,therewere T shapedfields,the horizontal barsof whichwere formedby two griffinsor sphinxgrotesqueson either side of a tall candelabrum similarto thosementionedabove. These candelabralsoservedto formthe stem of the T. The crownof the vaultis missingfor the mostpart,so the designis merelyconjectural, but thereseemsto be no evidencefor a realcentralpanelor motive. InP1. I, Fig. 2 we see in the extremeupperrighthandcorner,the fragmentary remainsof a wingedVictoryseated 1 GUSMAN,L'ArtDecoratif de Rome,11,Pl. 36. 2 Ibid., PI. 36. 3 CAMPANA,Anliche Operein Plastica,1; ROHDEN, Die AntikenTerrakotten, Pls. IV, 2, X.

EMILYL. WADSWORTH on a plantvolute,andpouringa libationintoa patera..Therewas doubtlessa corresponding figurefacingher on the otherside of a centralconventionalized plantdesign,an arrangement often foundin terracotta reliefs'. In examiningthe reliefsof thisvault,it is interesting to note the evidencesof different whichhasalreadybeensuggested.Someof themodelling workmanship, is heavierandduller, as forinstance,in the candelabrumotivebehindthelefthandVictoryof PlateI, Fig. 2. All of the workaroundand nearthis field is lesswell doneand less artisticthanthaton theright end of the vault. It would give the impression that an apprentice or less skilledworkman happenedto be assignedthat section. The moreimportantlower frieze seems to have been modelledby a thirdmanwithrealartisticfeelingas well as technique. His versatility is manifestin the factthathe coulddo eitherhigh or low relief,animals,humanfiguresor landscapes. In the secondandthirdvaultsthere are differentmotivesand a differentarrangement of panels. The generalspiritof the decorationis Bacchicin character and less dignifiedbut and attractive. In the firstof thesevaults(Pls. IV, Fig. 2; V, Fig. 2; VI, fullyas charming Fig. 1), we havea narrowlowerfriezeof arabesquesin which the Bacchicpinecone has a prominent place,flankedby Cupidgrotesques.These latterfiguresarethe simplified expressionof the samemotivewe findin a friezein theLateran,belongingto the AntoninePeriod, wheresimilarCupidsare pouringlibationson eitherside of an amphora2. Above thisfrieze thereare two shorteronesseparatedby a largepanel. The friezeon thelefthasa continuous designof Arimaspigrotesques fightinggriffins 3, while the one on the right containsgriffins withstylisedVictoriesstandingbetweenplantscrolls4. alternating The largepanelsare veryinteresting, givinglandscapes in reliefwitharchitecture similar to the manywall paintings and mosaicsof Hellenisticorigin. Dr. Rostowzewhas discussed thissubjectat length,withexcellentillustrations, in hisHellenistisch-rosmische Architecturlandschaft5. One of theselandscapes is badly damaged,showingmerelyfragmentsof towers, sacredtrees,gatesandcolumns. The otheris almostentire(P1. IV, Fig. 2). On theright, upona steephill, we have a buildingwith two towers,in the doorwayof whichis a figure leaningforwardas if in welcometo a secondfigureascendingthe hill. At the foot of the slope,thereis a largesacredtree anda plaincolumnsurmounted by a roundobject. Before the tree andcolumnstand two women,one bentforwardas thoughreceivinga blessingfrom the other. Then,in the middleof the relief,standsa tall,plaintowerwithonly oneopening --a door-to theright. Connectedwiththisthereis a peculiarstructure, witha verysteeply I ROHDEN,op. cit., Pls. VIII,CXVIIIb. 2 GUSMAN,L'Art Decoratifde Rome, P1. 105. 3 ROHiDEN, op. cit., PI. XCIIIa, XXII, for similar motives in terracotta. I ROHDEN, op. cit., Pl. CVIIb, LXVIII,CXLIIa. 5 Rom. Mil., 1911, pp. 1 ff.

STUCCORELIEFS roofof oneplanewhichdoesnotgoarchitecturally withthebuilding.Twofacesof the sloping latterarerepresented, oneplain,theotherwithtwo verylongand narrowopenings.Two womenareapproaching thisbuilding fromtheleftand a thirdfromthe right. Behindthe building, thereis a sacredenclosurewith tree and columnsurmounted by a Priapusherm. At the extremeleft of therelief,on anotherheight,thereis anothersacredtreeanda gate witha figureleaningforward fromtheopening. Inthe foreground are sheep,plantsand a womanworshipping a herm. ofJapanese Themodelling of thelandscape hasthesimplicity sketches butis notintended forminuteinspection.The purelylandscape featuresarecalmandquietin contrast to the of thehumanfigures. movement To theleftof thisreliefandabovethefriezeof griffins andArimaspi, thereis a panel of thesamesize (PI. V, Fig. 2). Inthiscase,the landscape is subsidiary to thecharacters. of the Bacchicycle,areadvancing Two women,possibly or maenads froma treeon nymphs the lefttowardsa Priapushermto whichthey are bringingarlandsand offerings.The hermis on a highgarlanded pedestalandon theplatform beforeit is a thirdwomanholding a filletin onehand,andin theother,a mysticvannusladenwith fruits. Her dress,which haslongclose-fitting aboutherwaistin a knot. A thyrsus tiedwitha fillet sleeves,is gathered of thefigures leans,headdown,againsttheplatform at her feet. The pose and modelling is full of spirit. In thecorresponding panelto theright,thereis a secondBacchicrelief(P1I.V, Fig.2; eithera partof theritualor a simplesacrifice.Firstcomesa youth, VII),whichillustrates witha clothknottedabouthiswaist,playingthedoublepipes. Before-him, a woman,dressed likethethirdfigurein the lastrelief,is lightingtwo torchesat a blazingaltar. The altar, of roughstone,is filletedandstandsbeforea columndecoratedin like manner. A third torchleansunlighted againstthealtar. At theleftarethespectators; a fatSilenus,withhis thyrsus, leaningdrunkenly againsta largebase,and behindit, a veiledwomanpensively restingherchinin herhand. Inthe otherhalfof the vault(P1.VI, Fig. 1), thereare two corresponding reliefs,of whichtheoneontheleftis veryfragmentary. Portions of threewomenanda garlanded base showthatit alsowas a scenewithsacredsignificance.The lastpictureof thisgroup-the reliefon the right- is veryinteresting.On the right,is a garlandedcolumnset on a baseof two steps. Beforeit standsa figure,which,thoughlackinga head,appearsto be a woman. She has a queerdress1, withlong sleeves,gatheredin aroundthe waistand puffedoverthe hipsin bustlefashion. Besideher is a largebox-likestructure decoratedwith fillets. With I In a terracottarelief in the NationalMuseum,at Rome (ROHDEN, op. cit.,. Pl. XLVI), thereis a Bacchic scene with a woman attendantin a similardress,holding a vannusovera veiledyouth. Fromtherepetition of the knottedgarmentaboutthe waist,one wouldassignto it ritualsignificance also.

EMILYL. WADSWORTH a cultpicture,no doubt-to its contents bothhandsheholdsouta triptych, displaying twowomenundera treeat theleft'. Oneof thesewomenis seatedon a ledge,theotheris overherleftarm. Themodelling heranddraped withherhimation wrappedaround standing oneof Atticgravestelae. The subjectof the of thisfigure,withitsdignityof pose,reminds a cultsceneor a rite of theBacchic butdoubless represents relief,however,is notfunerary, assuchthecolumn this,unlessoneconsiders mysteries.Thereareno cultobjectsto determine 2. formunderwhichthe godwassometimes ananiconic worshipped heads. Theonein reliefsweresmallsquareswithportrait Abovethecentrallandscape type of Dionysus,butall thatnow P1. V, Fig. 2, mayhavebeen a womanor an effeminate is thehair,which,tiedbackwitha filletat thenapeof theneck,fallsin wavylocks remains overtheshoulders.All thatis left of the headin P1.VI, Fig. 1, is the noseand lightly beardedchinof a man. twowingedVictoriespouring Nearthe middleof thevaultwerelargefieldscontaining froma raisedhandintoa pateraheldin theother. Betweenthemstooda candelibations charmandeffectiveness can be seen motiveon a threefootedbase. Theiroriginal labrum in P1.V, Fig. 2. Poisedtip-toeon flowercalices,theyservedas fancifulcaryatidsto the draperiesandtheirlong moulding of thepanelabovethem. The swingof theirarchaistic gracefulas well as very well modelled. Theirattitude droopingwingsare remarkably reliefs,as forexample,Rohden,Vla, IX and others. recallsseveralof the terracotta in candelabrum The extremendsof thevaultaredecorated style. by plantarabesques Thoseon theleft in P1.V, Fig.2, andon therightin P1.VI, Fig. 1, showspecialartistic leftbetweenthelargeronesarefilledby variousconvenmerit. Smallsquarecompartments flowersandbudsconnected by scrolls. tionalizedesignsof rosettes, The thirdandlastvault3is so muchlike the precedingone thata detaileddescription of the panelsis identical The arrangement with theexceptionthatthethird is unnecessary. alongthe loweredge. The reliefsin the vaultlacksthelongfriezeof Cupidgrotesques in styleandspirit,whilethesubordinate decothoughcorresponding largerpanelsaredifferent in arrangement. especially rationhasslightvariations, piecesto thosein the secondvaultin spiteof the The twolandscapereliefsarecompanion fact thatthe one in P1. VI, Fig. 2 is heavierin modellingand on a largerscale. In this (P1. VIII,Fig. 1) 4~, we have a rockylandscapeanda streamspannedby a bridgewitha slightarch. On the bridge,thereare two womencarryingwater,one of whomis givinga 1 In a marble reliefin theLouvre(SCHREIBER,Hellenist.Reliefbilder, PI. LXXa), depictinga scenefrom the Bacchicrites,thereis a columnin the background with an open triptychset upon its capital. 2 FARNELL, GreekCults, V, p. 240. 3 GUSMAN, op. cit., Pls. 72b, 73. I RosTowzFwE, op. cit., pp. 36 f.

STUCCORELIEFS kneelingmana drinkfromherjar. At eithersideof thebridgethereis a groupof buildings; on theleft,a sacredprecinct boundedin frontby a roughlyhewnstonesandin therearby witha sacredpillarandtree. In the center a highwall; on the right,an opensanctuary with the stumpof a largebranchon of the formergrowsa tree, realistically portrayed a sacredgate the left side of the trunk. Anotherbranchon the righthas grownthrough formedby a columnanda pilasterjoinedby a lintel. This lattercarriesa largeribbed seenfromtherightfrontcorner egg-shaped jar. To theleftof thetreestandsa tallbuilding of a tower,with massivelowerpartand openupperstorycoveredby a a modification slantingroof. Againsthe frontof thebuildingis an openlean-toshedwiththreepostsas supportfor the roof. To the rightof the gate thereis a similar tower,massivebelow and openabovewith two windowsin the middlestory. Furtheron, we see a circular enclosurewith a tree and a pillaror baetyl. The enclosure has threeopeningsin the frontand is decoratedwith fillets drapedover the edge. The otherstructureto the rightof the bridgeRostowzewdescribesas being triangular', with the architrave concave on two sidesand convexon the'third. Tracesof a pilasteror pillarmaybe seen in the rearand it seemsreasonable to thinkthatthe sanctuary was meantto be square, but viewedfromone angleand frombelowand thatthepresentformwas producedby an artiststruggling unsuccessfully with his perspectives.The sacredcolumnhas large a largeegg-shaped, coveredjar. flutingsand supports The fourthrelief2 of thisseries(Pls.VI, Fig.3; VIII,Fig.2) resembles moreclosely in style thosein the secondvault. Againwe see a rolling,rockylandscape cut fromtop to bottomby a streamwhichis delineatedmerelyby the bridgeaboveandthe fishersin the foreground.Thereare threegroupsof buildingsin the relief. On the left, on a rockyhillock,thereis a towerseen fromthe left frontcorner. The lowerpartis massivelybuiltwithoutwindowsand with only a tall narrowdoorway openinguponan open areabetweentwo juttingwallswith window-like openingsat the front. On the front postsof thesewallsstandtwo roundjarswithcoversandsinglehandles. The upperpart of the tower,profiled at top and bottom,hastwowindowopenings by mouldings in each wall, while the top is coveredby a thatchedpentroof, supported by postsat the four cornersandopenon all sides. Garlandsare festoonedaroundthe towerfromthe lower coirnceline. Behind the buildinggrow two trees, one resemblinga date palm and the other with large spreadingbranches. In frontof the building,on a naturalrocky base standsa Priapusherm. In the centerof the panel there is a more complexgroup of buildingstandingupona podiumwith two projections.Upon the latter,restsa propylon closed at the sides and with a gable roof. This propylonleadsintoa circularstructure, the upperpart of which is piercedby windowsat regularintervals. Above andbelow I ROSTOWZEW, op. cit., p. 37. Ibid.,p. 35.

EMILYL. WADSWORTH the windowsare cornices,fromthe lowerof whichhanggarlands. This circularbuilding is open at the top and fromthe centerprotrudesa plain columnwith the customary eggshapedvase. Behind the buildinggrowsa large leafy tree. On the right the podium projectsas a broadlow platformto the bank of the stream. At each of the outer cornersstandsa herm. From behind,a low archedbridgeswingsacrossthe streamto the third groupof buildings. An awningis stretchedfrom the circularstructureto the centerof the bridge. A womanand child are crossingthe lattertowardsthe righthand bank. The buildingon this side, which is also on a rockyfoundation,is composedof a squaretower similarto the firstone mentionedin this relief, but lacks the top story. Instead,there are small ornamentsas acroteriarestingon the four corners. A propylon, open at the sides and with a gable roof, projectsto the right. Again thereis a tree in the background.In the foreground of the reliefthereare severalfiguresbeautifullymodelled and full of animation.One, a woman,is leaningpensivelyagainsta cornerof the podium of the centralstructure, recallingin her attitudethe figuresfoundin Attic grave reliefs. Nearerin the foreground are two womensacrificingat a rude, blazingaltar. On the other bankof the streamare two anglerson a rock. One, seated on the edge, is leaningover intenton his rod and line. The other,with shorttunic, hat and pouch,standsquietly, carryinghis rod over his shoulder. The Bacchicscenes are similarin techniqueand spiritto thosein the secondvault. In the first,the left hand one of P1. VI, Fig. 2, amongthe few remainingfragments can be distinguished, on the left, two women. One holds the mysticvannuswhile the other raisesthe veil with both hands. All that remainsof this latter figureis herright hand and wrist, with a trace of her long sleeve, and her feet. On the other side of the relief, we have a low altar piled with objectsnot easily identified. Beforeit kneels a womanon one knee. Her backis baredand her garmentsare broughtlooselyaround her hips. Close behindher standsa fourthwoman, who seems to be facingthe front, as far as the damagedconditionof the vault can be interpreted. In this relief, which he compareswith a scene fromthe frescoesof the Villa Item at Pompeii,Prof. Rizzo' sees an illustrationof an expiatoryor lustralceremonyconnectedwith initiationinto the DionysiacMysteries. In the other relief of the same half of the vault, we have in the center a typical fat Silenusleaningagainsta columnwith his legs crossedand his armsfoldedbehindhis back. He wears high boots,a cloak thrownloosely abouthis shouldersand, abouthis waist,a clothknottedin the fashionreferredto previously. Besidehimcrouchesa panther, which a womankneelingon one knee is petting. Behindthe Silenusare the fragmenI G. E. RiLzzo,DionysosMy3tes,in Memoriedella reale Accademiadi archeologia, letteree bellearti,Napoli, III, 1918, pp. 90 ff.

STUCCORELIEFS tarytracesof a womanwho is raisingor draggingto oneside the limpformof a youth. Near the columna branchrevealsthe fact that therewas also once a sacredtree. The thirdrelief,the left handone of the otherside of the vault(P1. Vl, Fig.3 and IX), is well preserved.Beforea columnand sacredtree, standsa Silenusholding a largemysticvannuswhichis coveredwith a veil. Infrontof him standsa childwith veiledhead,representing, perhaps,the youngBacchus. He wears high buskinsand a cloakwrappedaroundhim muchlikea toga. In his righthandhe bearsa thyrsus,tied witha fillet. Behindhim standsa womanwith the clothknottedaroundherhips. Her righthandis gone,but it evidentlyrestedon the child'shead. She looksbehindher, however,at a secondwomanwho is approaching withoutstretched righthand,whilecarryinga tamborine in the other. Betweenthemlies a mysticcista on the ground,and behindit, faintlyscratched in thebackground, canbe distinguished theoutlinesof a kneeling womanalthoughall the reliefhas fallenaway. In the fourthrelief,we havein thecenter,besidetheeverpresentcolumn, a youthful Satyr,seatedon a rockythroneover whicha fawnskinhasbeenthrown.His headis now gone,but he was evidentlylookingupwardand backward at a leafy boughof the sacredtree whichhe is pullingdownwithhis righthand. It is impossible to tell whether he is pickingsomething, or merelybendingthe branchover the head of the smallboy behindhim. This boystandserect,holdingin his righthanda thyrsus plantedfirmlyon the groundbeforehim. Fromhis bentleftarmhangsa tamborine or similarobject. He is nude,but an ivy leaf on his head showsthathe originally worea crownof thisvine. In frontof himstandsa womancarryingin her righthanda cup or patera,the outline of whichis still preservedin the stucco. At the rightof the relief,beforethe seated satyr,anotherof that tribeis pouringwine froma largeskininto a mixingbowl. At the extremeright,risesa rockyaltaragainstwhichhas been placeda thyrsusdecorated with a ribbonfillet. These last two reliefsProf. Rizzohas interpreted most convincingly as belonging to cult scenesillustrating the initiationof the younggod into his mysteries, in other words -we have herethe I DionysosMystesn'. The womenare the nymphswho nursedand rearedthe god in his infancy. The formerrelief would thereforeportray his introduction to the mysticvannusand cista,into the presence of whichhe is brought veiled2. In the lastrelief,the bendingof the boughover the headof the youngBacchus has also a ritualsignificanceof some sort, probablythat of purification. Of the two portraitbustsabove the landscapes, one (P1. VI, Fig. 2) is badly mutilated but it evidentlyrepresented a woman. The other(P1. VI. Fig. 3), which is beauRizzo, Mem. della Acc. arch., Napoli,11,1918, pp. 46 ff. I 2 See J. E. HARRISON,Prolegomena to theStudyof GreekReligion, Cambridge,1903, pp. 521 ff.

EMILYL. WADSWORTH tifullymodelledand purelyGreekin spiritand restraint, a manof theIndian represents Bacchustype with longhairand beard. It resembles very closelythe headof a priest in a Bacchicinitiationsceneon a terracotta placque(RohdenXLVI). Thissuggests that the two portraits carriedout the Bacchicidea of the vault. If thatwas the case, the headmayhaverepresented woman's AriadneKoreor someonelseconnected withthecult. At the top, in the decorative thevaultbetweenthetwo heads,there bandcrossing is a wingedGorgonheadrestingon a plantcalyx. This is the only clue in the two vaultsas to the centraldesign. The banditself,whichhas a distinctop and bottom, is structurally in its positionacrossthe crownof the vault. impossible Instudying thesevaultsone is struckby the mixedcharacter of the styleand decoration. The largerfigures of theindividuals -those in thereliefsrelating to thePhaethon myth- and thosewhichact as caryatids in the largervaultare reminiscent of Greek fifthor fourthcentury artalthough thesubjects seemto be takenfromthecycleof legends in Alexandrian popular times. The Zeus and Hermesfigures,in particular, areidealand full of Greekrestraint.Then, the eight Bacchicscenesare comparable to the genre scenesfoundin Pompeian wall paintings of the secondstyle. In manyrespects, butespeciallyin subjectand pictorialbackground, they approachthe so-calledHellenistic reliefs'. Thereare also the stylizedVictoriesresembling figureswhichappearin the Neo-Attic reliefs2,although they are not quiteas stiffin treatment.The libation-pouring Victories, on the otherhand,are almostexact replicasof figuresappearing in theArretinevases3 The purelandscapes, whichare very like the paintedonesfoundin the secondstyleof walldecoration, remindone,by theirpastoral quality,of the Idyllsof Theocritus andother Alexandrian literature.The grotesques, whicharehighlydecorative, illustrate thedelighthe Romans hadin phantastic figures.The plantarabesques, candelabra andotherminormotives recallthemarble reliefsof theperiodof Augustus, suchas theAra Pacis4, FonsJuturnae', andif onemakesexception of theirillusionistic thoseof theTombof the Haterii6. treatment, The cleverhandwork and qualityof thestylewouldseemto indicatea Greekartist, and it is morethanprobablethat this was the case, for on one of the walls of this houseis scratchedthe phrase:I Seleukosdid thisft . One feels certainthatthe mind whichdirectedthedecoration of the wallsdidthatof thevaultsalso,forthesamemotives and character appearin both. 1 SCHREIBER,'Die Hellenistischen Pls. 1, Reliefbilder, II, ff. 2 HAUSER, Die neu-attischen Reliefs,pp. 128if. 3 G. H. CHASE,Catalogue of ArretinePottery,Nos. 1, 3, 29, PlS 111,VI, X, and, pp. 23 ff. ' GUSMAN, L'ArtDecoratif,25, 99. 5 Ibid.,Pi. 90. 6 Ibid.,P1. 15. 7 LESSING-MAU,op. cit. p. 5.

STUCCO RELIEFS VILLA OF LIVIA. the Villa of Livia at PrimaPorta comesnext,as it datesfrom Chronologically, the periodof Augustus of the stuccoed vaultfoundin oneof therooms t, buttheremains are almostoo fragmentary for discussion(Pi. X, Fig. 1). A corniceof the waterleaf the vaultfromthe wallsand outlined the pattern,in whiteon a blue ground,separated lunettesat the endsof the room. Abovethecornice,alongthe sidesof the room,there borderedby egg and dartmouldings.Everysecond was a row of squarecompartments squarehada scenein whitereliefon a whitebackground.Severalof theseshowtraces malefigure. The alternating of a seatedfemalefigurewith a standing panelshadwinged in whiteon blue backgrounds. The stuccois too badly Victoriespoisedon candelabra reallywas,butthecomposition damagedto give any idea of whatthe styleand tecnique vaults. seemsto be as fineand firmas thatof the Farnesina FRIEDRICH LOHR, Trans Tiberim(1915), p. 15, VAN DEMAN,A. 1. A., 1912, p. 390.

EMILY L. WADSWORTH TOMB OF LUCIUS ARRUNTIUS. On theVia Praenestina, justinsidethePortaMaggiore, wasoncesituatedthe tomb1 constructed by L. Arruntius, the historianof the PunicWarsand consulin 6 A. D., for his slavesand freedmen.Unfortunately, althoughit was destroyedfairlyrecently2, andphotographs werenotmade,so we haveto relyon thedesignmadeby properdrawings fromthe drawingsof Piranesi3.The designremindsone of the Farnesina Ronczewski it is muchsimpler vaults,although andthepanelsarelargerandfewerin proportion.The seemto havebeenrunwithno attempt at enrichment.Naturally, we canknow mouldings or textureof thestucco,butthedesignitselfis valuable nothingaboutthe modelling andis thereforeincludedamongthe extantexamples. Alongthe loweredge of the vaulttherewas a seriesof compartments containing wingedgriffinsand similarfantasticanimalsalternating with diamondshapedmotivesin smallerfields. The centralpanelwastwiceas longas thelargerfields,andwasdecorated withtwowingedsphinxes motive. Above heraldically placedoneithersideof a candelabrum this friezetherewasa widerbanddividedintofivepanels. The firstfromtheouteredge was smallerthanthe othersand merelycontaineda doublepalmettedesignresembling Basilica.The second,bordered certainonesfoundin theUnderground by triplemouldings and a narrowline set withinat somedistance,held a scene,the significance of which is not now known. Therewere two men,onenudeandseatedon a stool,andtheother, dressedin militarygarband carryinga spear,standingbeforehim. The centralpanel of this bandwasdividedintothreesections, themiddleoneof whichwasT shaped. This motiveoftwowomenpouring hadthenotunusual outlibations oneithersideof a candelabrum, whichwassupported on a plantcalyx. Intheverticalsections by a femalecaryatid standing of the L shapedfieldson each side, therewere wingedVictories servingas candelabra, sectionstherewereVictorygrotesques whilein the horizontal holdingdoublepipes. The of the remaining fieldswere repeatedin the reverseorder. The next band decorations in the vaultdesign,whichalsohappenedto be the centralone, wasdividedintoseven fields. The first had a conventionalizeddesign based on the rosettewith palmettes;the second, a stylized Victory set within an obliquediamondframe;the third,a conventionalized scroll design; the fourth and central one a rape scene in a circularmedallion. The 1 MIDDLETON,Remains of Ano. Rome, 11, p. 273. This has been dated by Miss Van Demanas belonging to the period of the early Empire (A. J. A., 1912, p. 390 and p. 398). 2 Dr. Lugli, informs me it was destroyedabout twenty years ago to make room for housesin theEsquiline district. 3 RONCZEWSKI, Qew6lbeschmuckin 'RomischenAltertum, P1. XIV, p. 27; PIRANESI,c4ntichita, VIIXV,

STUCCORELIEFS frameof this was evidently in highreliefwithan elaborate profilebutwithoutenrichments. The centralrelief1 consistedof a figurewith a flyingcloak,carryinganotheracrosshis the rapeof one of the daughters of Leucippus.Thisrelief,as hip, possiblyrepresenting well as the variousVictoriesand the griffins of thelowerborder,arestronglyreminiscent of similarmotivesin the Underground Basilica. If it were possible,it mightbe most interesting to comparethesetwo monuments, especiallyas they were not far apartgeographically. Accordingto Piranesi,someof thesefieldswere paintedandotherswerein relief, but it is difficulto tell fromdrawingswhichwas which. The motivesusedare often foundin stuccoreliefs,so it is possiblethat the colors,whicharedescribedas-porphyry red, gialloanticoand serpentine, were usedonly for backgrounds, and the diamondsin the lowerfrieze. 1 Mrs. ARTHUR STRONG, Apotheosisand After Life, pp. 209 f.

EMILYL. WADSWORTH OF POMPONIUSHYLAS. COLUMBARIUM in 1831in theformer This columbarium was discovered by PietroCampana Vigna insidethe PortaSan SebaSassibetweenthe Via Latinaand Via Appia,immediately foundin situ, stiano. Dr. Ashbyhas datedit, fromits brick facing1and inscriptions2 as belongingto the periodof Tiberius. Two niches3oppositethe entrance,moreelaborate than the others,are decoratedwith stuccoreliefsand polychromy.In the pedimentof as teachingthe youngAchilles Chironis represented the first,as one entersthe columbarium, to play the lyre. The relief is in whiteon a red ground,and althoughon a smallscale, is accuratelymodelledand full of spirit. Below the pedimentthere wasa yellowfrieze with white reliefs, but all that remainsat presentis a figureof Cerberusat the extreme left, and anotherof Ocnustwistingthe ropewhile his ass is eatingthe other end, at the extremeright. The rest of the niche, the cornices,pilastersand capitals,as well as the whole of the secondniche, are merelyarchitectural detailscarriedout in stuccowith elaborationin color. I B. S. R., V, p. 465. L., VI, 5540-5554. 3 See P1. XXXVIII B. S. R., V.

STUCCORELIEFS THE GOLDENHOUSE OF NERO. of stuccoreliefswhichcanbe The GoldenHouseof Nero offerstheonlyexamples it ascribedwith any degreeof certaintyto the timeof that emperor,but unfortunately thelavishandsplendid whichhaveall butdestroyed has passedthroughmanyvicissitudes 1. It was destroyed decoration for whichit was once famous in partto makeroomfor the Bathsof Titus,and, a quarterof a centurylater, for the Bathsof Trajan. The removedin antiquity, but precioustonesand portablepiecesof decoration were probably the frescoesandstuccoes of someof the apartments were left behindin roomscutofffrom abovethem. In thatway, light and relegatedto the serviceof the hugeestablishments the ceilingsand upperpartsof the wallsseem to have escapedseriousinjuryuntilthe scratched graffiti2 palacewas discovered and openedin the Renaissance.The numerous at thattimeandsince,havedoneas muchtowards on the surfaces destroying promiscuously as naturalcausesof dampand time. the stuccoand paintings At presenthereare two roomsof which the barrelvaultsare decoratedwith a of colorand stucco,but they are practically combination inaccessible becauseof the accumulatedebriswhichreachesabovethe springsof the vaults. One of theseroomsis thefamousone of the I voltadoratan3. Originally, as its nameimplies,the reliefswere with gold leaf. Now, all that is left of its formergloryare the stucco richlyincrusted and figures,and the fadedfrescoes.The generaldesign,whichis a decorative mouldings fieldsarranged systemof roundandrectangular symetrically to theaxesof theroom,resembles that of the Tombof the Pancratii, andartisticexcellence. although it has morerefinement Color,mainlyred and blue,wasthedominant andmouldings note,withthe stuccofigures playinga minorpart. The mouldings, egg and dart,or bead andreel,and the consoles, are of firm,closegrained stuccoof very fineworkmanship. Theyare in low relief,with delicateprofiles,and give everyevidenceof havingbeen stampedby mouldswithgreat accuracyand care. The borderof the vaultillustrates thericheffectthatcouldbe gained by combining variousmouldings and color4. Aroundthe outeredgethereis an eggand dart of classicalformand proportions. Within it are two bead and reel mouldingsseparated by a narrow strip of green. Next comes a band of delicatelyshaped consolesseparated by blue, diamond-shapedlosenges, outlined by stucco on a red ground. Each diamond has a small ring of stucco in the center. The inner band of the border is edged by a 1 PLIN., nat., 36, 111; SUET., Nero, 31. 2 WEEGE, Das Goldene Haus des Nero, jahrb. des Inst., 1913, pp. 141 if. 3 For illustrations,see WEEGE, op. cit., PIS. 4-9, pp. 165 ff.; SPRINGER, Kunstgeschichte,1, Fig. 932. 4 WEEGE,op. cit., P1. 5, d.

EMILY L. WADSWORTH medallions outlined by stuccoin narrower egg mouldingand is decoratedby semicircular of smallstuccofiguresrepresenting, in mostcases, relief. The lattershowthe imprints of thevaultarebordered motivesflankedby animals.The variouscompartments candelabra panels- the and containfrescopaintings.A few of thesubordinate by similarmouldings ones nearthe cornersof the vault- had reliefsof tinyhumanfigures, now rectangular too damagedfor identification The othervaultis in the roomnumbered 80 on Weege'splan2 In thiscase3, the and reliefsare moreprominent, althoughgold and designis simplerand the mouldings in bandsarounda and arranged colorwere also lavishlyused. The designis geometric centralsquarefield,suggesting severalvaultsfromHadrian's Villawhicharegivenamong 4. The outerbandhada pointeddesignbetweenborders of double old drawings Cameron's featureof thisvault outlinedby plainones. The latterare a distinctive egg mouldings and frameall the panels. The secondbandis widerandmorecomplicated.It contains fromeachother. a row of squarecompartments set in fromthe borders andat a distance thoseof thePalatine The anglefieldsare L shapedwith a borderof consolesresembling The intervening spacesare filledby erect or invertedT shapedfields cryptoporticus. smallstuccofigures contained decorated withpaintedarabesques.The squarecompartments and paintedbordersof variousdesigns.The outerborderof the thirdbandis especially attractive common in marblesculpture.It and an unusualone for stuccowork,although is a simpleGreekfret in squarelycut reliefin the refined, classicstyle. The restof the vaultis badlydamagedand thereforerequiresno discussion '. leaving In bothvaults,the stuccoreliefs,thatis, the smallfigures, havedisappeared in the stuccobackground.The outlinesthusleft showa great merelytheirimpression we knownothing, deal of spirit,but of the modelling exceptthat,if they andtechnique, and similardetails,they musthavebeenin the class are compared with the mouldings of the very best stuccodecoration. 1 WEEGE, pp. 178 ff., gives a list of the subjects, fromcomparisonwith old drawings. 2 WEEGE, P. 127. 3 WEEGE,PP. 200 ff., Pls. 19, 20. 4 RONCZEWSKI, Gew6flbeschmuck, P1. XX. ' Restoration can be madeby comparisons withold drawings. See WEEGE, pp. 178 ff.

STUCCORELIEFS COLOSSEUM. to decoratethe Middletonsays1 that I stuccoreliefswere usedin the Colosseum and the vaultsof theambulacra and vomitoria, rakingvaultsunderthe varioustaircases and exits1. To-day,all thatexistsof suchdecoration is conor theconcentric passages of themainentranceon centratedin a few patchesunderthe threearchedpassageways the side towardstheBathsof Titus,andin an underground passageleadingin thedirection of the Caelian. are in the soffitsof the thirdrow of The reliefsnow visiblein the superstructures arches,and in the barrelvaultsof the passagesbetweenthesearchesandthenextinner of this partof theamphitheater The construction ambulacrum. belongsto the end of the withthe walls,or mayhave reignof Vespasian 2. The stuccomaybe contemporaneous been addedby Titus for the formalopeningof the buildingin 80 A. D., or, what seemsmorelikely,by Domitianin 94 A. D., whenhe connectedthis entrancewiththe Bathsof Titusby a colonnade.The stuccoitselfand the style of decoration compares with otherexamplesof this laterperiod.Originally, thestuccomusthave very favorably beencoveredwith colorand goldleaf, butall traceshavelongsincedisappeared andthe fromdustand timeto thecolorof thetravertine walls. The designs plasterhas darkened are unusual,combining anddelicate,smallfigures deeplysunkencofferswithcoarseprofiles, of amoriniin vanousattitudes. of the middlesoffit (P1. X, Fig. 3) which happensto be better The decoration thanis the case in the othertwo vaults3, is basedon the cofferedtriumphal preserved arch. The design,however,is morecomplexand thesmallsquarecofferswhichformthe are replaced,to a greatextent,by largesquarecompartments, foundation the occupying the spaceof two coffers.In the center, spaceof four,and narrowrectangles occupying thereis a largesquarewith a clusterof foursmallones belowit on eitherside,which are in turnfollowedby rectangular panels. Fromthis pointto the corniceof the piers, the decoration is gone. Alongthe sidesof the archthereis a row of the rectangular withthe regularcoffers.These coffersare formedby two bead,or panelscombined debased egg mouldingsand are separatedby beads and reels The other compartments have a differentprofile, of only one bead mouldingand a wider plain one and seem to have lacked the bead and reel. There are no traces of rosettes in the coffers,but close MIDDLETON,Remainsof AncientRome, 11,p. 91. I Ibid.,p. 79; VAN DEMAN,A.J. A., 1912, pp. 407 ff. I See LEMONNIER,ReV. Arch., 1917, p. 228, and I Fig. 7 whichreproducesa drawingof this by Desgodetz, of the year 1676. The authordid not know (p. 229) that the stuccoesare still visible. [Ed.].

EMILYL. WADSWORTH examination shows,in several,the outlinesof two small,nudefiguresof the puttitype. half a dozenor moreof thesetinyfigures, butit is now The rectangular panelscontained to tell whatthey represented. Theyare on sucha smallscaleandso crowded impossible passingbelow. The that their decorativeffect musthave been lost to the spectator onecanpickouttheoutlines of thecentralfieldis gone,butwithcloseinspection, decoration of two moreof the smallfigures. is not thatdescription The othertwo soffitsare so muchlike the onejustmentioned orderbutthemouldings, are arrangedin a different necessary.Someof the compartments andgeneraldesignarethesame. decoration thanareits neighbors.The The vaultof thecentralpassageis alsoin bettercondition of a personleavingthetheateratherthanof one decoration wasplannedfromtheviewpoint in coffers,two rowsof whichremainin part,at the The designis againarranged entering. butso largethat arenarrow endnearthesoffitjustdescribed (P1.X, Figs.2, 3). Thecoffers in detail coarser arecorrespondingly it wouldonlytakefourtocrossthevault. Themouldings andprofile. The innerone is a debasedwaterleafand the nextone an egg withouthe whichweredecorated thetopedgerunsa beadandreel. Thecoffers, by dart,whilearound two wingedCupidson eithersideof an objectthatseemsto be a tripod,are separated stillfairlywell preserved.At by broadbandson whichwas applieda reliefdecoration, of thesebands,thereis a simplerosetteof fivepetals. Between,thereis the intersection andbehindeach in a reclining position, a centralmotiveheld by two minute,nudefigures attitude.Inposeandarrangement, theyrecallthemanyRoman one,anotherin a swimming withCupidsholdinga wreathor similarobject'. On the broadbands,at the sarcophagi endsof the vaults,therewere originallylargeconsoleswidelyseparated. of the firstvaultis practically The decoration gone but that of the thirdshowsa of panels.The vaultwas dividedintolargesquarecoffers,withthe differentarrangement of the coffersis gone,butthe sameprofileas thosein the centralvault. The decoration bandsbetweenthemwere like thosein the firstvault. The lunettesunderthe vaultsare now bareof stucco.Beneaththem,however,and friezeof smallfigures alongthe springof the vault,thereis partof a narrowcontinuous at regularintervalsby beadand reel mouldings panels.Below intorectangular separated the frieze, down to the cornices of the piers, the walls were decorated with low reliefs imitatingthe second style of wall paintings. The archwayscut deeply into the wall space, so there was very little of this decoration. The relief is very low and delicatein profile, contrastingstronglywith the cofferedvaults. There are traces of coffers seen in perspective and slendercolumns,which can still be seen in the righthand cornerof the passage(P1. X, 1 REINACH,Repertoire Reliefs,III,p. 110, etc.

STUCCORELIEFS of thiswalldecoration, but Figs.2, 3). Onlyin the centralpassagearethereevidences elsewhere originally. of its presence thatdoesnotexcludethe possibility 1,passes beneath Commodus to theEmperor usually ascribed passage The subterranean Hill. the Caelian toward on theminor axisleading the mainentrance of the amphitheater and to theFlavianperiod, rather An examination of thebrickwork2 showsthatit belongs withtheearlier favorably in particular to the timeof Domitian.Thestuccoalsocompares justdescribed.It is notas coarsein detailoras closelythe decoration date,resembling vault. The dueto the lowerandmoreintimate butthatis doubtless deeplyundercut, are similar. andthe mouldings hasthe samecoarseness, compositon thereis a broadbandof stuccowitha coffered At the entrance of the passageway, in relation to the coffershowa deepprofile design.In spiteof beingbadlyweathered, waterleaf withintheusualeggmoulding. bya debased thesizeof thevault,andareoutlined decorated with Smallholesin the centersof thesecoffershowthattheywereoriginally in the is inserted metalrosettes.In the centerof the vaulta largesquarecompartment in a livelymanner, andmodelled in medium relief,drawn threefigures design.It contains condition.In the center,thereis a as one canjudgein spiteof the presentdamaged legs. He wasevidently in a cloak,seatedon a squarestoolwithstraight man,wrapped him. He canbe foundto identify attributes butno distinguishing andmuscular, bearded sat easily,withonefootbentbehindtheother,andhis left handwasraised.Oneither attitudeandcarrying female,in a dancing sideof him,thereis a figure,undoubtedly thebreasts, withcrossbandings a roundshield.Theirdress,shortchitons, girdedbeneath thatof Artemisfigures, whilein poseandattitude, theyarelikethe in front,resembles of thereliefis verydifficult '. Thesubject of theLouvre in themarble placque Corybantes becauseof its damaged condition. of interpretation to thevault therearea fewpiecesof stuccostilladhering Further alongthepassage, medalformed a designbasedonlargecircular line. Eggmouldings at thecornice evidently axes. All that stripsat the endsof the verticalandhorizontal bystraight lions,connected butbetweentheseandthe cornice, remains nowis the lowerarc of severalmedallions, as decoration spacethusformed,thereare tracesof conventionalized forthe triangular areheavilymodelled, sothattheirtailscurled andwerearranged dolphins.Thedolphins In i u . ot up in intertwiningvolutes. I MIDDLETON, op. cit., p. 108. For thisinformation, I amindebtedto Dr. Lugli,who has made a special study of Domitianicconstructions. I REINACH,Repertoirede Reliefs, 11,p. 238.

EMILY L. WADSWORTH PALATINE, CRYPTOPORTICUS. theHouseof Liviawiththe Palace On the Palatine,in thecryptoporticus connecting of Tiberius,thereare evidencesof elaboratestuccodecoration.Whetherit coveredthe entirelengthof the vaultis questionable.It wouldseem,rather,thattherewere alternatingbandsof stuccoreliefsin whiteand frescoesin color,although only one of these of bandsremainsas proof. At variouspointsin the maincorridorthereare fragments of havingbeen set upby the restorers. stuccoreliefworkbut they havethe appearance there At anotherplace,nearthe Houseof Livia,where the vaulthas been destroyed, theoriginal are tracesof stucconowcoatedwitha depositof lime,butstillshowing pattern. Facingthe Houseof Livia,on the wallof the Palaceof Tiberius,thereis a borderof in themaincorridor.This stuccomouldings, andalsosmallpanelsimilarto thedecoration at thispoint. showthattherewas once a branchof the cryptoporticus wouldapparently The bandof stucco1 whichis in theshortsectionneartheHouseof Livia,crosses the vaultbetweentwo of the windowopeningswhichappearat regularintervalsalong the side towardsthe FlavianPalace. This bandseemto be a unitin designwith no next to it, although it is difficultto be positive, evidenceof reliefdecoration immediately hasbeendamaged as thispart2of thecryptoporticus whichcutthrough by laterconstructions it. The decorative of the coffered arch. The systemis reminiscent soffitof a triumphal coffersare square,sevenbeingallowedto the widthand fourteento the lengthof the band. However,threelargerectangylar panels,eachoccupying thespaceof fifteencoffers, are placedin the middleof the bandand on each side in such a way that they (the panels)appearto be the mainfeature,andthe cofferserveonly as borders aroundthem. The profilesof the coffersare like thosefoundin stoneconstruction, but flatter,as is suitablefor a moredelicatematerial.The mouldings (P1. XI, Figs. 1, 2) have the the egg and the waterleaf.The coffersarefurtherdecorated usualenrichments, by plant scrolls,and floatingamoriniin the placeof rosettes.The tworectangular panelson the sidesof the vaultare elaborately framed.Firstcomethe egg and waterleafmouldings, and thena wide friezeof conventionalized andfoliageforminglyreandpalmette dolphins shapedmotivesamongwhich are placed swansand amphorae.Within this frieze there is a narrowerone, borderedon the outside by the waterleafand on the inside by the 1 MIDDLETON, Remainsof AncientRome, 1,p. 182; Lo Stucconell'arteitaliana,PI. 111;RONCZEWSKI, gewolbeschmuck,Pl. V, p. 21; GUSMAN,L'Art lDecoratif, P1. 86. 2The cryptoporticus itself shows evidence of several buildingperiods. MissVan Demanhas datedthe partwherethe bandof stuccostillexistsas beingof the periodof Domitian.See WEEGE, Das Goldene Hausdes Nero,Jahrb.,1913, p. 229.

STUCCORELIEFS egg mouldings,while betweenlies a plainflat memberdecoratedat regularintervalsby modillions pointingoutwards. All thisframeoccupiesovertwo thirdsof the panel'ssurface. as it were, in the midstof a game. In the centerare four chubbyamoriniphotographed, The attitudesand groupingof theseamoriniare differentin the two panelsbut the same spiritand actionis present. The centralpanel,whichis less well preserved,was similar, with severalvariationsin the border. Here the wide frieze has a trellis, formedby a doubleegg moulding,throughthe alternatesquareopeningsof which can be seen tiny swansand rosettes. In additionto the modillions,the inner memberof the framehas small roundbossesand leaf shaped decorations. The centerof the panel is too badly damagedfor interpretation. faces of the windowopeningswere decoratedby drapedfemale The perpendicular figuresin a dancingattitude,one of whichheld a lyre while the otherhad a similarobject. They are in largerscale than the figuresof the vaultand were in correspondingly high relief. Egg and waterleafmouldingsframedthese side panelsand the windowopenings as well. The mouldingswere run and the enrichments were pressedinto the dampstucco with a mouldingtool. They are in low relief with no undercutting.The otherdecorative features,such as the swans, dolphins,scrollsand amphoraewere undoubtedly cast in mouldsand well retouchedby tools and by hand to take away the appearanceof reduplication.Hence, no two are exactlyalikealthoughvery similar. The smallamorini as well as the largerones of the rectangularpanelsare in slightlyhigherreliefthanthe rest of the vault. They seem to havebeenadded last to the vaultwhen the stuccowas nearlydry, for they have not adheredas well as the othermotives. In one case (P1.XI, Fig. 2) practicallyall of the relief has fallen off, leaving only the wings which were modelledin the background, and the outlinesof the bodies. The band as a whole is designedwith a great deal of tasteand skill. The workmanshiphas the careful and accurateperfectionof a cameo but somehowjust missed attainingthe gracefulness and spiritone naturallyexpectsfromthe palace of an Emperor. The motivesin the bordersof the rectangular panelsaredulland lifeless,althoughmodelled with care and skill. This is due, perhaps,to their comparatively wide and flat profile. The flutteringamoriniwith their butterflywings, in both the smallcoffersandthe larger panels,are full of charmand spirit. The ensembleis delightfuland resemblesthe Farnesinareliefsin the finishof modellingand technique,and in the choice of delicateand unusualmotives.

EMILYL. WADSWORTH SO-CALLED BRIDGEOF CALIGULA. Inthenorth-west angleof thePalatine,to therightas oneascendstheClivusVictoriae, thereis a complicated massof constructions of variousperiods,amongwhichstandout the remainsof a galleryor loggia. For a long time,it -was supposedto belongto the famousBridgeof Caligula ', by whichthatemperorconnectedthe PalatineandtheCapitoline,but it has now been shownto date fromthe reconstructions madeby Domitian on thisside of the hill2. This loggia,supported by a seriesof low, brick-faced concrete archesspringing fromcorbelsrestingon piers,wasoncerichlydecorated alongitsexposed face andon the soffitsof the archeswith stuccoreliefs,coloredand gilded. The gold has longsincedisappeared andwithit almostall of thecolor,leavingthestuccoa creamy white. The soffitand side of one archare fairlywell preserved and thereare several otherarcheswhosesoffitstillhavestuccodecoration in a moreor lessfragmentary condition. The decoration whichappearsover one arch(P1. XII, Fig. 1) of theside of the loggiafacingthe ClivusVictoriae,has unfortunately suferedmuch. No stuccois leftin the spandrels; all thatwe have is a narrowfriezeimmediately belowthe floorlevel of the I bridge". This friezeis dividedinto a seriesof smallsquareor rectangular panels outlinedby finebead mouldings.The centralpanel,whichwasnarrower thantheothers and had a pointedtop,showsno tracesof decoration.To theright,in thespacebetween this paneland the nextone,thereis a smallcaryatidfigureresembling thosein thetheater of Domitianat CastelGandolfo.The secondrectangular panelhastracesof at leasttwo smallstuccofigures,bothnude,seatedfacingeachother. Aftera smallplainspace,which was probablycolored,comesthe last panel,a square,withfainttracesof reliefdecoration To the left of the centralpanel,afterthespacewherethecaryatid now undecipherable. figureshouldbe, thereis a squarepanelwith a nude seatedfigureand whatseemsto be the outlineof anotherone standing.The last panelon this sidewasa rectangle and showsno evidencesof reliefdecoration.The arrangement andgeneraleffectof thisfrieze recallsthatin the theaterat CastelGandolfo,althoughon a muchsmallerscale,and likewisethe smallfrieze in the passagewayof the Colosseum. In the case of the sofits, we are more fortunate,for stuccoreliefsappearon several in a muchbetter state of preservation The designof the one underthe arch which 3. we have just discussed(P1. XII, Fig. 2) is basedon a cofferedarch,althoughso many variationshave been introducedthat fact is scarcelynoticeable. Coarseegg mouldings, ' MIDDLETON, 'Remains of Anc. Rome, 1, p. 194. 2 Mrs. ARTHURSTRONG, B. S. R., VII, p. 118. I RONCZEWSKI, Pl. XIX, p. 30. Gew6lheschmuck,

STUCCORELIEFS of a debasedform,withouthe dart,and deeplycut, are laid with the bead-likedge inwardto outlineall the panels. Alongtheouteredgeof thesoffitthereis a continuous bandof five hexagonal coffers,with a half cofferat each end, whichis not relatedto the rest of the decoration.These coffersareformedby two or morerowsof mouldings -the outeran egg and dart,the innera bead. Although thecentral,thatis, thethird coffer,and the two halfonesshowno tracesof decorationnow, they mayhave been coloredoriginally.The hexagonsflankingthe centralone, containan additionalbead set withinthe others,and a largestuccorosette. The othertwocoffershow moulding the imprintof humanfiguresarrangedin pairs,of one seatedwith the otherstanding. The spacesleft betweenthe coffersand the edgesof the bandare filledwith triangles andhave smallstuccorosettesin theircenters. outlinedby egg and dartmouldings The remainder of thesoffit(P1.XII, Figs. 1-3), whichis about2m.wideby3.80 m. long,is dividedintoa geometric patternof T shapedfieldsand twosizesof squares.In the centerof the arch,and at eitherend, thereare largesquares,each surrounded by a wide framecomposedof plainmouldings anddecoratedwithroundbossesand consoles pointinginwards.Along the inneredgeof thisframethereis aneggmoulding.A narrow stripof stuccoformingan inscribedcircle, leavestriangular spacesbetweenit and the square,whichwere tintedred. The centralcircle showsno tracesof reliefor other but thoseon the sidesof the vaulthad twofigures decoration, in highrelief-one seated and the otherstanding.The modellingseemsto be carefulandaccurateand the scene is well arranged. There are eightof the smallsquares,each of whichcontainsa smalleroneformed by a plainstripof stuccoconnecting the middlepointsof the innermoulding.In the centerof eachthereis a largerosetteon a red field. The fourT shapedfieldsareframed by a doublerow of mouldings. In thecenterof eachT thereis a ringof stuccoin high reliefand very substantial in outline. It had a redfieldandshowstracesof an attached decoration, possiblya metalrosettewhichservedas thepointof attachment fora suspended lamp. The branches of theT, whichwerecoloredblue,showtheimprint of stuccofigures addedafterthe background had dried. We can distinguish victories, grotesques andputti in one of the vaults(P1. XII, Fig. 3). In general, the same schemeof decorationis used for all the soffits,but there are minordifferences suchas in the numberof modillions aroundthe largesquares. The stucco itself is coarseand granularbut very hard. Exceptfor the realreliefs,that is the figures of victoriesand the like, all the work was donemechanically.All the outlinesare clear cut and with no subtleties,for the archeswere intendedto be seenfroma distance,in roomswhich were not well lighted. In the next story, in the series of rooms throughwhich one passesin going from

EMILYL. WADSWORTH the mainstaircaseto the loggia,the vaultsshow evidencesof similardecoration.The to see roomsare very highand narrowand consequently very dark,so it is impossible if colorwas used. The designsof the vaultsare practicallythe sameas thosein the floorbelow,with a few exceptions.The bandof hexagonal coffersis lacking,butintwo of the vaultsthereis insteada row of squarecoffersadornedwith rosettes.Also, all of the T shapedfieldslack the centralring. The wallsof thesesmallroomswere decoratedin the secondstylewhichis found in monuments so frequently of the Flavianperiod'. The architectural forms,thecolumns and gables,as well as the framesof thepictures, areof whitestucco. Severalsmallfields usedin alternation with frescoes,contained stuccoreliefson coloredbackgrounds. Inthe corners,for example,thereare gracefulcandelabra, with amorini on a lightblueground. These wall decorations are very fragmentary, but enoughremainsto showus thatthe originaleffectwas verypleasing.The techniqueis muchlike thatfoundin Domitian's Villa at CastelGandolfo,whilethe style recallsthatof the lunettes of theTombof the Pancratii. I Mrs. STRONGhasdescribed thesewallpaintings in Vol. VIIof thePapersof the Bri. SchoolatRome,pp. 1 8, ff.

STUCCORELIEFS DOMITIAN'S VILLA,CASTELGANDOLFO. is to be One of the mostinteresting examplesof Romanstuccoreliefdecoration in the grounds of the VillaBarberini, whichis builtoverpart foundat CastelGandolfo The reliefsare in the emperor's of the ancientsiteof the AlbanVillaof Domitian '. friezealongthe upperpartof the outerwallof theater,wheretheyforma continuous of the original friezeis visible,fora part the semicircular corridor.Onlyabouta quarter The barrel vaultof thecorridor andthe restis as yet unexcavated. hasbeendestroyed andcoloredred The innerwallwas pierced was originally plastered bytheentrances so thetheaterproper andnowshowsno tracesof decoration.The outerwallhadprothecenterof the stage,butexceptfor thatwas unbroken. bablyone doorwayopposite withslabsof marble To a pointabout2.30 m. abovethe floorlevel it was veneered '. Only the holesfor the pegswhichfastened whichhavelongsincedisappeared the tlabsto the wallare nowvisible.At the topof thissoclerana marblecornice.The of the wallsurfacefromthe corniceto the springof the vaultwasdecorated remainder by a continuous friezeof stuccoreliefs1.50 m. high. For severalreasons, thisfriezeis very important in a studyof stuccoreliefs. For one thing,it canbe morecloselyandaccurately datedthan,mostof thosewe have. It 4 thatDomitian is knownfromreliableliterarysources hisAlbanVillain the completed of the layersof stuccoandits attachment earlypartof his reign. An examination to 5, showsthatthe reliefswere the wall,whichis of the regularDomitianic construction contemporaneous withthebuilding.The friezeis alsouniquein itsstyleandapplication. Therearefew examples preserved to us of stuccoreliefsusedas walldecoration, and wherethereare,theyareeitherona largescale,combined withandsubsidiary to a color scheme,or else aremerelyusedforfillingin architectonic surfaces suchas lunettes or spandrels.Thisis the onlycaseof a continuous friezeof stuccodecoration.Itspratical anddecorative in combination valueas usedfor a corridor witha marble veneered socle is so greatthatone cannothelpwondering why otherexamples havenotbeenfound. 1 These reliefs, as well as thetheateritselfare fully discussed anddescribed byDr.G. LUGLIin StudiRomani, 1914, pp. 21 ff. In Bull. Arch.Comm.,1918, pp. 43 of additional ff., he givesa description panelsexcavated afterhis firstarticlewas written. In thenearfuture,he expectsto publishthe entireresultsof his studyon this site. in situ but amongthe debrisin the corridor, andwhich were set up on the wall by the excavators, showsthat they havethe samecurveas the vaultand not thatof the wall. 3 It is possiblethat the inner wall of the corridor was similarlydecorated. 4 Cass.Dio, 67, 1, 2. See LUCLI 's articlesfor 2 LUGLI, (Bull. Arch. Comm.,1918, p. 47) says otherreferences. ' thatthe socle was paintedred,but a closeexamination VAN DEMAN, A. J. A., 1912,pp.411 ff.; Lucu, of the piecesof plasterso colored,whichwerenotfound Bull. Arch.Comm.,1918, p. 46.

EMILYL. WADSWORTH or secondstyle with the columns,cornices, The designbelongsto the architectural low relief. Colorwas not used of the resultingpanelsin comparatively and decoration artificial mostof thetime. illumination and advisedly,for the corridormusthave required All the effecthad to be gainedfromthe lightand shadeof themodelling.The frieze a itself1 (P1. XIII, Fig. 1) was dividedinto groupsof five panels,each groupimitating with reliefsin the Naples severalof the wall paintingscombined stagefront,resembling fromin front Museum.Eachgroupof panelswas conceivedas a unitseenin perspective of a character a representation of the largercentralpanel. Thislatterevidentlycontained fromGreekor Romandrama,for in one of the groupswe see a figurewhich,in spite the Pompeian paintingof Medeameditating resemblesthe well-known of its mutilation, 2. The panelson eitherside of the centralones are somewhat murderof her children as Muses3. The whichDr.Luglihasidentified smaller. They have singleseatedfigures with standingfigureseen, as it were,behinda low end panelsare tallerand narrower, suchas oftenoccurin the R stage theseas spectators4 trellisedrailing. Dr. Lugliconsiders scenesn of the secondand fourthstylesof Pompeianwall decoration.Thereare intermediarypanelsbetweenthe variousgroupswhichare divided-intoseveralcompartments. fieldwith severalfiguresin relief;at thetop,there At the bottomthere is a rectangular is anothersimilarto it, whilein between,thereare two smallerfields,side by side,also two panels,thatis-two fullgroups, with reliefs. At the presentdate, thereare thirteen of the frieze, intermediary panels,and the firstpanelof a thirdgroup. The mainfeatures while the upperpart,whichhassufferedthemost the humanfigures,are at the bottom, designs. is givenover to variousornamental fromdestruction, The base of the frieze,whichprojectslightlyabovethe othersurfaces,is broken at intervalsby the basesof the columnsand pilasterswhichit supports.The baseitself andtheupper the loweronessimpleandunenriched is composedof a seriesof mouldings, on ones with the egg, like thosefoundin the soffitsof the so-calledBridgeof Caligula thereis a plainbandwithmodillions the Palatine. Betweenthe upperandlowermouldings oneither at regularintervals. All the architectural detailsareverysimple. The columns formand beingof a candelabrum side of the intermediary panelsare the mostelaborate, by smallcaryatids.The othersare plain fluted,with simplebasesand no supported whichgive the effectof the perspectiveto the panels,are merely capitals. The mouldings run. Debased egg mouldingswithout the dartsare used to outline the variousfields and coffers. The firstpanel(P1.XIV, Fig. 1) one sees on enteringthe corridoris badlydamaged. Behind a lattice composedof four stripscrossingdiagonallywith small roundbossesat I LUGLI(StudiRomani,1914, Pls. 1, 11)has placed the photographs of this friezein one continuous stripto give the effectof the originalarrangement. 2 LUGLI, Bull. Arch. Comm.,1918, 3 LUGLI, Studi Romani, 1914,pp. 43 fO i Ibid.,p. 44

STUCCORELIEFS standsa femalefigure. Only the lower part of her body is the pointsof intersection, visible,but she had a longchitonof lightmaterialwhichfell in manyfolds,and overit a himationof heaviercloth,evidentlycaughtup overher left arm. The next panelis dividedintotwo stories. In thelower,we havea womanseated in an easy restfulattitudeon a fourleggedstool. Herhead is gone,butfromits imprint in the plaster,we knowit was turnedto the right,and lookingat the objectshe holds the lower part of a zitherand on her lap with her left hand. This objectresembles is thrown thereforeseemsto identifythe figureas the MuseTerpsichore.Herhimation carelesslyover her left shoulderand arm,broughtacrossher lap and tuckedunderher of this so thatone end of it hangsdownover the stoolin severalfolds. The treatment especiallyin the way it is drawnacrossher lap so successful, draperyis exceptionally as to revealthe formof her rightleg beneathit. It also contrastswell with the soft modellingof her rightarmand her torso,whichare left bare. The way in whichthis armrestson the edge of the stool,and the way the legs of the figureare arrangedso thatthe left foot is broughtbackand the otheris stretchedout,givesan effectof gracefrom withoutanyhintof artificiality.The upperstoryof the panelwas separated fullness with a designmadeby twolarge the lowerone by a cymamoulding.It was decorated froma centralmotiveandendingin rosettes.On each volute volutesunfolding acanthus wingsand facingtowardsthe sidesof waslightlypercheda fantasticbirdwith outspread thepanel. In thisinstancewe haveonlythe lefthandspiralandbird,becauseof thebreak with similarpanelsin the frieze. is easy by comparison in the plaster,but reconstruction The thirdpanel,the centralone of the firstgroup,is largerthanthe othertwoand fromthe front. It imitatesa niche with a slightlyvaultedroof. is seen in perspective at anda plain,runpilaster by a flutedcolumnat the outercorners Thesidesare represented The drawnperspectively. mouldings horizontal the inner,connectedby severalunenriched withrosettes.Above into five coffersfurtherdecorated roofis dividedby egg mouldings intervals. them,alongthe top of the panelthereis a row of smallroundbossesat regular of eggandplainmouldings. The anglesbetweenthevaultandthewallsarefilledbycornices Theinneroutlineof the nichetakestheformof a threesidedframe,withan egg moulding in a fragat the edge. In the centerof the panel standsa male figure, unfortunately mentarycondition. The lower part of his body, from just above the knees, is entirely gone and the relief of the upperpart, from his waistlineup, is brokenaway. He stood easily, with his weight on his right leg and on a tall staff or thyrsuswhichhe heldwith his righthand. His left hand restedon his hip. A long cloak clasped upon his right shoulder,fell behindhim in heavy folds, held back by the positionof his arms. We of Dionysoswith his thyrsus. The modellingof probablyhave here a representation the body is soft and effeminatewhich is in keeping with the characterof this god.

EMILYL. WADSWORTH Dr. Lugli describesthe cloakas beinga skinof a felineanimal1but I havebeenunable to identifythis. To me it lookslike cloth. The fourthpanel,(P1. XIV, Fig. 2) whichis a companion pieceto the second,is in bettercondition.It is dividedinto two storiesby a cyma moulding.We have a womanseatedon the samesortof fourleggedstool. She facestowards the left andsits up moreerectly. Her headis gone,but therestof her bodyis preserved.She wears a Doric chitonfastenedon hershoulders and arms,and held in by a girdlebeneathher breasts. Over thatthereis an himationwhichis broughtfrombehindher and thrown overher lap. Her left armis bent in a positionwhichis noteasilyexplained.It is as if it were restingon the invisiblebackof a chair,or as if the womanwere arranging the gathersof her chitonbeneaththe girdle. Thereis a certainrestlessness aboutthe pose and whenone takesinto consideration the positionof the legs, withthe left one bent back,one can almostimaginethe figureis aboutto rise. In her righthandshe holdsout a mask,probablya tragicone, and accordingly, Luglihasidentifiedthe figure as the MuseMelpomene.The upperstoryshowsthe righthandvoluteand birdand partof the centralmotivewhichseemsto be a conventionalized plantor a vase. Above the panel,thereare tracesof the upperpartof the frieze. On closeexamination,puttiwith garlandscan be distinguished but they are so faintthatthey do not givevery muchof an idea of theiroriginaleffect. The fifthand last panelof this groupis seen in perspective fromthe right. Like the firstone, it containsa womanstandingbehinda low trellis. Fortunately it is practical'yintactso thatit can serveas a modelforthe otherpanelswhichcorrespond to it. The enclosure is in theformof a nichesimilarto thatof the thirdpanel,although narrower and viewedfroma differentangle. Only the left side of the niche is indicated.The roof,slightlyarchedat the frontand straightat the back,containsonlytwo coffers which have, however,the sameprofileand the samerosettesfordecoration.Thereis no inner frameedgedwith an egg moulding, but thereis an addedfeaturein a shieldor similar roundobject,tied at eitherside withfillets,andprojecting slightlybelowthe loweredge of the roof. The womanof the panelstandswith her backto the spectator, with her rightarmhangingat her side and clasping whatappearsto be partof a fillet. Her left arm was raised,but the stuccohas fallen off, leavingonly tracesof the hand. It is impossibleto tell what she held in this hand,but its positionis the same as it would be if she held a spearor staff. The positionof her head is not clearbutfromthe shapeof the mass of stucco,it seemsto have been turnedsharplyto the right. She is dressedin a thin chitonwhichis practicallyhiddenby the voluminousfoldsof a largehimation. The latter is broughtunderher right arm and thrownover her left shoulderin sucha way Bull. Arch.Comm.,1918, p. 49.

STUCCORELIEFS thatthe end fallsdownbehindin largeheavyfolds. The figureis notquiteas successful as someof the otherfigures of the frieze,due,perhaps, to theunusual pose. The drapery is not bad, butthe rightarmis awkwardand unnatural. The sixthpanelis the intermediary one betweenthe firsttwo groupsandhasnothing At the bottom,thereis a rectangular to do withthe stagefrontarrangement. fieldtreated as a pictureset in a frame. Thereare two figureson a smaller scalethanthoseof the formerpanels. On the left, we havea woman,half recliningon a bankor rockwhich is not clearlyindicated. She rests on her rightelbow,while her left handis raised behindher head. Her himation, whichis caughtup by her raisedleft arm,fallsdown looselyat her left side, andcoversthelowerpartof herbody. Her bodyis completely relaxedand her headhas fallenbackas thoughshewere asleep. Beforeher,is a nude man on a still smallerscale.His legs are spreadas if he were running;his left armis raised,and his righthandgraspswhatappearsto be theprowof a ship. His headis gonebut fromits outlinesin the plaster,it seemsto have been turnedbacktowardsthe woman. Lugli has aptlyidentified this' as Theseusin the act of abandoning Ariadne on the islandof Naxos. The modelling of thefiguresis excellent,the nudebeingespecially well handeled. The oftnessand delicacyof Ariadne'sbody with its complete relaxation is admirably contrasted with the muscularity and actionof Theseus.Inseveral placesthe outlinesof a firstsketch,whichwas laterchanged,are visible. An example of this is seen in SludiRomani,1914, Fig. 9, wherethe rightarmof Ariadnewasbent at a diferentangle. The linesalongthe legsand bodyof Theseus(P1. XIV, Fig. 2) show thatthe figurewas originally plannedon a lagerscale. Above this panelthereare two smalleronesnearlysquareexceptthattheirupper edgesareslightlyarched.Betweenthem,thereis a pillarto whichtwooblongshieldshave been fastenedso as to crosseach other. The panels,whichare badlyworn, contain a panther animalfigures character.The one on theleft,resembling of a purelyornamental a bundleof somesort. The other or anotherof the felinespecies,seemsto be worrying animalis less distinctbut is represented as risingon its hindlegs. Beneathone of its forefeethereis a roundobjectlike a shield. At the very top of the friezethereis anotherfragmentof the upperzone. Its decoration is very indistinct, but againCupidswith festoonsmay be distinguished. The seventhpanel, the firstof the secondgroup,resemblesthe firstandfifth of the firstgroup. The figure,however,is that of a man withouta head, due to a break in the plaster. He is cladin the classichimation,wrappedaroundhis body,underhis right and over his left shoulder. The end is thrownacrosshis left forearm. His otherhand is extended as though he held an object of some kind, but whateverit was is not I LUGLI, Studi Romani, 1914, pp. 46 if.

EMILY L. WADSWORTH now known. The modellingof this figureis rathersketchybut full of life and givesthe and strength.Moreclearlythanthe otherfigures,in thecorresimpression of muscularity pondingpanels,this one recallsthe so-calledspectators in representations of stagefronts in Pompeianwall paintings. The eighthpanelcontainsa seatedmuse,facingto the right. Her face whichis seen in profile,is turnedtowardsan objectsheholdsin her lefthand. Fromcomparison with the figurein the fourthpanel,thisis probablyThaliawith a comicmask. Her withher rightelbowrestingon the body is turnedthreequarters towardsthe spectator, likethoseof the musein the fourth backof her chair. She wearsa chitonandhimation and moresketchily.He hairis arranged panel,but the foldsare arrangedifferently in Greekfashionwitha knotat thebackof herhead. The upperpartof thepanelis lacking. In the ninthpanel,we have the figurewhichresembles Medea' althoughonly the whichhangs lowerpartof the bodyis left. She wearsa chiton,and overit, a himation, overher left forearmin two longends. With this handsheheld a longnarrowobject a sword. This was visiblewhenthe friezewas firstphotograped resembling (SeeStudi Romani,1914, Pls. 1, 11),but the stuccohas sincebrokenoffat thispoint. Ina section of wall decoration from Pompeii,there is a womanwith a similarpose, who holdsa distaffin a like manner.Our figuremightalmostas wellbe compared withher as with the pictureof Medea2. The tenthpanelis gone,but it also musthave containeda seatedmuse. In the eleventh,(P1.XV, Fig. 1) we haveonly tracesof a figurestandingbehind the lattice. If it corresponded with the seventhpanel,the firstof this group,it must have been thatof a man,but the stuccoitselfis too damagedto verifythis. The secondintermediary panelis arranged like theformerone, althoughthecontents of the variousfieldsaredifferent.In thelowercompartment therearetwo figures, whose arrangement balancesthatof the Theseusand Ariadnegroup. On the right,thereis a recliningfigureand on the left, one standing.The formeris that of a nude man of a large heavy build. His left arm rests on an altar-likeblock which servesas the backof his seat. In the hollowof this armresteda curvedpedumor a lightclubthe sketchedoutlineof whichstill shows in the plaster. His righthand is stretchedout extendingsomesortof an objectowardsthewoman.His headwhichwas turnedaway to the right, is damaged,but traces of a full beardcan be distinguished.Beneathhim, a skin or cloth is spreadover the seat. tThewomanis nude also except for a bit of draperywhich hangsover her left arm and blows out behindher in a curve. She is slightlyturnedaway from the spectatorso that only her back and a side of her faceis I See above, p. 50. 2 For illustrations,see Fig. 8, StudiRomani, 1914, p. 45. Fromthe ninthpanelon, descriptions and illustrationswill only be foundin the articlein the Bull. Arch.Comm.,1918.

STUCCORELIEFS withher leftfoot,andher left handis held highbefore visible. She is steppingforward her as if she were pouringfroma pitcherinto a cup held in the otherhand. If her handsdid hold theseor similarobjects,thereare noevidencesof themnow. Dr. Lugli HerculeswithHebe to thesimilarity of thisreliefto scenesrepresenting hascalledattention1 on Olympus,wherethe goddessis bestowingnectaron the heroafter all his labors. especiallyas the manis of the Hercules This seemsto be a very goodinterpretation, of thefiguresis excellent. type and theskinandclubseemto be present.The modelling and gracefut,and makesa delightfulcontrasto the burly, Hebe is especiallycharming sinewyformof Hercules. aboveare decoratedwith animals,as was the case in the The two compartments corresponding panel. The one on the rightis badlydamagedbut showsthe twoforefeet of an animal.The othercompartment contains the legsand bodyof a pantheror similar beast in motion. The thirteenth panelstartsa thirdgroup,and endsit, for this is as faras theexcavationsextend. The nicheis also seen in perspectivefrom left to right. A woman standsbehindthe latticewithher backto thespectator.She wearsa chitonandhimation like the otherfiguresin the frieze. Her rightarmis raisedand restsagainsthe right wall of the niche. Her head is barelydistinguishable, but it seemsto havebeen turned treatedthanis the similarone towardsthishand. The figureis muchmoresuccessfully in the fifthpanel,and the drapingof the himationacrossher backis morerealistic. of the friezeas a wholewhichmostimpresses The characteristic the observeris its theintermediary andcalmdignity. Thereis no overcrowding. panels, Excepting simplicity andit has an air of detachment.Inspirit thereis only one figurein each compartment, is fullof restraint, and as well as in dress,the figuresare purelyGreek. The modelling with the facilitywith whichthe draperyis treated,betraysa skilledhand. in connection edge, due to the All of the outlineswhichhave escapedinjury,showa sharp,clean-cut takenfromsubjects firmhardstuccoas well as to carein modelling.The variousfigures, is in of a stagesettingfor a background with the theater,and the adaptation compatible with the purposeof the building.Takenas a wholeor in part,the completeharmony friezeis one of the mostdecorativeand successfulpiecesof stuccorelief work which have survived. Bull. Arch.Comm.,1918, pp. 53 ff

EMILYL. WADSWORTH VAULT UNDER SAN CLEMENTE. in privatehousesis foundin Anotherone of the few examplesof stuccodecoration lowerchurchof SanClemente, saint. Underthe fourthcentury the homeof a Christian thereare threeroomsbelongingto a Romanhouse of the Flavianperiod,which De saint, Clement,to whomthe Rossi' and othershaveidentifiedas that of the martyred churchwas dedicated2. wellbuilt,andseemto havebeentastefully The roomsof the housearecommodious, decorated,if one can judgefromthe scantyremainsin situ. In one room,the barrel vaultwas coveredwith a simpledesignof stuccoreliefsprobablyin purewhitewithout to thosein the the additionof gold or color. Once, they musthave been comparable anddarkenedfrom on the Palatine,but now they are broken,roughened cryptoporticus althoughthey dampand time. In design,they also resemblethe reliefsjustmentioned, more elaborate.Large squarefieldsand coveredmoresurfaceand were consequently longnarrowpanels,separatedfromone another,and borderedby singlerows of small symmetrically.Alongthe centralcurveof the vaultthere squarecofferswere arranged were threelargesquares,each takingup the spaceof ninesmallcoffers. At eitherside, were the long narrowones, as wide as one coffer parallelto the largecompartments, and as long as three. are theusual The mouldigns (P1.XVI, Figs. 1, 2) whichoutlinethe compartments - andare ones- eggmouldings of the debasedtype withoutthe dartor otherrefinements as a whole. The to the verylowreliefof the decoration in comparison deeplyundercut besidethe outerone, eachwith a slight mouldings squarecofferscontaintwo additional belowthe next outerone, therebysimulating in profiletheirprototype the real depression conventionalized coffer. In the centerof each squarethereis a rosettewithfourradiating spraysin verylow reliefin eachcorner. Therosettesareof two types,withfiverounded or pointedpetals,placedin the alternate squares.In P1.XVI, Fig. 1, we havea portion of one of the largesquarefieldswith its elaboratebordertakingup justeightninthsof 1 DE Rossi, Bull. Arch.Crist.,1870, pp. 129 if. ' MULLOOLY, St. Clement andHis Basilicain Rome, in Rome, pp. 148 f.; L. NOLAN,Basilicaof S. Clemente 2d, ed., 1914, pp. 233 if. Accordingto the tradition, St. Clementbelonged to a nobleRomanfamily, possiblythe Flavian. His father,a certainFaustusor Faustinus,had a homein the regionof the Caelian. Clementwas martyred in the Crimeain 102 A. D. wherehe had beenbanished by Trajan,and hisbodywas brought backto Romeby St. Cyrilin the ninthcenturyto the churchwhichhad ". beenerectedin the fourthover his I memoria It is an interesting fact thattherewasa T. FlaviusClemens, cousinof the EmperorDomitian,and consul with him in 95 A. D. who was accusedof impietyand treason by the latterin this sameyearbecauseof his Jewish proclivities.

STUCCORELIEFS The firstmember the spaceallotedto the wholecompartment. of thisborderis composed of a bandof hexagonswith octagonsat the corners,formedby narrowlinesof stucco. The hexagonsare decoratedwith rosettes,smallerin scalethanthose mentioned above all of the sametype. In the cornersthereseemto havebeenthe more and apparently elaboratemotivesof wingedamorinibut they are no longervery plain. After a plain narrowbandoutlinedby eggmouldings, thereis a secondelaborated band,decorated on the sidesperpendicular to the corniceline of the vaultwith candelabra motives,andon the othertwo with conventionalized and arabesque.It is unfortunate grotesques thatthe stuccois so damagedfor the fainttracesleft in this bandshow charmingornamental qualities. The candelabra were composed of smallnudestylizedfigurescombinedwith conventionalized plantmotives.Theinnerborderof the compartment containedmodillions rathercloselyset together,but whethertherewere bossesor not, it is impossible to tell. Withinall this frametherewas a scenein higherelief,butit is now in so fragmentary a conditionthat it is impossible to makeout the subject.In P1.XVI, Fig. 2 we have one of the longnarrowpanelswhichis in a betterstateof preservation. It is filledby an elaboratecandelabrum, set on a smallvase-likebase. SmallCupidand animalgrotesquesareplacedin balanced positions on eithersideof themainstem,whichis composed of variousconventionalized motivesuchas humanfigures,and a mask. So far as one can judgefromthereliefsnow,they seemto have all been madeby mouldswith littleretouching if any. However,theworkwas carefulandaccurateand judgingfromthe finecleardetails,a very goodqualityof stuccowas used. The details in the ornamental handsof thebordersandthe candelabra are charming andare in the samespiritas thosein the Palatinecryptoporticus. Thereis a precision aboutthewhole designwhichbetraysa close adherenceto a set pattern. Of course pthe reliefsin the largerfieldsmusthavebeen very different, modelled freehandandwiththe utmostpains becauseof theirbeingthe mainobjectivepointsin the decoration. In anotheroomof the samehousethe barrelvaultshowstracesof painteddecorationsupplemented by stuccomouldings of the sametype as thosein the aboveroom. This vault,however,is very badly damagedand showsonly a few fragments of the plasteraroundthe edges. Thereare no evidencesof reliefs,merelythe mouldings outlinethe fieldsof the frescodecoration.

EMILYL. WADSWORTH VAULT OF UNKNOWNORIGIN. At this point,I have includedthe photograph, (P1. XV, Fig. 2) of a stuccoed vaultwhichI havebeenunableto locate. The photograph, whichwasboughtat Moscioni's shop,was takensometimeago andlabelledn Stuccoesin thesubterranean roomsof the ". Aftera carefulbutvainsearch houseofTiberius-Palatine throughout thePalatinein all theholeswhicharenowaccessible, and withthe help of variousguidesandof Dr. Lugli, who has justfinished withDr. Ashby, writinga guidebookto the Palatinein collaboration I havecometo theconclusion thatthe picturewas wrongly labelled, or elsethattheroom the stuccoes werein has beendestroyedor reburied.Moscionihimselfdoes not seemto wherehe took the picture,but insiststhatit was on the Palatine. remember is veryinteresting as it givesa partof a vaultwitha designresembling The photograph very closelythatof the one just described.There are the same smallsquarecoffers, but with only one additional outlinedby egg mouldings, moulding within,and a simple one wouldjudgethat the profile rosetteset in a sunkensquare. Fromthe photograph, of the cofferswas deeperand heavierthanwas the casein the formervault. A corner showsa bandof hexagons,therosettesof whichhaveall of a largesquarecompartment been knockedoff-probablybecausethey were gilded. The octagonin thecornerhasa smallwingedamorinoalso. On either side of this b)and,however,we have another with roundbosses. At the left of the photograph, decoratedwith modillions alternating a long narrowpanelcan be faintlyseen, likewiseborderedwith a band of modillions a scenewith figures,two of whichcanjustbe distinguished. and bosses,and containing an ostrichwith outstretched neck. Beforethemthereis a queerobject,resembling of thegeneraldesignsand a few minordetails,onefeelsjustified Fromthesimilarity thatif the two vaultswere not madeby thesamehand,they in comingto theconclusion musthave been made,at least,at aboutthe sametime. It alsoseemsevidentthatthe interiordecoratorshad stockpatternsfromwhichtheirpatronscouldchose,and which mightbe variedto suit the individualtaste.

STUCCORELIEFS CATACOMBSOF SAINT PRISCILLA. in the Romancatacombs, Stuccoreliefswere seldomusedfor decoration andtherefore the few whichexist in theCatacombs of St. Priscillareworthyof attention.These stuccoreliefsare foundin and nearthe CapellaGreca' which dates fromthe end of the firstor beginning of the secondcenturyof our era2. In itspresentform,thechapel consistsof a vaultedroommeasuring 5.62 by about2.50 meters,an apse at the end, and two side niches,roughlyrectangular in shape,whichcorrespond to transepts.The mainpartof the vaultis dividedintotwo sectionsby an arch,on the soffitof which thereis a rinceau of acanthus leavesin finewhitestuccoon a whiteground.This rinceau, whichresembles of the ForumBathsat Pompeii, the stuccofriezein the Apodyterium is in highrelief'. It has a roundedstem,and branches froma caulicolus in thecenter of the archinto loosescrolls,windingalternately on eitherside of the stem,andtermileaf. The relief natingin simplerosettes. The branching is concealedby a wrapping is delicatelyhandledand the detailsare as exquisiteas they are in someof themarble friezesof similarstyle in the Lateran. The edges of the archwere outlinedby egg in the samegoodtaste,but they have sufferedmorefromtime. Over the mouldings opening4of the left transeptand on an arch immediately insidethe entranceto the chapel',thereare similarbandsof rinceaudecoration. To the rightof the CapellaGrecaand parallelto it, thereis a smallchamberor cubiculum whichwasonce decorated with stuccoreliefs. The construction anddecoration of the chamberare of the sameperiodas the chapel,and mayhave beendoneby the samehands. In the angleat therightof theentrance, thereis a floraldesignof acanthus leavesunfolding in largevolutes6 angle on the left, thereis a . In the corresponding similarbit of decoration, whichhigherup on the wall nearthe doorway,changesinto a grapevinepattern. The scrollsand vinesenframed threelargepanelsin low relief, alsoin whitestucco. The panelsoriginally containedsceneswith humanfigures,faint tracesof whichcan still be madeout in severalplaces. I A. Un BattisteroCristiano,Studi RoPROFUMO, mani, 1913, pp. 71 ff. 2 MARUCCHI, Nuov.Bull. Arch.Crist.,1914, p. 117, thinksthis chapeloriginallybelongedto the substructures andreservoirsof theVilla of the Acilii Glabriones. M'. Acilius Glabrio (Suet Dom. 15; Cass.Dio LXVIII, 14) was a Roman senatorwho was consul with Tralan in 91 A. D. and later martyredby Domitianfor being a Christian. At the beginningof secondcenturyor possibly at the end of the first, the reservoirswere dried out, remodelled andmadeintocatacombs withtheCapellaGreca uses. At thatime,threeapseswere reservedforliturgical madeand the wallscoveredwithstuccoand decorated. 3 See PI. X, StudiRomani,1913. ' StudiRomani,1913, P1. X; Nuoo.Bull. Arch. Crist.,1914,p. 11O,Fig. 2. 6 WILPERT, Die Malereiender Katakomben Roms., 6 Studi Romani, 1913, p. 84, Fig. 2.

EMILYL. WADSWORTH thereis a smallniche' in whichthere are fragments Oppositethis cubiculum, of in reliefat the backof the archedopening.Theyaresimilar grapevines in technique and above. designto thosementioned The mostnoteworthy in thecatacombs exampleof stuccodecoration however,is to be foundovera gravenot far fromthe CapellaGreca. It is datedby Wilpert2as belongingto the firsthalf of the secondcentury. It combinesstuccowith paintingin a most unusualway and is distinctlyChristianin sentiment. There is a Good Shepherd, with a shortfull tunic girded in at the waist, carryinga lamb acrosshis shoulders.At either side standsa sheep, lookingup at his master. So far, the figureshave been in whitestuccorelief. But at the feet of the shepherdthere is a plant with green leaves and red flowerspaintedon the background,and in back of each sheep thereis a tree, withstuccotrunkand largebrancheswhilethe twigs,leavesand flowersare merelypainted. Some of the stuccohas fallen fromthe sheep and the shepherd,and beneath,are traces of paintedlines. These may have been to guide the modeller,or else the scene was originallya frescoand the stuccowas addedas an afterthought.The modellingis crude and on a par with Early Christianpaintings,althoughthe sheep are full of spiritand realistic. ' Ibid.,pp. 82 f. 2 Op. cit., p. 10; P1. 21; p. 123.

STUCCORELIEFS HADRIAN'S VILLA. in that in the timeof Hadrian, therearestilla fewexamples For stuccodecoration emperor's villa at Tivoli. These, alongwith the othersstill in situ duringthe Renaissanceand now onlyknown,to us throughthe drawingsof Ponceand Piranesi,indicate that many of the vaults were originallycovered with reliefs. The most considerable examplein on a barrelvault in the so-calledPalaestra. The stuccohas sufferedmuch visitorswho have scratchedtheir nameson it, but the designis pracfrom the numerous tically intact. A groinedvault in the Apodyteriumof the LargerBathshasbeen more for the stuccohas fallenoff in large patches,so that one has to dependon unfortunate, the early drawingsto completethe design. In both instances,the stuccois of a firm, which gives sharpcontoursand details. Thereare now white composition, close-grained, no evidencesfor color on eitherof the vaults,althoughit is quite possiblethattherewas some originally. The emphasisis laid on the lines of the design rather than on the modellingand accordingly,one feels that the work was not necessarilydoneby an artist but merelyby workmencapableof accuratelyand carefullyfollowinga patternassigned to them. The designof the vault in the Palaestra(P1. XVII, Fig. 1) is purelygeometricl. It is carriedout largelyby fine lines in low relief, clearlycut and regularlydrawn,with the effect of engravingratherthan of relief work. There is a centralsquarefield, surroundedby a series of bordersseparatedfromone anotherand finishedby double egg mouldingsin slightlyhigherrelief, betweenthe regularnarrowlines. The decorationof each borderis different,consistingof rhythmicpatternsof variousgeometricfiguresand conventionalized plant designs. There are none of the putti, swans,dolphinsor other gracefulittle figuresso commonin stuccoreliefs. In the outerborder,whichis doubled at the ends of the vault, the main characteristicis an attractivebandingof a simple Greek fret designwhich formsC or doubleH shapedmotives. Withinandbetweenthese latter,there are diamonds,squaresor rectangles,decoratedwith rosettesand conventionalized plants. The secondborderis plainbutthe thirdcontainsa series of geometric fields enclosingrosettesand plant motivesdifferingin designbut similarin spiritandeffect to those of the firstborder. The next borderis very simpleand unusuallyattractive. caulicolus withbranchset in a broadacanthus There is a continuousfrieze of anthemions ing scrolls that intertwineand so unite the motives. The fifth border resemblesthe areagaindifferent,while the sixthandlast third, althoughthe fields and their ornaments I GewOlbeschmuck, RONCZEWSKI,

EMILYL. WADSWORTH is composedof anthemions like the fourth.The anthemions areframed andset on scrolls endingin flowerrosettes,whichbranchout and doublyintertwine.The centralsquare is decoratedwith an ornaterosettesurrounded by anelaborate scrollandpalmette design. The plantmotivesare exceptionally pleasingand in theirdelicacyand fancifulness resemblethoseof the Farnesina vaults,the onlydifferencebeing that here we havea whichthe otherslack. This regularity patterned regularity is due not only to the use of a mould,for the marksof the modelling tool usedin retouching them can be seen in severalplaces,but to thestrictadherence to thepattern. The rosetteswerecastfrom mouldsandthe narrowlinesand mouldings were runand stampedin the dampplaster. The groinedvaultof theApodyterium (P1. XVII, Fig. 2) of theLargerBathswas also decoratedwith delicatepatternsof fine lines and conventionalmotivesin low relief. The design,which is architectonic, was formedby bandscrossingat right anglesso as to leave large squarecompartments, small squaresand rectangles. The large compartmentswere decorated,as we know from Piranesi'sdrawing', with figuresin higher relief, representing victories,nymphsridingsea monstersandsimilarmotives. The smaller squarescontainedcircularmedallionswith busts,possiblyrealportraits, while the rectangles were filled by cult implements,armor,and the like. There is still in situ a partof the decorationon the lower anglesof two groinsand on a strip of stuccoacross the vault, whichgivesa very goodidea of the bandsof the design. Thesehave a diamondlatticed patternmade of fine stuccolines with the intersticesalternatelydecoratedwith rosettes and maskssurrounded by four conventionalized plant motives. The triangularspacesat the edge havesmall trefoils. Where the bandscrosson the flatsurface,thereis a square space filled by two tinyCupidswith a candelabrum.On the groins,thereis an irregular field with a wingedthunderboltfor decoration. As can be seen from the photograph of one of the groins,a latticedbandoutlined the edge of the vault. Above it came a wider one with squaresand rectanglesseparated by the same band. In the extreme angle a five sided kite-shapedfield is left which is outlinedby an egg moulding. Set withinthis there is a similarfield, formed by a simpleregg mouldingand containinga trophywhich lends itself admirably to the irregularspace. The plain surfacebetweenthe two egg mouldingsis decoratedin the angles by lyre-shapedmotives formed by dolphingrotesques. Next above this angle field, on either side, comes one of the small square fields with bust medallions. Two of these are represented,but the subject of the bust is not recognizable. After these, there is a rectangularcompartment,one of which is partly preserved. A row of army equipment - shields, spears, trumpets,coats of mail and helmets -is laid in well ordered confusion along the center. After anotherlatticed band, thereis a large compartment,altered 1 RONCZEWSKI, op. cit., PI. 7, 8, 9; P. GUSMAN,Villa Imp'tialede Tibur,pp. 231 ff.

STUCCORELIEFS fromits squareshapebecauseof its positionon the groin. It is decorated by twowinged Victoriesbearingcornucopias and standingon eithersideof a tallcandelabrum. The thin fluttering well represented, draperyof thesegracefulfiguresis exceptionally andso is the thetransparent modellingof theirbodiesthrough material.Belowthislargecompartment, thereis a smalldiamondwhichfillsin an extraspacelefton the groin. It containsa tiny figure,half manand half hermgrowingout of a plantcalyx. It holdsa draped garlandwith pendantsand has wingswhichfill the unusualshapedfield. The conventionalized plantand animalmotivesare lovely,recalling in theirdelicacy someof the formervault. The victoriesand the tinyCupidsrevealtheartof the stucco workerat its best, and resemblein that respect,the Farnesinavaults. It is hardto visualizethe decorativeffectof this vault,which musthave been exceedinglyartistic and attractive, as the latticedbandswhichhappento be so prominent in the remaining fragments,were merely the framework for the main features- the Victoriesand otherhumanfiguresin higherrelief.

EMILYL. WADSWORTH TOMBS UNDER SAN SEBASTIANO. of Christian has centeredaroundthechurch Formanyyears,theinterest archaeologists at the thirdmilestoneof the Via Appia,becauseof its historiconof San Sebastiano nectionwiththeApostlesPeterandPaul. Duringthedarkdaysof thereignof Valerian, whennot even the deadwere safe, the bodiesof the two mostreveredChristians were hiddenin a wellontheAppian removedfromthe Basilicaof St. Peter'sandtemporarily with theregionnearSanSebatraditionally Way, nad catacumbas I. a placeassociated were n of the saints,excavations stiano. To findevidencefor the so-calledI memoriae of the presentchurch1. Firstthere centurypavement startedin 1914 underthesixteenth to cameto lighta layerof Christian according graves,of the fifth and sixth centuries, theexcavators foundneartherightwallof thechurch, epigraphical evidences.Continuing, five pagancolumbaria and decorated.At a lower of theFlavianperiod2,well constructed level appearedthe remainsof a Romanvilla with wall paintingsand a mosaicfloor. Underthe centralpartof the churchwas anotherbuildingwith an opencortileand a loggia,the walls of whichwere coveredwith graffitinvokingPeter and Paul. The of excavators thoughthey had reachedthe lowestlevel whenthey struckthe pavement the cortile,but diggingfurther,they founda group* of threetombs. These had been cut out of the naturalrockand soil and were at a distanceof 9.20 m. belowthefloor of the church. Fortunately they had been completelyburiedso that their decorations were preserved intactand withoutdiscolorations'. The firsttombis decoratedwith well executedfrescoesof two different periods4. It was builtfor incinerary ones. burialsand was lateradaptedfor inhumation The secondand thirdtombsarerichlydecorated withpurewhitestuccoreliefs,and it is therefore insidetheentrance withthemthatwe areespeciallyconcerned.Immediately of the firstof these,thereis a passageway to themain with a flightof stairsdescending butmanyof its defects sepulchral chambers.It has a barrelvaultwhichis veryirregular, 1 The initial excavations were madeby Fra Damiano,one of the monksattachedto the church.After he had foundseveralinscriptions, or rathergraffiti,relatingto the two greatmartyrs, he succeeded in gaining the attentionof the properarchaeological authorities.A vastamountof literaturehas been writtenduringthe pastfew years concerningthis site and the resultsof the excavationsin so far as they are connectedwith the historyof the church.In one volumealoneof the Dissertazioni della PontificiaAccademia,(1920), there are four articles,one of which,by Lanciani,gives a lengthybibliography (pp. 57 ff.). The officialaccount is thatby P. STYGER,Diss. Pont. Acc., serie 11,1918, pp. 3 ff., (ill.). 2 MARUCCHI,Diss. Pont. Acc., 1920, p. 302. 3 MARUCCHI, op. cit., p. 302. ' PARIBENI, Rassegnad'Arte,1920, p. 6, (ill.). The officialpublication of these tombs will appearin a numberof the Diss. Pont.Acc., in the near future.

STUCCORELIEFS have been coveredor lessenedby the thickcoatsof plasterand the stuccoreliefs(P1. to be the centerof the vault, XVIII,Fig. 1) whichdecorateit'. In whatis supposed on either framedby two egg and dartmouldings thereis a largesquarecompartment alternating withroundbosses. The mouldsideof a plainbanddecoratedwith modillions are heavywith ings,like all thosein the vault,are in very highprofile,the modillions accentuated curves,and the bossesare dentedin the center. Withinthe square,there is a circle outlinedby doubleegg mouldings.The space betweenthe squareand plantdesignswhichunfoldfrom caulicoliin the the circleis filledby conventionalized are in lowerreliefthantheotherdetailsandtherefore haveby angles. These arabesques of delicacy. In design,they seemto be quiteoriginaland an appearance comparison fromotherarabesques foundin stuccodecoration.The circle,in turn,contains different arcs. The arcsareformedby single an inscribedhexagonal figureformedby consecutive and withthe circumference of the circleencloseflutedshellsof stucco. In egg mouldings the center'ofthe wholedesignthereis a largerosettewithcrinklypetalsand bud-like coffers of hexagonal of the vaultis coveredby anall-overpattern center. The remainder of two types,the outerone beingheavierand wider formedby doubleegg mouldings by rosettesset withinringsmade by a thanthe innerone. The coffersare decorated narrowbead moulding.The rosetteseitherhavecrinklypetals,or smoothones witha centralrib and fromtheir regularityand similarity,one judgesthey were cast from to remoulds. Aroundsome of them,incisedlineshave been madein thebackground presentanotherlayerof petalsin perspective.The cofferswith their hexagonalform do notfit closelyaroundthe squarecompartment.On one pair of sidesof the square spaceswhichare left undecorated.On the other,they form they leavesmalltriangular flowerdesign. Similarspacesalongthe fieldswhichcontaina conventionalized trapezoidal springof the vaultand at the ends,are disposedof in like manner. At eitherend of the vaultthere is a largeshell of stucco. The one justinsidethe doorwayis plain, closelya stuccoshellover flutedwith its valvepartaway fromthe door. It resembles in theHouseof the Labyrinth in Pompeii. The secondshell the windowof a bathroom is at the footof the passageway(P1. XVIII, Fig. 2) and facesin the oppositedirecvineor candelabra tion. It is moreelaborate,for in the flutesthereareconventionalized motives,in mediumlow relief,rathercrudelybut effectivelydone. In the centerof the shell there is a peacock with outspreadtail, facing the person descendingthe stairs. The body of the bird is in very high relief, while the tail, outspreadin a fan, is very low with the details merely picked out in color. The mouldingused around the shell has a guilloche design, the first example of its kind found among the Roman mouldings. It is very faint and delicate and has the appearance of having been incised by hand 1 PARIBENI, op. cit., p. 7.

EMILYL. WADSWORTH ratherthanstampedfroma mouldas it reallywas. Over the shell,thereare remains of a highroundedridgeof stuccowith an incisedimbricated pattern,which evidently extendedaroundthe whole arch. Along the sidesof the vaultthereis a corniceformedby combiningseveralegg to whichleaf-shaped andplainmouldings, with a flatmemberdecoratedwith modillions pendentsof stuccohavebeenattached. the stairsmakea turnto theleftandleaddown Justbelowthe vaultedpassageway, chambers whichdo notcontainstuccoreliefs. However,thereis a niche to the sepulchral burialcut in the wall at the top of the lowerflightof stairs,which for an inhumation is decoratedwith a rudeconventionalized plantdesignfromwhich a volute unfurlson the effectis verydecorative andwhenseen eitherside. In spiteof crudeworkmanship, by the dim lightof candles,quitestriking. The entranceof the secondtombis to the left of the formerone. In this case, to also, thereis a largeflutedshelljust insidethe doorway. The passagedescending the mainchambersis coveredby a roughlyconstructed barrelvault,whichhas been widenedin severalplacesbecauseof nichescut in the side wallsnear the corniceline. The all over patternof circles(P1. XIX, Fig. 1) whichcoversthevault,hasno central It runsverticalandhorizontal to the motiveand is not laid on the vaultsymmetrically. of havingbeen startedat one side and of axes of the vault,but givesthe appearance not comingout even on the other. The circlesare outlinedby a doublerow of egg of the sametype as thoseusedin the abovetomb,but are flatterin profile. mouldings and rosettesimilarto They, also, containsmallercirclesformedby a narrowmoulding coffers. The circularmedallions the hexagonal are set apartfromeach otherbut are axes. The connected by plainstripsof stuccoat the endsof theirverticalandhorizontal fieldsthusleft are decorated withrosettes fromwhichradiatefourstiffconcross-shaped ventionalized plantmotivesmadeup of a long stemwith threesmalleavesand ending in a berryor button. The techniqueof this vaultis like thatof the formerone and are doneunderthe samedirection.The rosettesandmouldings bothwere undoubtedly the samein bothcasesand it is only in designand minordetailsthatthey differ. At the lowerend of the passageway thereis the rim of a lunettedecoratedby a band of palmettesor anthemion ornamentsjoined by short straight strips of stucco. The anthemionis of the very simplestform, with only three petals framedin a rounded shield design. The main sepulchralchamberis at the end of the passage, althoughto reach the floor, one has to descend another flight of stairs on the right. The roomis two stories high and roughlyrectangularin shape. One long side is taken up by the stone staircase, and an entrance into a second sepulchralchamberof smaller dimensions. The opposite

STUCCORELIEFS burials,or arcosolia.Each end side has two tiersof threelongnichesfor inhumation partly of the roomhas a tier of thesenichesalso. The vaultof the roomis irregular, and partlybecauseof the fourtop nicheswhichcut becauseof unskilledworkmanship fromthebarrelvault into it and give it a groinedeffect. In orderto makea transition of the descending passage,theceilingwas roundedoff so thatit bulgesoverthe entrance fitted (P1.XIX, Fig. 1). The designchosenfor thisvaultis admirably of the chamber ladenwith andis alsoveryuniquefor stuccowork. Largegrapevines, to its irregularities bunchesof grapesin very highrelief(P1. XIX, Figs. 1, 2), grow out fromlarge modelledon the lowerpartof the groinsjustabovethe cornice.They spread amphorae freelyoverthe entirevault,evidentlywithoutany set pattern. The leavesof the vine just are ratherscantyand all are seenfromthe flatside withno attemptat perspective, as in a marblefriezefromTrajan'sForuml whichis now in the Lateran. The stem of the vine is heavy and carelesslymodelled,whilethe tendrilsare merelyincisedin was done by handwithouthe use of moulds, the background.All of the modelling of havingbeen donebeforethe variouspartswere appliedto and has the appearance and the whole effectis ratherthat of the background.Thus thereare no transitions, appliquework. The bunchesof grapeswere made by rollinglumpsof stuccointo of thevaultat thefoot of the ballsand thenstickingthemtogether. At the beginning touchin threeleaveswhich stairs(P1.XIX, Fig. 1) there is an artisticand attractive is very partlyprotrudeover the edge. The design,withits freedomand gracefulness, strikingand in spiteof minorcruditiesin details,makesa richdecoration. The flatsurfacesbetweenthe arcosoliaare decoratedby variousscrolldesignsin stuccorelief. Severalhave thatof two dolphinswhose tails end in plant arabesques in the centerof the space. Two othershavemerelya longspraywith whichintertwine as a palmbranch. Belowone identified blade-likeleaveswhichhas beenconsequently tracesof headsof wheatamongthe long bladesof the deniche,one can distinguish sign. The otherarcosoliaseemto havea simpleplantscrollwithlooselycurlingvolutes. which withflutedpilasters The narrowpanelsleftbetweenthe tiersof nichesaredecorated a cornicelikethatin thefirstomb. capitalsupporting Corinthian have basesand elaborate is not at presentacThe innerchamber whichlies underthe entrancepassageway cessible,but one can justsee a designof smallsquarecofferson thevaultby crouching down on the top step of the second flight of stairs2* These coffers are more crudely modelled than are the other reliefs, and are heavy in proportionto their size. They are framed by the same egg mouldingsand contain small rosettes. GUSMAN, L'ArtDe'coratif, P1. 118. 2 The floorof the tombsis coveredwitha layerof waterabouta halfmeterin depth. The dampness, incidently, is ruiningthe reliefs, for in the second tomb severalbunchesof grapes have alreadyfallenoff.

EMILY L. WADSWORTH The date of thesetombshas not yet been settled,but will be probably whenthe comesoutwithall the details'. Paribeni 2 makesthe statement officialpublication that they can not be earlierthanthe secondcenturyas the wall of one of themcutsintoa usedin the Flavianperiod. One thing that complicates the questionof columbarium datingis thatthereare no inscriptions.Moreover,the tombsat firstsight seemto be Christian.The inhumation burials,the Greek wordfor I fishn scratchedon one of the walls,and the motivesof peacock,vine, and wheat wouldseem to indicatethat. are foundon paganmonuments However,peacocks and thegrape-vine is found3 as vault in otherRomantombs. It is probablethatwe have here pagantombsinto decoration whichChristian symbolswere introduced. The stuccois whiteand fineand mightbelongto an earlierdate, but themodelling and designsmightbelongto any periodafterthefirstcentury. The workwas not done by the best artistsand is not as delicateas that in the tombson theLatinWay, and thereforegivesthe impression of a date later than the Antonineage. This can not provetheirdatehowever,and it is necessaryto awaitexternalevidence. ' See above,p. 64. 2 Rassegnad'Arte,1920, p. 6. 3 The Tombof Pomponius Hylashas a frescoed vaultwith a similardesign (B. S. R., V. Pl. XLII). Anotheris to be foundin the catacombsof Domitilla (WILPERT,Malereien derKatakomben Roms,PI. 1).

STUCCORELIEFS TOMB OF THE VALERII. In december1857, duringhis excavations on the Via Latina,Fortunatidiscovered the so-calledTombof the Valerii. Thereis no authorityfor the nameand it is not knownto whomit belonged,but a brickstamp 1 of 159 A. D., the only piece of epigraphical to the periodof the Antonines. evidence,datesit as belonging Originally,the tombconsistedof two stories,oneon theground leveland the other but only the latterhassurvived.This is approached subterranean, by twoflightsof stairs which servedas the vestibuleof the sepulchral leadinginto an antechamber chamber proper. Betweenthe stairsthereis a largenicheor smallcellwitha vaultedroof,the soffitof whichis coveredwitha plainstuccosurface,probably withfrescoes. oncedecorated Facingthe nicheis the mainchamber 2, enteredby a shortarchedpassageway or wide doorway,the vaultof which,like that of the innerchamber,is decoratedwith white stuccoreliefson a whiteground. Its design,whichis strongly reminiscent of the soffitof a triumphal arch,is dividedby egg and dartmouldings into two rowsof four squarecofferseach. In the centerof the vault, anothersquareis superimposed upon the fourcentralcoffersso as to changethem into L shapedfields. The two whole coffersat each end are decoratedby singledancingfigures of satyrsandmaenads.The L shapedfieldsare filledwith gracefularabesques, similarin spiritanddesign,but differingin minordetails. The centralsquare,to whichthe rest of the decoration is subis occupiedby two wingedamoriniholdingan oval shieldwithboth hands. ordinated, This corresponds in its significance to the wreathsor shieldscontainingportraits of the deceasedor inscriptions held by genii or amorinion a largegroupof Romansarco3 phagi of the firstand secondcenturies of our era. Alongthe springof the vault,on eitherside of the passageway, thereis a friezeof dolphinswith longgraceful fins. The barrelvault(see P1. XXII etc.) of the sepulchral chamber, richlyyet simply decoratedwith someof the mostdelicateand charming stuccoreliefswhichhavecome downto us, is coveredby an alloverpatternof circularmedallions, outlinedand joined to one anotherby egg and dartmouldings in sucha way as to leaveintermediate cross shaped fields. The circularmedallions,of which there are twenty-five,containtwo figures each, in comparativelyhigh relief. The central medallioncontains (P1. XXIII, Fig. 1) a veiled female figure borne on the back of a winged griffin. Of the others, six have 1 C. 1. L. XV, 1368. 2 The earliest descriptionsof this tomb are those by HENZEN, Bull. Inst,, 1858, pp. 36 ff., and PETERSEN, Ann. Inst., 1860, pp. 348 ff. For illustrations and later articles, see. Mon. Inst. VI, Pls. 43, 44; B. S. R. IV, pp. 61 ff.; GUSMAN, L'Art De'coratif,P1S.50, 51; Lo stucconell'ArteItaliana,PIs. IV-VIII, X-XII. 3 REINACH,Reperkire,III pp. 210, 254, 339, etc.

EMILYL. WADSWORTH Bacchicfigures(a satyrandMaenadeach); six, Nereidscarriedby marinemonsters, withBactwelveNereidson sea animals. The subjectsare all connected the remaining chic ritesbut it has been a fantasyof the artistor the ownerof thetombto givethem a marinecharacter. whichmay be an allusionto the soulof thedepartedbeing The centralmedallion, of thewomanarevery to the otherworld1, is full of dignity. Thefeatures transported realisticand may well be meantfor a portraitof the deceased. Closelywrappedup steadyingherselfby a hand in her mantleand veil, she is seatedsidewiseonthegriffin, placedon the left wingof the animal. The latterhas the headof an eagle and body of a lion with two longpointedhornsor earsgrowingfromhisforehead,whilehiswings of bothfigureswasdonewitha sure havean archaistic curlat the tips. The modelling and steadyhandwhichknewhow to draw,and is full of life and spirit. Incisedlines the modellingand the finishof the surfaceis not smoothas in are usedto supplement someof the earlierreliefs. as thereis a sameness in character It is hardlynecessary to describeeach medallion in all of them. The figureshave not the finishor dignityof thosein and treatment the Farnesina vaults,but they are in some ways more lifelikeand attractive.They chamberby they were madein an underground were not intendedfor closeinspection; meansof artificial light,'and would have been seen only undersimilarcircumstances. Even now, whenone visitsthe tombwith a lantern,the generaleffect is exceedingly strikingand artistic. A closestudyof the reliefs,however,revealsmanysketchyand qualities,especiallyin the treatmentof the draperies,for the latterare impressionistic rarelymodelled,but are mostlyincisedin the background.The partsof thebody and treated. This is very well illusare similarly in perspective variousobjectsreprecented tratedin P1. XXIII, Fig. 2, in both of thelargemedallions.Yet the nymphon the is particularly charming.She has a difficultposition,twistedas sheis and sea-monster and the modellingof her bodyis seen fromthe back, but there is no awkwardness the soft good. The artistor artistsof this vaultwereskilledin portraying exceptionally curvesof the femaleform,whichthey could renderin any angleand position.The as they are, are treatedin such a lively mannerthat fantasticsea monsters, imaginary graceful. they seem almostreal. Their long featheryfins are particularly borderedby a Betweenthe circularmedallions,there are smallsquarecompartments single egg moulding,and containingalternately,a rosetteor a smallchubbyamorinowith flutteringdrapery. The formerare of the same designand were made by moulds,but so cleverlyretouchedthat theyhavean individualcharacter. The amoriniare very successful as one would expect from the other figuresin the vault. Each one is in a Mrs. A. STRONG,Apotheosisand After Life, p. 206 f.

STUCCORELIEFS withsomesortof anobject,a plateof fruit,a trumpet, diferentattitudeandis represented or the like. In one instance(P1. XXII), we have a smallPsyche for a tamborine, is filled with delicate additional variety. The spacearoundthe squarecompartments scheme. of thewholedecorative simplicity in keepingwiththecharming foliagearabesques arealike,buttheymay As the stuccowas workedfree hand, no two of the arabesques be divided,on the whole,into two desigrfs. fieldsdecoratedby single At the sidesof the vault, there are five semicircular in alternation.The edge of thevault,over figures figuresof swansand flyingor floating of a continuous garlandof the lunettes,at eitherend is decoratedby a bandcomposed leavesand berries,borderedby egg and dart mouldings. withsimilardecoration.The semiThereis a lunetteat eachendof thechamber, circularedge is decoratedby a bandof marineanimals,dolphinsand wingedamorini. a frameenclosing In the lunetteoppositethe entrance(P1. XX), thereis a rectangular groupof threedancingwomen,possiblythe Fates, holdinga long garlandof flowers. encirclingand supThe stiffnessof this frameis relievedby the gracefularabesques it, whichgrowin two branchesfromthe calyxof a flowerat the bottomof the porting lunette. Standingbetweenthesebranchesand holdingonein eitherhand,is a youthful hangthe foldsof a chlamysand on whoseheadthere nudefigureover whoseshoulders of the youthfulBacchus. The arabesques of representations is the wreathcharacteristic in general, are delightfully freshand gracefuland althoughthe lines are symmetrical grow out of the thereis muchfreedomand varietyin the details. Animalgrotesques vine at intervalsand on eitherside of the rectanglea gracefulnymphis seated. Standing upon the upperframeof the rectanglethere is a drapedfigurewhichis holding on eitherside. out objectsto somesort to wingedsphinxgrotesques due in severalparticulars, (P1.XXI, Fig. 1) is different The lunetteovertheentrance whichcutsintoit, andpartlyto theartist'sdesireforvariety. partlyto thearcheddoorway theforepart of whichis thatof a griffin, Intherectangular panelthereis a largesea monster, or a scepter. At the bottomof the onwhosecoiledtailis seateda nymphholdinga trumpet the waterthroughwhichthe pairare moving. to represent paneltherearethreedolphins of fins anda multitude Therearealmostoomanyincisedlinesin thisrelief,crinklydraperies givinga restlesseffect. The arabesquesfillingin the rest of the lunetteare in one continuous vine and the grotesques and female figures are differentlyplaced. Over the rectangle there are two dolphins whose tails formarabesqueson either side of a central palmette. Nothing can give a better idea of the decorative talent of the Roman artist than these motives soberly and gracefullyfilling given architectonicsurfaces. The arabesques as well as the othnerornamentalelements are found in marble reliefs of the same and earlier periods but they have not the spontaneitywhich we find in those of stucco.

EMILYL. WADSWORTH Both Petersen 1 and Mrs. Strong2 see deep symbolic significancein the reliefs of this tomb. Petersen interpretsthe figures as symbols connected with the death of the occupantof the tomb or with his life in the next world. Virtue is recompensedafter death, in the Isles of the Blessed to which the souls are transported. Their lives are representedby the pleasuresof the Bacchic cortege. Petersen also thinks that in this tomb are reunited the two elements in which the lives of the departed are passedair and water - as illustrated by the marine animals. Mrs. Strong believes the contents of the circularmedallionsare emblematicof the After Life, that the marinemonsters form a mystic escort of the dead to the Islands of the Blessed and at the same time carry an allusionto the purifyingpower of watera I Op. cit., pp. 356 ft. - Op. cit., pp.206 f. 3 Op. cit. p. 215.

STUCCORELIEFS THE TOMB OF THE PANCRATII. on the left handsideof theVia Latina,across discovered InApril 1858, Fortunati fromthe so-calledTombof the Valerii,a secondtombof the same period,to judge fromits construction and decoration 1. It also had two storiesoriginally,of which only the lowerone has survived. This is subterraneand consistsof two chambers,built at differenttimesand thereforeunlikein decoration.The outerand laterchamberbelongedto the Pancratii,the namebeingnot that of a family,but of a guild of grave diggersor of a burialclubwhichexistedas lateas thefourthcenturyof ourera. There with the earliertombin spite of is no evidencethatthe Pancratiihad any connection the fact that it is calledby theirname. onthe groined The innerroom,of the periodof the Antonines,is richlydecorated of stuccoreliefsin whitewith vaultand fourwall lunetteswith a harmonious combination is indicated polychromy.The designof the vault,whichis moreor less geometric, by bandsof coloremphasized of the usualbeadand egg anddartvaby stuccomouldings elementsand the most decorativeare the white reliefs rieties. The mostconspicuous are the smallermotivesof Bacchantes, on the whitebackgrounds.Subordinate sphinxes, of red,blue,violetor yellow. griffins,birds,animals,etc., in whitereliefon backgrounds As a foil to the stuccoreliefsand the flat tonesof color,thereare panelsof fresco paintingand smallpaintedmotivessprinkledaboutin the generaldecorativesystem. to the axes of the room,every designor All the elementsare arrangedsymmetrically one. ornamental sectionbeingbalancedby a corresponding In the vaultthereare nineof the reliefsin white onwhitegrounds.The central one (Pl. XXV), of circularshape,is devotedto Jupiterborneon thebackof an eagle. mantlebillowingout behindhim, holdsa scepterin his right Jupiter,with a voluminous handwhile his left restson one of the eagle'soutspread wings. The eagle whichis in its talons. Thisis a subjectoften carriesa thunderbolt unfortunately badlymutilated, 2 and in Pompeian foundon Romanlamps wall paintings.In eachof the foursections of the vault, in the most conspicuouspositions, are reliefs depicting scenes from classic mythology. Two are taken from the Trojan cycle, but the other two have not been interpretedwith certainty. The subjectof the relief nearest the door is n Priam before 1 H. BRUNN,Bull. Inst.,1858, pp. 81 ff.; HENzEN, Bull.Inst.,1858,pp. 17 if.; PETERSEN,Ann.Inst.,1861, Inediti,VI1, PIs. 49pp. 190 ff.; PETERSEN,Monumenti Decoratif,Pls. 45, 84, 85. 2 CAGNAT and CHAPOT, Manueld'Archeologie Romaine,p. 683; Brit. Mus. Cat. of Lamps, Nos, 1046-49. 53; ASHBY, B. S. R., IV, pp. 62 ff.; GUSMAN,L'Art

EMILYL. WADSWORTH Achillesn(P1. XXVI). Achilles,seatedonithe right,with a Greeksoldieroneither himselfbeforehim. side, is confronted by Priamwho is juston the pointof prostrating BehindPriamthereis the chariotladenwith gifts,drawnby twohorsesandguidedby in classicalart,butthis two Phrygiansin theirnativecostumes.The subjectis common reliefis unusualin placingthe actionat this particular pointin the drama. Priamhas not yet begunto pleadwith Achilles,but has justarrivedandthechariothas not quite as the raisedwhipof one of the driversshows. The sceneis reachedits destinations and feeling,resembling in theserespectsa sarintenselydramaticand full of movement in theCapitoline cophagus Museum withthe samesubject1. Achilles,touchedwith emotion,has put his righthand up to his face, while his soldierslook on with interest. is all in one directionand,althoughthereare six persons The movement andtwohorses in the scene,thereis no senseof crowding. the Judgment of Paris(P1.XXVII). Parisin PhryThe oppositereliefrepresents giancostume,is seatedon the right,witha dog at hissideandtwogoatson the rocks behindhim. His positionand attituderemindone of those of Achillesin the former withhis rightarmthe threegoddesseson relief. Beforehim standsHermes,indicating the left. FirstcomesAphroditewith staffand diadem. To the wristof herrighthand, raisedto her head,is fastenedher mantleso that it fallsbehindher in gracefulfolds. air of realizingher own charmsand power. Next She has an affected,self confident comesMinervawithhelmet,shieldand spear. She is lookingbackat Junowithperhaps a fellowfeelingof chagrin.Juno,however,with crownandstaff,andseatedon a stool, appearsnot to be takingany interestin the proceedings.In thisreliefdramaticfeeling butit is less complicated also predominates and emotional. In the thirdreliefof thisseries, we have Hercules(P1. XXVIII), identified by his lion skinand club, seatedand playingon a lyre. On his right,a seatedsatyris playingon a doubleflute,while on his left are the youthfulDionysus,Athena and Artemiswith theirrespective attributes.The burlyform of Herculesand the energy with whichhe is playingis in strongcontrastto the effeminacy andquiet,gracefulpose of Dionysus. Athena,who is lookingwith pride at her favorite,shows her energy in her pQse,whileArtemislooksher part- thatof an indefatiand warlikecharacter gablehuntress.The satyrintenton his task,is outsidethe drama. The atmosphere of this relief appears to be humorous,whetherthe artistintendedit that way or not. Hercules, not meant for parlor accomplishments but for feats of strengthis tryingto be soulful. Dionysus appears amused while the goddessesare more politelysurprised. What episode in the life of the hero is here being representedis not known, but the arrangmentof the figuresis reminiscentof a pediment group. 1 Brit. School Catalogueof the CapitolineMuseum,Pl. 16.

STUCCORELIEFS The fourthpanelis even more of an enigma(P1. XXIX). On the rightwe havea manseatedon a throne,recallingJupiteror Pluto in pose and attitude,but with no distinguishing to identifyhim. In the background attributes on one side is a veiledwomanwho appearsto be lookingat him beseechingly.Beforethe throne,with one foot on the loweststep,standsa youthfulfigureof an Apollotype. He is indicatinga teamof animals- a lion and a boar- pullinga chariotdrivenby a woman with a shorttunicand resembling of Diana. On the otherside of the representations animalsthereis a youngman,crownedwith a garland, andcarrying a shepherd's crook. 1 has interpreted Petersen this scene as belonging' to the mythof Alcestis, who was promisedby her fatherto be givenin marriage to the manwho couldyokea lion and a boarto his chariot. Accordingto someversions of thelegend,ApolloaidedAdmetus to accomplish this and thatwouldaccountfor his presence.The seatedfigurewould then be Pelias,and the veiledwomanAlcestis. Diana'spresence mightbe explained as beingthe rulerof wild beastsand therefore interested in thistaskimposedon Admetus, or else as the assistantof her brother. The manin the background, holdingon to the lion, wouldthenbe Admetus. These fourreliefsare very Greekin feelingand may well liave been copiesor reproductions frommemoryof Greekoriginals, on thepartof thedesigner.The grouping of the figuresis very well arranged, even in the scene of Priamand Achilles,where the largenumberof figureswould tend to make it crowdedand complicated.The drawingof the humanfiguresis excellent,althoughthe modelling seemsat timesto be rathercarelessand sketchy. This latterimpression is due to the frequent useof incised linesfor representing folds and wrinklesin the draperies.However,one mustadmit thateveryessentialdetailis renderedwith a steadyand sure hand, and with a dexteritythatproducesthe effectof a perfectlyfinishedpieceof work. The fourL shapedfieldson the groinsof the vaultare similarto eachotherin the only variations decoration, beingin details(Pls. XXX-XXXII). In the lowerangle of each thereis a planton whichrestsa balusterentwinedby a vine, and supporting a flat dish. In generaleffectthis motiveresemblesthe balustersfoundin the reliefs fromthe Tombof the Haterii2. A vine growsout fromeither side of the plantin sucha way as to enfoldlooselya centaurfightingwith a wild beasta lion, lionessor a panther. The centaursare rushingaway fromthe centralmotiveand differfromeach otherin pose and methodof warfare. The anatomicaland musculartreatmentof the figuresin these fieldsis excellentand showsgreat animation. As for the subordinateplastic decorations,one finds the usual motives; dancing Maenadsand Amorini;stylisedVictories;sphinxes,unicorns,and other fabulouscreatures I Ann. Inst., 1861 pp. 227 ff. 2 GUSMAN, L'ArtDe'corafif de Rome,Pl. 15.

EMILYL. WADSWORTH on eithersideof a lyre,candelabrum or vase;JupiterAmmon placedin balancedpositions scrolls. Whenone examinesthese,one findsmanydefects heads,and conventionalized in modelling but froma distanceor froma casualglance,the effectis very decorative. The dancingMaenadsandAmoriniare especially spiritedandrecallthosein theso-called Tombof the Valerii. The scrollsare very simpleand rely entirelyfor theireffecton theircontrastwith a coloredbackground. As the generaldesignof the vault is plannedon the principleof superimposed squares,and as the roomis 4.28 by 5.45 metersin size, a borderis requiredon two oppositesidesto completethe decoration.Thesebordersare filledby a largeguilloche of stuccomouldings of whicharedecorated and coloredbands,the interstices withwhite rosetteson whitebackgrounds, alternating withAmorini,masksor singleanimalfigures on coloredbackgrounds. The decoration of the lunettes,althoughcloselyalliedwiththatof thevault,is more subduedand simple. The designis architectural, imitatinga stagefrontseenin perspective fromthe center,and arranged in sucha way as to leavethreelargeverticalpanels - figures for the maindecoration of gods and heroesin relief. Practicallyall of the architectural featuresare in reliefalthoughthe coffersover the largepanelsare merely painted. A few compartments with frescoesareinterspersed amongthereliefsand some of the latterare modelledon coloredgrounds. of thetomb(P1. XXXIII)thereare,proceeding In the lunetteoppositetheentrance fromleft to right,an IndianBacchus,a Victoryand an Apollo. Bacchus,in a long in hislongsleevesandfulleffeminate chiton,betrayshis Orientalcharacter drapery. On his beardedheadframedwith long luxuriant curls,thereis crownof ivy leaves. In his righthandhe holdsa drinkinghorn,fromwhichhe is pouringwine, and in his left a sortof combined thyrsusand pine cone, for it is shortand thicklikea club,butwound with ivy and lamellated.The Victorywho is crowned andwinged,carriesa largepalm branchoverher left shoulderwhileher otherhandrestson the edge of a roundshield at her side. The Apollois also crowned,but clothedonly in a mantlewhichhangs behindhim fromhis shoulders to his feet. A quiveris slungfromhis shoulderby a narrowstrap,whilehe holdsthe lyre in his left handand the plectrumin the right. This is clearlyintendedto represent a statue,forthe squarebasisonwhichhe standsis plainlyindicated. The centralpanel of the lunetteover the entrance(P1. XXXIV) is occupiedby a window,but to the left there is a Hermesand to the righta youthfulBacchus. The two figuresare almostidenticalin pose and modelling. Soft and effeminatein form, they standeasilywith the weight on the right leg and with the righthandraisedto the back of the head in a carelessattitude. Each one wears a mantlemerelyhung on the

STUCCORELIEFS the one an elaboratecaduceus, left shoulderand carriesin the left handthe attribute, the othera thyrsustied with fillets. armedandclothedas hoplites(P1. The lunetteon the rightcontainstwo warriors, XXXV, Fig. 1) and betweenthema younghero. The formerwith crestedhelmet, of Achillesin thepanelrelief spearand largeroundshield,resemblethe two attendants in the vault. The centralfigure,nude,with his himationdrapedso thatit hangsover his left armand over his rightthigh,standswith his rightfoot restingon a slight,boxbeforehim. In his righthandwhichleanson thisraisedleg he carriesa like structure staff,and underthe otherarm,a sheathedsword. In the fourthlunette(P1. XXXV, Fig. 2) we returnto the Trojancycle. In the center,thereis a youth,swordin hand, carryinga palladium,who has therefore seatedon as Diomedes. On the right,thereis thewoundedPhiloctetes, beenidentified the ground,rubbinghis knee with his righthandwhilehe claspsa spearwith his left. a manin hisprime,bearded, Besidehim lie hisbowandquiver. The thirdpanelcontains and carryinga sheathedsword. It is possiblethatthis is Ulysses strongand muscular, thatin the picturegalleryof the Propylaea,therewerepaintfor we readin Pausanias ingsof Diomedesand Ulysses,the formercarryingoff the bow of Philoctetesand the latterwith the imageof Athena. We seemto have the samethree heroesconnected in this lunette. The modellingof the figureson the wallsis morecarefulandmorefinished.The seemsto be laidon the nude are not incisedto suchan extent,and emphasis draperies to notehow the artistusedfiguresof the same pose and type form. It is interesting thesimilarity betweenthe Bacchus in two or moreplaces. We havealreadymentioned of and the Mercuryin one lunette,but they also resemblethe Venusin the Judgment Parisand the Dionysusin the thirdlargerelief. All of these singlefiguresseem to have been copiesof real statuesor paintings. a frescoof a mask At the top of each lunette,on eithersideof a panelcontaining decoratedby white compartments with two marineanimals,there are two triangular pieces- thatis, they are in reliefson coloredbackgrounds.The reliefsare companion to the panelfresco. In the two lunettesat the sidesof thechamber, heraldicopposition thereare two Amoriniholdinga shield or a quiverup to the centralpanel. In the other lunettes,we haveTritonswithaplustrandsmallNereidsor Amorinifloatingbehindthem. Over the centerof the firstpair of lunettesthere is a largeinvertedshellof stucco, a motive foundagain in the tombsunderSan Sebastiano. In the secondpairof lunettes scrollon a coloredground. The remaining there is insteada very gracefulornamental detailsof the decorationare very subordinatein character. It mightbe well to mention which surrounds the beautifuland elaborateborder,composedof varioustuccomouldings,

EMILY L. WADSWORTH of the vault. The corfromthemto the decoration the lunettesand formsa transition of withits combination and attractive the lunettesis very interesting nice whichsupports and smallstuccoornaments.In each angle of the room,standingon this mouldings cornice,therewas a femalefigure,modelledin stuccobut in veryhigh relief,so as to in the round. They are badlyinjuredbut were probablyrepresentations be practically decorations in sepulchral of the fourseasons,motivesnot unknown P. S. BARTOLI,Le Pitture Antiche del Sepoicrodce'Nasonii nella Via Flaminia, 1680, PI. XXI.

STUCCORELIEFS THE UNDERGROUNDBASILICA. The mostimportant as far as magnitude and variety exampleof stuccodecoration, of designis concerned, maybe seen in the so-calledUnderground Basilica,a monument recentlydiscovered a shortdistanceoutsidethe Porta Magon the Via Praenestina, giore'. The monument has arousedgreatinterestamongthe archaeologists, for various reasons,but especially,perhaps,becauseit is moreor less of a mystery. Its form,its will probablybe the subject purpose,its date, as well as its extraordinary decoration, of learneddiscussion for sometimeto come. The monument, and orientatedexactlyeast and whichwas alwaysunderground, whichserved,as the ancientmeansof enwest, comprises: a) a longinclinedcorridor, trance;b) a smallante-room, 3.62 by 3.50 m., lit by a lightwell in the centerof in the formof a Christian the ceiling;c) the largemainchamberconstructed Basilica, a centralnavewith a semicircular containing apse,and twosideaisles. Naveandaisles are coveredwith barrelvaults,supported by archivolts restingon largerectangular piers of concrete2. By the natureof its construction, the mainchamberdepended forits illumination on two sources:first,on the reflected lightwhichcamein fromtheantechamber, throughthe doorwayand the large windowin the lunetteaboveit; second,on the supplementary help of hanginglamps,tracesof which may be seen underthe arches betweenthe nave and side aisles. It is possiblethat the firstmethodwas the one originallyplannedin relationto the decoration.In P1.XXXVII one noticeshow the windowis adjustedso that the lightfromthe vestibulejuststrikesone of the important whenvisitingthebasilica,oneis astonished reliefsof the vault. Moreover, by the added beautyof the reliefsas a whole,whenseen onlyby meansof the reflected light. The floorwas coveredwith a finewhitemosaicof good qualitywith a doubleblackline as E. GATTI,NotiziedegliScavi, 1918, pp. 30 ff., an gives accountof the spectaculardiscoveryof this monument madein April 1917,whileinvestigating a slight -inkingof thegroundbeneaththe Rome-Naplesrailroad tracks. He also describesthe building fromanarchitectural point of view, while F. Fornari,in the same number,pp. 39 iff, brieflydealswith the reliefdecoration. The full publication, amplyillustrated, will appearin the nearfuture,as the resultof Dr. Lugli'sand Dr. Bendinelli's carefulstudyand investigation. 2 E. GATTI, op. cit., pp. 36 ff.,hasthe theorythat the construction was carriedout by hollowingout from above,the groundthe walls and piers would occupy, and by thenpouringconcreteinto the cavities. The I vaultswere centeredon plankslaid on the rounded earth. Finally,all the earthwas removedfromwithin, leavingthe buildingin its presentform. This explains the manyirregularities in the structure.To makethe placewaterproof againsthe naturalseepageof moisture whichis graduallysofteningand stainingthe stucco, the authorities have decided to excavatefromaboveand repairand protectthe room from without. This will necessitatea great deal of labor and expense, for the railroadtracksover which several express trainspass, must be provided for. This proposed excavationmay also settle several important questionsregardingthe construction, date and purposeof the monument.

EMILYL. WADSWORTH with - the walls,piersand vaults,are covered of the chamber border. The remainder andpanels. The in variously shapedcompartments stuccoreliefsin purewhite,arranged subjectsof thesereliefsembracealmosteverystyleand varietyof Classicart,excluding themes. only Orientaland Christian reliefs, At some periodin antiquity,the place was thoroughlyrifledof all furniture, and the like, which mighthave aided materiallyin its identification. mosaics,inscriptions It has been suggestedbecauseof its reliefsand mysteriousatmosphere,that it may well have been the secret meeting place of some religioussect 1, or of a philosophical society2 , and recentlythatit was a tomb3. The questionof date is still a matterof discussion.A parapetof opus reticulatum a factwhich was found aroundthe light well in the antechamber, of good workmanship causedit to be dated duringthe Augustanage 4. Other authoritiesare inclined to assignit to muchlater periodbecause of the unusual form of the buildingand the style of decoration 5. The designsof the three vaultsare composedof panelsin variousizesand shapes, in respectto the axes of the room. The centralvault is more arrangedsymmetrically elaborateas well as largerthan the other two (see Pls. XXXVI-XXXVII). The techniqueand methodused in decoratingthese vaults are quite evident. Each vault was blocked off into small squares, 23 to the length and 9 to the width of the centralone, which served as the unitsof the decorativesystem. The mouldingswere run along the lines so as to includeone, two or more of these squares,and an egg patternof a debasedtype, withoutdarts,was pressedinto them lightly. These mouldings are comparativelylow in profile and show no undercutting. They were not retouched,for the imprintof the stampis visibleafter every thirdegg (P1. XXXIX). in severalplaces. It is very interestingto see the incisedlinesof the squaredbackground decoratedby Medusaheads (P1. XLII, Fig. 1) we can also In the smallcompartments see the lines drawndiagonallyand verticallyto locate the centersof the squares. The panels in the central vault (Pls. XXXVI-XXXVII), being the more were more carefullymodelled. The centralpanel, anda few importantand conspicuous, othersalong the crownof the vault are orientatedwith referenceto the personstanding I GATTI, op. cit., p. 39. 2 CUMONT,Rev. Arch.1918, pp. 52 ff: Rassegna on the reliefs,manyof the He also baseshis conclusion decomotivesof whichare foundin Romansepulchral have urnsor othertombfurniture ration. No sarcophagi, been found,thoughthey may have been there before the placewas ransacked. d'Arte,1921, pp. 37 ff. In these articles,Cumontasto whose to the Neo-Pythagoreans, signsthe monument doctrineshe findsallusionsin the reliefs. 4 FORNARI,op. cit., p. 46. 3 HUELSEN,Berl.Phil. Wochenschr., 1919,pp.259 5 LANCIANI, in theBull. Arch.Comm.,1918,P. 83, ff., suggestsit maybe the tombof Antinous.Dr. BENDINELLI,in a lecture before the ItalianArchaeological puts it in the periodof Hadrian; G. BAGNANI, 1919, P. 84, datesit at the end of the firstcentury. Society,gave as his theorythatit wasmeantfor a tomb.

STUCCORELIEFS at the entranceof the chamber, but theothersarearrangedalongthe sides,so thatthey are verticalto the corniceline. In the centerand midwaybetweenit and the endsof the vault,thereis a largesquare(ninesquareunits)containing a so-calledrape scene. Smallersquares(foursquareunits)with variousmythological reliefsare scatteredsymmetrically thoughout the design. Longnarrowrectanglesalong the sidesof the vault containgenreand humorous scenes. Otherpanelshavepurelyornamental motivesuch as candelabra with Victories,Gorgonheads,and conventionalized palmette designs. It is impossibleto describethese reliefsfully, first becausethe publication by Dr. Lugli and Dr. Bendinelliwill shortlybe issued,andsecond,becauseto do themjustice,would take morespace than this paper permits. We may,however,discussa few of the characteristic panelsin the threevaults. The centralreliefin the nave (P1. XXXVIII, Fig. 1), whoseimportance is indicatedby its positionand by the extra plain moulding set withinthe frame,probably represents the rapeof Ganymede.Ganymede,nudeexcept for a light scarfover his shoulders, carriesa pitcherin his right hand and a large blazingtorchin the other. Insteadof the customary eagle, a wingedGeniusholdshim claspedaroundthe waist. This wingedfigurewearsa shorttunicand, if the unevenmodellingon his legs and armsis meantto represent wrinkles,trousersand longsleeves. Behindhishead,which is now destroyed,a cloakbelliesout in the wind. His outspread wings are uniquely modelled,beingcomposed of largebroad-tipped fromone another, feathers, separated and heavierin reliefat the ends thanat the roots. In arrangement, andtechnical modelling skill,this reliefexcellsall the othersof the monument.Ganymedeis especiallyattractive and thereis a mostnaturalswingto his beautiful,passivebody fromthe motion of the flight. The Geniusis full of action;his very legs, the perspective treatment of whichis very cleverlydone,show that he is the propellingpowerof the pair. The foldsof the draperyare somewhataffectedin arrangement, but only add to the gracefulnessof the group. Less successful in drawingis the rapeof a Leucippidby one of the Heavenly Twins,althoughas a piece of decoration it is admirably adaptedto the compartment (PI.XXXVIII, Fig.2). The bodyof the youthis quitecontorted; his legs are seenin profile to the right, his head is sharply turned in the opposite direction, and his body is facing full front. He wears a conical cap and a scarf which, in spite of its four weighted corners, blows out in artificialcurves. He holds the body of the girl quite naturallywith one arm under the small of her back and the other around her thighs. She is rigid, with both arms extended and her head thrown back so that her loosened hair hangs realisticallydownward in wavy locks. Her long full garmentof some transparent materialis opened down an entire side in order to reveal the curvesof her body.

EMILYL. WADSWORTH The pinwheeleffectof arms,legsanddrapery in thegroupgivesanimpression of motionand rapidflight,but one feels thatthe poseis unnatural.The modelling of the bodiesand draperyis goodin spiteof thecrudeheadof thegirlandtheawkward positionof theman. The mythological suNjects treatedare almostinfinitein their varietyand seemto haveno connection with one another. They were probablyselectedat randomby the fromthe storeof legendspopularin Rome at the time. Amongthesubjects decorator we havethe Rape of Helenby Paris,the Freeingof Hesione,Jasonand represented, Medea,Heraclesand a Hesperide,the Punishment of theDanaids,Flayingof Marsyas, and Chironand Achilles. In addition,thereare a numberwhichare not easilyidenillustrate obscureincidentsin the lives of the mythical tifiedand doubtless heroes. The of thesereliefsis inferiorto that of the two discussedabove, and varies workmanship in the separatepanels. Severalof the scenesare amusingenoughto be caricatures but the humoris doubtlessunconscious. The reliefof Jasonand Medeawith the GoldenFleece (P1. XXXIX) is very naivebecauseof its crudedrawingand modelling.In the centerof the compartment standsa gnarledtree trunkto whichthe fleeceis fastened. The serpent,twinedabout the sametree, has abandoned its watchto drinkof the potionwhichMedea,standing stolidlyand stifflyon the left, is offering it in a saucer. Meanwhile theundersized hero kneelson a platform, whichhe has mountedby meansof a box placedupon a stool, aboutto cut downthe prixe. There are no subtletiesin modelling and no attemptat perspectives.The draperies are stiffand the artistdid not knowhow to represent the formof the bodybeneathexceptby drawinglines uponthe surfaceas he did in the case of Medea'sleg. It is interesting to note in this relief,and in all the othersof a similarcharacter, the attemptat a realisticforeground. Anotherrelief,moredifficultof interpretation, possiblyrepresents Helenand Menelaus(P1.XL, Fig. 1). On the right,a womanis seatedon a step-likearrangement, with her head bowedand restingon her righthand. On her left arm she carriesa palladium.The torsoof the woman,whichis nudefromthe waistlineup,is hardand dry in modelling butthedraperyoverlap andlegs is moresuccessful.Beforeherstands a man,bearded,nudeand strong,with one foot plantedon a block in frontof him. He is leaningforwardwith both armsrestingon his raisedknee. Overhis knee hangs a cloak of heavy materialand just underhis elbow there is an object which mightbe the paw of a lionskinor a humanhand crudelydrawn. In the latter case, whichseems the most probable,it seems to hold a sheath. The righthand of the manholdsa fillet or necklacetowardsthe woman. Accordingto one versionof the legend1, after the 1 ROSCHER,Lexikon,12, pp. 1971iff.

STUCCORELIEFS to escapethe wrathof her'rightfulhusband. fall of Troy, Helen fled to a sanctuary withthe statueof the goddess,the xoanonof Athena. she is represented Sometimes She is partlynudeto showthe changeof heartshe inspiresin Menelausby her phyHelenseatedon somestepswhile Me1 representing sicalcharms. Thereis a mirror nelauspresentsher with a necklace. Fronthe way in whichthe stuccohas fallenoff, it looksas if a coatingwas addedafterthe reliefhad oncebeen modelled.Thismay of the scene. have been doneto coverup poormodellingor to changethe character an episodein the life of Helen, which shows Thereis anotherreliefillustrating and of anotherhand(P1. XL, Fig. 2). Whilethereis morefreedom the workmanship thanthere was in the relief of Jasonand Medea,the in the composition naturalism by his Phrygiancostumeof identified drawingis sketchilydone. Parisis represented, pedumhe and by the shepherd's pointedcap, longsleeved,blousedtunicand trousers, hangsa plaincloakwithno folds. He is carriesin his left hand. Fromhis shoulders walkingalongtowardthe right,lookingbackat Helen whomhe is leadingby theright manner, hand. Helenwearsa tunicand himation,modelledin a ratherimpressionistic at thenapeof herneck and a lightgauzyscarfaroundher neck. Her hairis gathered andhasjust carelessly,with a largelock escapingover hershoulder.She is barefooted feelingandhumaninterestin takena step withher rightfoot. Thereis moredramatic and in that respect,it is comparable this scenethanin mostof thosein this monument, to the mythicalreliefsof the Tombof the Pancratii. because The contentsof the long narrowpanelswith genrescenesare interesting of theirsubjectmatterand originality.In spite of defectsin modellingand drawing, the scenesare very animated.Thereare racesin the presenceof a trainer,a pedawalkers,jugglersand the like. goguewith his pupils,athletes,tightrope The one of the pedagoguewith threeof his pupilsis given in P1. XLI. The former,wrappedin his cloak,is seatedon the right,with a rod in one hand and his chin restingon the other. He is watchingintentlya smallnudeboy standingbeforea idol. The boycarries a grotesque poston whichis fasteneda queerobjectresembling a writingtabletin one of his handswhich are crossedin frontof him. Beyondthe post thereis a secondboy, alsonudeand carryinga tablet. A thirdboy is stealing up behindthe masteron tiptoewithbotharmsoutstretched.The effect of the relief is very realisticin spite of the fact that the modellingis sketchyand does not bear close inspection. Below this panel, there is anothersimilarin subjectand spirit. (It may be seen by piecingtogetherPls. XLII, Fig. 1, XLI and XLII, Fig. 2). Seven figuresat wide 1 OVERBECK, Gallerie,12, 7.

EMILY L. WADSWORTH but connectedby theirrelationto one another,are strungout to fill the long intervals, to the forward narrowspace. On the left, thereis a youngboy in shorttunicrunning as if to catch the ball the second boy holds in his right with both handsoutstretched left hand. This secondfigureis nude and standswith his right leg slightlybent and his arms outspread. The thirdfigureis also nude and is seen from the back. His face is turnedtowardsthe second boy and his left hand is outstretchedin the same directionas if he had just tossed the ball back. These figuresformone completegroup as do the othersa secondone. The fourthboy standsat ease holdinga large round shieldon the groundbefore him. He is nude, but in front of him thereare two small boys clad in tunics who have the same pose. Each is advancingwith the right foot, a shortsword in the righthand andcarryinga roundshieldon the left arm. brandishing At the extremerightis their trainer,wrappedin a toga in such a way as to leavehis right arm and shoulderfree. In this hand, he holds a shortstickwith somethinghangmeansof chastisement. ing from the handle. This may be a cat o'nine tails or simsilar He gazes intentlyand sternly at the two boys and is very evidently directingtheir movements. The two boys are on a smallerscale than the other figuresin the panel or becausethe artistwished becausetheyare meantto be consideredin the background, to give varietyto his composition. Anotherseriesof genre reliefsare distinctlyAlexandrianin origin. One of these, which evidentlydepictsa mimeticdance, is illustratedin P1. XLIII, and resemblesa scene on a bronzeoenochoein Paris1. We have a groupof three men and a woman betweenan uprightamphoraon the left and a scragglytree or shrubon theright. The firstfigureon the left, a man, clad merelywith a loin cloth anda conicalcap, is standtowardsthesecond ing with both legs together,bodybentforward,and armsoutstretched figure. Betweenthe two there are severalobjectson the groundwhichresemblea couple of sticksleaningagainsta low post. The secondfigurewears a longhimationwrapped aroundhim leavinghis rightarm and shoulderbare. His head which is bald on the top, with shortcurly hair at the sides, is turnedback towardsthe thirdfigure. On his left shoulderhe carriesan amphora,steadiedby his raisedleft hand. The thirdfigure, a woman, is clad in a long full garmentof transparentmaterial,caught up on one shoulderand belted in at the waist. She is bent forwardwith her handsoutstretched towardsa low table as if she were makingmesmerizingn passesR over it. The table is three legged with variousobjectsplace4 upon it, resemblingcups, and a wand with a knob. Beside it there is another amphoraand a jug. To the right of the table there is a third man with a conicalcap and loin cloth like the firstfigure. He carries 1 DE RIDDER, Les BronzesAntiquesdu Louvre,11,No. 2765, Pl. 99, p. 115.

STUCCORELIEFS a longnarrowwandin his right hand'and holds out the othertowardsthe woman. is sketchy,but with intention,for the life and spiritof the sceneand The modelling the drawingof the humanformshow that the artistwas not unskilled. on the genre. They In the side vaults,thereis a seriesof reliefs,also bordering does not seem to have been show very roughtechnique,for even the background properlysmoothed.In one of thesereliefs(P1. XLVII, Fig. 1), we have two women and a blazingaltar. The womanon the left is blowingthe doublepipes while her on the rightis layinga garlandon the altar. Bothwearlongchitonsgirded companion thatverylittle at the waist,and crudelymodelled. The facesare so poorlyrepresented can be told aboutthem. In P1. XLIX, Fig. 1 we havea seatedyouthwith a large lyre, possiblyOrpheustherefore,and a womanstandingbeforehim. She is leaning againsta shortcolumnand holdsout her righthand(very badlydrawn) towardsthe a danceor orgy,with two womenwithlongswirlman. P1. XLVII, Fig. 2 illustrates ing garmentsand flyinghair. One holdsa Gorgon'sheadand a swordwhichshe is a on the left, is clasping wildly. A thirdwoman,standingmorepeacefully brandishing roundobjectwhichmay be somekindof musicalinstrument.This last scene in spite is full of life. of its deficiencies on the whole,and at motiveson the vaultsare successful, The variousornamental timesquiteoriginal. Thereare Gorgonheads(P1. XLII, Fig. 1 and 2), withwaving animalears,tied men'sheadswith curlinghairand largeprotruding locks,and grotesque with ribbons.The latterare especiallydecorativeand recall similarmotivesfoundin art. The Victoryfigures(Pls. XXXIX and XLIV) crowningcandelabra Renaissance are also present,althoughthey are not usedin pairsin this case. An unusualmotive palmette with a conventionalized is thatof the smallAttis figuresused in connection are decoratedwith smallamorinior palmettes. design.Othercompartments vaultof the apse (P1. XLV) has been verysatisThe designin the semicircular factorilyexplainedby Mr. Curtislas SapphotakingherLeucadianleap. On theright, we haveSappho,veiled, carryingher lyre in her hand,in the act of steppingoff the on another cliff,while a wingedCupidseemsto be urgingher frombehind. Opposite, cliffstandsa statueof the youthfulApollo with his bow. Below,in the water,which is representedby large wavy lines, there are two Tritons, one with a rudderand the other holdingout a net to breakthe heroine'sfall. A youngman seated on the rocks below the Apollo has been identifiedas the unhappyPhaon. Under this relief there is a splendidfigureof Victorybetweentwo Orantes. The formerstandserect on a pedestal,facingto the left, with long droopingwings on the C. D. CURTIS, A. J. A., 1920, pp. 146 H.

EMILY L. WADSWORTH right. Over her left shouldershe carriesa longpalmbranch,and in her outstretched righthandholdsa wreathtied with a fillet. This is the Victoryof certaincoin types' and probablydependson a statuefor a prototype.The bodyof the Victoryand the two Orantesare badlydamagedbut all seemto have been morecarefullymodelled. The walls,with the exceptionof the apse,are dividedinto panelsforminga high dado. These panelsare decoratedwith rusticshrinesof various types. Inone,we have a statueof Dianaundera sacredtree, flankedby a dog and a deer. Althoughthe tree resembles thoseof the Farnesina vaults,the techniqueand spiritof the sceneis entirelydifferent. An interesting featurein the decorative schemeis seen in theportrait bustsin high reliefon the pierstowardsthe side aisles. Of these onlyone (P1. XLVI, Fig. I) is fairlywellpreserved.It is seen in profileand has the thick lips and elongatedskull of negroidtypes. The wallsand vaultof the vestibulewere alsodecoratedwith reliefs. The socles and a stripunderthe springof thevault,werecoloredred withscenesin variouscolors, the remainder of the surfacewas dividedinto panelswith rusticshrines. The vault aroundthe lightwell is dividedinto variously shapedcompartments (P1. XLVIII)part of whichare purewhitewhilethe rest have coloredbackgrounds.Two circularmedallionstandout fromthe generaldesign. Both are decoratedwith Maenadsriding panthers(P1. XLVI, Fig. 2). They are stiffand awkward in comparison to the similar motivesin the Tombof the Valerii. Amongthe otherpanels,oneseesCupids,treated as singlemotivesor drivingtiny chariots,catchingbutterflies, etc. There are also stylized femalefigures,Juppiter Ammonheadswith long curlinghorns,resembling thosein the vaultof the Tombof the Pancratii,and conventionalized flowerdesigns. The vaultof the corridormusthavebeen decorated with stuccoes andpaintings for 2* fragments were foundin the earthwhenit was excavated Prof. Cumont3findsmuchreligioussignificance in the reliefsas a whole. The Victoriesalludeto the triumphof the initiated overdeath. The mythicalsubjects, rape of Helen, freeingof Hesione,punishment of the Danaids,etc., are allegoricalof the soulfreedfromearthlybondsand takento heaven. The smallAttisfigures areemblems of immortality,while the gorgoneia are prophylactic. These interpretationsfit in with his theory that the monumentwas used by the Neo-Pythagoreans. In a like manner, those who think the buildingwas a tomb, can see funerarysignificancein the decoration. In consideringthe reliefs collectively, they seem to have more decorative and illustrative ' See legionary coinsof M. Anthony,for instance, Coinsof RomanRepublic,Brit. Mus. Cat.11, p. 531 Nos. 227-8, P1. CXVI, 16, 17. 2 GATrI, OP.cit., p. 36. 3 CUMONT,La Basilique Souterraine, Rev. Arch., 1918, pp. 52 i.

STUCCORELIEFS valuethanallegorical.Similarmotivesare foundon all sortsof objectswhichhave no funerary or religiousmeaning.The genrescenes,in particular, arefoundin terracottas, metalwork,vasesand the like. The mythological scenes are comparable to similar subjectsfoundin wall paintings. Froma studyof the reliefs,whichhas beennecessarily it wouldseem verycursory, fromthe style and technique, whichvarygreatly,that the decoration is muchlaterthan the Augustanage and mustbelongto the end of the firstcenturyof our era, at least. The textureof the stuccois coarse,expeciallyin the side vaults;the surfacelacksthe finishand the clearcut modellingof the earlywork. The reliefhas theeffectof having been applieduponthe background withoutbeingworkedin withit. Delicatedetails like wings,hairand the like are not modelledin the background or represented by incisedlinesbut are appliedand in that respectresemblethe barbotine work on Italic vases. Manyworkmenmusthavehad a sharein the decoration, as one judgesfrom the greatvarietyshownin the modelling.Althoughsomeof the reliefshow anastonisbingcarelessness, on the wholethey are executedwith a remarkable suretyof touch.

EMILYL. WADSWORTH TOR DE' SCHIAVI. On the ancientVia Praenestina, abouttwo and a half milesfromthePo.ta Maggioreare the picturesque ruinsof the Villa Gordianiorum, popularly called,the " Tor de' SchiaviK. The periodshownby the construction varyfrombeforeGordianus III to the MiddleAges. The lowerpartof the large octagonal hall, of whichless than half now remains,belongsto the timeof the Gordiani'.The hall had originallyalterand semicircular natingrectangular niches,and on the soffitof one of the formerthere still remaintracesof the stuccodecoration (P1. XLIX, Figs.2 and3). The designis an alloverpatternof intersecting circlesof bead mouldings.The centersof the circles withwingedanimalsor marinemonsters, were decorated whilethesmallersegmentscontaineda motiveformedby a flowerrosettebetweentwo conventionalized budsor leaf sprays. The outeredge of the soffithas been destroyedbut thereare tracesagainst the rearwall of the nicheof a gracefulborderof leafy scrolls. A very goodidea of the originaldecorativeschememaybe gainedfromthe designby Ronczewski, basedon . Piranesi'sdrawings Thereare no tracesof color,and if thereever were, timeand weatherhave efanddelicate, facedthem. The designis gracefuland refined,and the workis accurate showingno signsof decadencein techniqueor taste,as one wouldexpectof suchlate decoration.The stuccocomposition showsa largeproportion of plasterof Paris. This completes the list of stuccoreliefsof the Classical periodwhicharestillextant. Thereare variouspieces of stuccodecoration scatteredaroundin the museums, and doubtlessin privatepossession, whichhavenot beenincluded,mainlybecauseof their character.In the Antiquario, therearea few bits,oneof whichshows very fragmentary a stylizedfemalefigure,whichcamefroma Romanhouseexcavatedon the Esquiline3. In the Vatican,thereare severalargecofferswith a curvingsurfacewhichcamefrom the vaultof a tombin the VignaMoroni4.One represents VenusandAdonisandthe otherJupiter,Neptuneand Pluto. The workmanship is carelessand doubtshavebeen of the reliefs. In the NationalMuseum,there are the expressedas to the genuineness fragmentaryremainsof a vault excavated at Castel Porziano,which are thereforeoutside the jurisdictionof the list0. 1 ASHBY, B. S. R., 1, pp. 156 i.; LUGLI, Bull. Conm.,1915, P. 156,P. 165; Mrs. STRONG,Apotheosis 3HELBIG, Fuhrer,3d ed. 1, p. 577. ' Ibid. l, Nos. 460A461. and After Life, p. 210. 2 RONCZEWSKI, Gew6lbeschmuck, P1. 23; PIRANESI, AntichitaRomana,11,PIS. 29-30. 5 These havenot as yet been publishedor catalogued.

STUCCORELIEFS DESIGNS. VAULTS. whichdivide madeby the mouldings vaultsare generally The designsof stuccoed shapes,and sizes and geometric of various the surfaceintofields,panelsor medallions '. andarranged to thewaythelatterareformed according be classified theymaytherefore prototype, designsare thosebasedon theirearlier andmostcommon The simplest of square ceiling,wherewoodenbeamsandcrossbeamsformeda network the raftered qualityof thesecoffersmadethempopular or coffers.The decorative compartments in a varietyof formsto vaults transferred at an earlydateandtheywereeventually Inthe vaultsanddomesof monujustification. andceilingswheretheyhadno structural itselfandthendecorated2. the coffersweresunkinto the concrete mentalconstructions, mediinused. well,wastheordinary remarkably Stucco,whichlentitselfto thispurpose andotherornamental A layerof it coveredthe surfaces, rosettes, mouldings, andenriched vaultsandceilings, frommoulds.On smaller wereapplied of the samematerial features bandsor by stucco by meansof painted realcofferswerenotmadebutweresimulated 3. The profiles of the lattermightbe wideandheavyas in thevaultedpasmouldings was to be on or veryfine anddelicateif the emphasis sageunderSan Sebastiano, of the ceiling. Rosettes,simple the ornamental motivesratherthanon the framework for the centersof or elaborate, wereat all timesthe naturalandpopulardecoration scrolls, animals, finddancing putti,maenads, we sometimes the coffers,butas substitutes, thespaceof severalof the coffers etc. In manyvaults,largepanelsor fieldscovering surfaces in orderto gainlargerandmoreconvenient intervals are placedat symmetric ' RONCZEWSKI, pp. 11Iff., classifies Gewdlbeschmuck, vaultand ceilingdesignsunderfour heads; the archiand rhythmic.I The argeometric decorative, tectonic, includes is basedon coffers. The decorative chitectonic form the fields, in the surface cover thosedesignswhich of which is thoughto be sufficiently and arrangement a coffereddesign. The decorativewithoutpresupposing mainobjectof thisclassis to presentrelief picturesof with variouscontent,which stand in close connection the divisionof the surface,so thatwithoutthe reliefsin question,the formand size of the fieldswouldhaveno justification.The geometriclassis similarto, yet differentfromthe above. The fields,generallyof geometric form,are borderedas separateunitsand combined plan. Those designsare accordingto a preconceived repetition whichare composedby therhythmic rhythmic of certainfieldmotives. This is true also of the first class,but the fourthclassincludesonlythosefieldswhich can not be assignedto the coffergroup1. This classificationdoes not seem entirely clear and logical, and forconvenience. at timesis too complicated 2 An example of such cofferingmay be seen in the lofty roomson the Palatine near the south western corner of the Stadium. ' ISID., Etym., XIX, 12, describes such coffers: n Laqueariasunt quae cameramsubtegunt et ornant, quae et lacunariadicunturquod lacus quosdamquadrahabeatpictos tos vel rotundoslignovel gypsovelcoloribus signis intermicantibus".

EMILYL. WADSWORTH for decoration.In someinstances, so muchelaboration andso manyvariations havebeen effectedthatit is difficulto recognizethe underlying cofferdesigns. A systemof squarecoffersdecoratesthe vaultof the innerchamberof the third tombunderSan Sebastiano, cofferdesigncoversthe passageway whilean hexagonal of the second tomb. Unless one includesthe vaultsof the Colosseum,whichare so damagedthat one can not be positiveaboutthe designs,theseare theonlyexamplesof the use of pure cofferswithoutintrudingpanels. The archesin the Colosseum, the on the Palatine,and the vaultunderSan Clementeare basedon coffers crypto-porticus but the largerpanelswhichhave been insertedcovermostof the space. The arched entranceto the Tombof the Valeriiand the archesalongthe so-calledBridgeof Cato a coffereddesignhas ligulabelongto the sameclass,although nearlyall resemblance been lost. at timesthe firstclass,but developing A secondclassof vaultdesigns,resembling from'a differentorigin,includesthe circleall-overpatterns.These all-overs,whichare also foundearlierin Egyptianand Cretanart, enjoyeda long popularity in Romanand Pompeiandecoration.In one of the Republicanhousesunderthe Flavianpalaceon the Palatine,thereis a goodexampleof sucha patternwherethe designis formedby tangentcirclesof paintedscrollmotives '. Inthe centersof thesecirclestherearesmaller and decoratedby smallstuccofigureson a colored ones,outlinedby stuccomouldings ground. In Pompeiiin the Houseof the AmoriniDorati,thereis a flat ceilingwith the designof intersecting circlesmadeby simplestuccomotives. In the StabianBaths, a morecomplicated schemeof circularmedallions decorative framedby severalrowsof and connectedby interlaces, plainand elaboratemouldings coversa barrelvault. Medallionsand intervening spacesare decoratedby floatingnymphs,swansetc., in stucco, whilethe interlacing bandsand the bordersare accentuated by colors. In Rome,duringthe periodto whichwe have limitedour studyof stuccoreliefs, therewere similardesignsexecutedwithouthe use of color. In the passageway of the thirdtombat San Sebastiano, the circlesare connected by shortstripsof stucco. Both the circlesand the spacesbetweenthemaredecorated simplywithrosettes.IntheTomb of the Valerii,the designis moreornateand delicate,as well as on a largerscale. The circularmedallionshave a finerprofileand framenymphsridingsea monsters,bacchantes and the like. The cross shapedintersticescontainrosettesin squarecompartments which are surroundedby elaboratescrolldesigns. tTheonly exampleof intersectingcircles is to be found in the soffit of the niche of the octagonal hall at Tor de' Schiavi. Here the larger spaces are filled with winged animals while the smaller ones have a I RONCZEWSKI, Gew6lbeschmuck, p. 34, Fig. 21.

STUCCORELIEFS flowermotive. The effect of the designsof this class is particularly conventionalized withornamental as in theTombof theValerii. charming, especiallywhencombined figures A thirdseriesof vaultshas a decorationwhich may be called the carpetstyle. The prototypes of thesewere no doubtthe ceilingsof the East wherereal carpetsor in stuccoreliefs, rugswere stretchedacross for decoration.The designsinterpreted with or withouthe use of colormay be thoughtof as imitating a singlerug, or even severalrugsplacedacrosseach otherat rightangles. The singlerug is composedof a centralmedallion,usuallysquare,surrounded borders.We haveexamples by concentric of thisin the two vaultsof Hadrian's Villa, and in one of thevaultsof Nero'sGolden House. In the morecomplicated with rug designs,the bordersare highlyornamental variousgeometricfieldsinsertedsymmetrically, and color often has a prominent place. Very goodexamplesof theseare foundin theTombof the Pancratiiand in the Volta Dorataof the GoldenHouseof Nero. These are strikingin their gorgeousness, but less artisticthansomeof the simplerdesigns. The fourthgroup,whichmay be calledthe decorative,includesthe Underground Basilica,the Farnesina vaultsand the Tomb of the Arruntii. The designsof these vaultsare composed of variouslyshapedfields,the sidesof whichare contiguous to one anotherand perpendicular or horizontal to the corniceline. The designin eachcaseis to each of the axes of the room,takenseparately, symmetrical but not to bothaxes at the sametime. The divisioninto compartments is subsidiary to the decorativescheme althoughthe reliefsare all chosenwith an idea as to theiradjustment to the shapesof the former. Sincethe effectdependson the choiceof motivesand on theirmodelling it is naturalthatwe findthe richestvarietyand manyof the most and arrangement, reliefsin suchdesigns. interesting The vaultof the thirdtombat San Sebastiano, with a free designof grapevines does not comeunderany of thesecategories.It is the only one of its kind in stucco decoration, althoughwe findsimilarones in fresco,as in theTombof Pomponius Hylas, and in a vaultof the Catacombs of Domitilla.Thereis anotherin mosaicin a section of the vaultedambulatory at Sta. Costanza.If therewere more of thesedesignsin stuccoreliefs,they mightbe classified underfloraldecoration. In the majority of thesevaultdesigns,we finda centralmedallion or panelwhich is emphasizedby size, shape or elaborateborder, and containsthe mostimportantrelief. From its central position, which requiresa form symmetricalto both axes of the room, such as a square or a circle, the medalliondemands a motive which has no real orientation, or top and bottom. A flying or floatingfigure with wings and loose drapery can be made to fill the space artisticallyand at the same time without offendingone's sense of appropriateness.

EMILYL. WADSWORTH a thunderbolt clutching In the Tombof the Pancratiiwe havethe eagle of Jupiter, in its talons,and carryingthe figureof a man,possiblyJupiterhimself.The subjectis of the Tomb a commonone on lamps,coinsand otherobjects. The centralmedallion of the Valeriiis no differentfromthe othercirclesof the samevault, exceptthat it containsa veiledwomanbornealofton the back of a wingedgriffin. In the UndergroundBasilicawe have a youth,identifiedas Ganymede,carriedin the armsof a wingedgenius. theseso-calledrapescenesas symbolicof the transitof the Mrs. Strong'interprets of soul of the deceasedto the Islesof the Blessed,or as an allusionto theresurrection for whatare obviouslythe main motivesin a sepulchral the soul. Such explanations are possible,the only difficulty beingthat similarscenesare foundin buildmonument, no funerary intention.For instance,amongthe stuccoreliefs ingswhichhave absolutely of the ForumBathsat Pompeii,thereare two circular in the vaultof the Tepidarium one of Ganymedeand the eagle,and the otherof a youthon the backof medallions, a griffin. In Nero'sGoldenHouse,the Volta Dorata2had as decoration in its central medallion, Jupiterseatedon an eagle with a nudewomanor a Ganymede.Were any of thesein a tomb,symbolicsignificance wouldbe attachedto it. It seemsreasonable, therefore,to suggestthat this symbolismin the motivesfoundin tombs,was by no meansa controllingfactorin their choice,and in manycases may not have been consciously presentin the mindof the designer. This wouldbe especiallytrue in the placesin caseswherethe rapescenes,dolphins,or allegoricalmythshave subordinate the designand are used for purelydecorative purposes. We also have a few instanceswherethe centralmotiveis filled with a conventionalizedesign,as in the second tomb underSan Sebastiano,and the palaestraat Hadrian's the central vaults. Unfortunately, Villa, and probablyalsoin the Farnesina medallionin manyof the vaultdesignsis damagedor lacking,whichdeprivesus of valuablecomparative material. WALLS. An interestingand logicaluse of stuccorelief work is found in its adaptationto wall decorationsof the Second Style. Stuccohad alreadybeen used in the FirstStyle to imitateblocksof marblecut with beveled edges, so it was but a naturalstep to interprethe columns,cornicesand otherarchitectural featuresof the Second Style by Mrs. STRONG, Apotheosisand After Life, pp. 2 WEEGE, Jahrb.,1913, p. 176.

STUCCORELIEFS meansof the samematerial.ThisSecondStyle,moreover, a I realR soughtto represent as contrasted withthe fancifuland structurally with trueperspectives architecture impossibledecoration thatdevelopedlater. By treatingthe architectonic divisions whichwere as projecting fromthe mainsurface,in a materialwhichactuallydidproject represented and give the righteffectsof lightand shade,the realismwas intensified.Stuccoused for suchpurposeswas easilyappliedand requiredno particular skill. Onlymechanical laborwas necessaryto runthe columnsand themouldings whichformedthearchitectural framework.The intervening spacescouldbe decoratedby frescoes,by stuccoreliefs, or as simpleas thepatrondesired. or by a combination of both, andcouldbe as elaborate On the wallsof the Palaestrand on the lunettesof the Men's Apodyterium of the StabianBathsin Pompeii,this use of stuccoforthe architectural elements,combined with color and real stuccoreliefs,is quite complicatedand ornate. In Rome, however, it is moresimpleand refinedand accordinglymorecharming. This may be seen especially on the walls of the smallroomsalong the so-called Bridge of Caligulaon the Palatine,in spite of the-fact that the originalcolors are badly faded, and the reliefs are badly damaged. Other examplesin Rome of this architectural style of wall decorationsupplemented by stuccoreliefs,are to be foundin the lunettesof the Tomb of the Pancratii,the frieze at Domitian'sAlban Villa and the entranceof the Colosseum. In the Tomb of the Pancratii,the architecture is real, but subduedand dignified and appearssubsidiaryto the color schemeand the three stucco figureswhich decorate the main panels. The slendercolumns,fluted and adornedwithcompositecapitals,support a corniceformedof severalsimplemouldings,seen in perspective. In the frieze of the theaterof Domitian'sAlban Villa, the architecture is less substantially supported but is realisticand has excellentperspectives. The arched niches are especially convincing. No color was used in this case, so the architecture is practicallyas prominent in the decorativeschemeas are the figures.The imitationof a stagefront,whichis very evident,is remarkablywell adaptedto the purposeof the building. The stuccoon the walls of the entrancepassagewayof the Colosseumis unfortunately too damagedand discoloredfor one to determinewhethercolor was used or not, or what the design,as a whole, was. The detailsare fine and on a smallscale but more elaboratethan in the above examples.

EMILYL. WADSWORTH MOTIVES. These stuccoreliefswhichwe haveexaminedwere influenced by thecontemporary phasesof Romanculture,and we therefore find manyof the samemotivesthatappear of art of the sameperiod. In is not possibleto determine in all in the otherbranches cases the ultimatesourcefromwhichthe stuccoworkerdrew his inspiration.For instance,one can nottell whetherthe stuccoeswere influenced by the terracottaplaques, whichthey oftenresemble,or whetherthe terracottaswere influenced by the stuccoes, or even if bothhad no connection with eachotheranddependedon someotherfactor. of the more immediately We mustthereforeconfineourselvesto a consideration comparativematerial,the characteristics of whichthestuccoworkermaywell have copied or imitated. A carefulstudyof his art revealsthe fact thatthemajority of hisdesigns, whetherornamental or decorative maybe tracedbackto classicalsources,Greekor the laterHellenisticandAlexandrian. Therewas a strongtendencyin classicalart to imitatethe designsof one material in another. This was particularly truein the AugustanAge, when we find the same stylesand compositions appearing in marblereliefs,terracottas,vases,wallpaintings, and stuccowork. In generalthis was becausethey were imitations in turnof well known worksof art of the Hellenisticperiod. None of ourstuccoreliefscan be identified as exactcopiesbut manyare obviouslyadaptations of previousworksof art. HellenisticReliefswith theirgenreandidyllicscenes,attemping realistic landscapes 1, full of vigor and freedom,are prototypes for certainreliefsin the Farnesinavaults. elementswere also absorbedfromwall paintings, Landscape especiallyfromthoseof the thanRoman. The Neo Attic reSecondStyle depictinga terrainmore Alexandrian liefs2, with theirtendencyto archaism, showtheirinfluence over the graceful butsomewhataffectedposes and draperiesof manyof the figuresas well as over the more stylizedVictories. Thesefiguresconsequently oftenresemblemotivesfoundon Arretine vases3 and the terracotta plaques4whichhad a common origin. The mythical scenes were determined probablyas much by the literature of the periodand by the Hel lenisticreligiouscults as by Greek paintingsand sculpture. Dionysiacsubjects,Attis figures, mythicalrepresentationswhich could be given allegorical meaningsand obscureincidents from legendarylore are illustrationsof this. Certain designs seem to have come from ' SCHREIBER,Hellenistische Reliefbilder,Plates. 2 HAUSER,Die Neu-attischen Reliefs, pp. 1 ff. 3 OSWALDand PRYCE,Terra Sigillata, pp. 238 f. Die AntikenTerrakotten, IV, 2, Pls. XXXIV, XXXV etc. 4 ROHDEN,

STUCCORELIEFS the metalworkpopularat the time,and otherswere probablyderiveddirectlvfrom plantand animalife. The problemof the stuccoworkerwas to chosedesignsand motiveswhichcould be adaptedto the variouscompartments and at thesametimeharmonize witheachother scheme.Thanksto the mediumhe workedin, and to the emand the maindecorative and practical,workingfree handquicklybefore ploymentof a methodbothexpeditious the plastercoulddry, the resultwas full of spirit,freedom,and originality,although certainmotiveswere usedoverand overagain. Someof the moreimportant decorative featureswill now be discussed. LANDSCAPES. The landscapes whichappearin our stuccoreliefsmaybe dividedintotwoclasses: thosewhichare treatedas independent pictures,and thosewhichserveas backgrounds. The landscape of the Hellenisticage althoughthe idea of it reliefis a development appearsearlierin Greekart. At firstthe Greekartistswere concerned only in representingthe figuresof theirgods and heroeswith the attributes whichservedto identify them. Therewas no attemptat a background, although, as in the Monuoccasionally, mentof Lysicrates, a tree or similarobject appearsas an accessoryor a meansof localizingthe scene. It was but a matterof timefor rocks,trees,a religious shrineor enclosure wall of a building,to appearas real backgrounds, such as we find in the Hellenisticpictorialreliefs. Then a furtherdevelopment occurred1,or rathera separation of ideas. We get one groupwhich has becomea pure landscapewith rural shrines,sacredenclosures, columnsand trees. The otherbecomespurelyarchitectural and we see facadesof temples,walls,or houseinteriorsas backgrounds, and although it does not entirelyleave the fieldof relief,it becomesmoreimportant in paintingand a regularpartof picturesor the Secondand FourthStyles. Alexandrian art, with its love of the genreand idyllic,recognized the possibilities of the landscape as such,and broughtit forthfromits subordinate positionas background. - the purelandscape, In stuccowork,the firstclassof landscapes appearing as an independentpicture, is very much under this Alexandrian influence2. The emphasisis on the terrain and the figuresof human beings and animalsare merely accessories, In spirit and effect, these landscapesare far from relief work and closely allied to frescoes. It is probable that they are based on painted originals, and in turn served as models I Die hellenistischro6mische ROSTOWZEW, Architekturlandschoft,R6m. Milt., 1911, p. 107. 2 R. PAGENSTECHER, Uber daslandschaftliche Relief bei den Griechen,1919, pp. 23 if.

EMILYL. WADSWORTH for certainof the marblereliefs'. The comparison betweenthe landscapereliefsof the vaultsand someof the wall paintings of Romeis worthyof attention.The Farnesina yellowfriezeof the rightala of the Houseof Livia2on the Palatine,is merelya contiin monochrome, with the samecharacteristic that nuouslandscape sceneryandaccessories we findin the stuccoreliefs. Certainlandscape scenesfromthe wall paintingsof the 3, the friezefromthe columbarium in the Villa Pamphili',and another in the Farnesina Villa Albani5,are also of the sametype. In the frescoes,the artisthasusuallysought to rendernatureby a detailedand carefulimitation ratherthanby theskilfulsuggestion of naturaleffects. In the stuccoreliefs,the problemwas different, becauseof the material. Due to the smallscaleand very low relief,detailshad to be suggestedrather thandrawnand the effectis accordingly morerealistic.The presence of wateris merely indicatedby a bridge,or by a fisher,and the groundmergesinto the sky withoutany horizonline. Trees,shrinesand peopleare sketchedin, ratherthan drawn,so as to a Japanesewatercolorin spiritand'effect. producea pictureresembling Althoughbasedon Alexandrian thereis littleEgyptianinfluencein the originals, unlessone considers as suchthe strawroof on one of the buildings stuccolandscapes and the palmtrees. Pygmies,camelsand otherobjectsof a tropical naturewhichappear and in someof thelandscape in Pompeianpaintings mosaics, arenotpresent.The rocky are moresuggestive of Sicily,MagnaGraeciaor Greeceproperthanof hilly landscapes Romeand the Campanian cities. The predominant featurein all thereliefsis thesacred and idylliccharacter.The sacredtree is ever presentandwith it are sacredcolumns, gates,schola,shrines,statuesof the gods,altarsandporticoes.The idyllicnoteis struck in the cattlepeacefullygrazingin the foregrounds, and in the fishersor countrypeople treatedas accessories. The techniqueof the modelling is very goodand the perspectives areexcellentin mostcases. The humanfiguresare very lifelikein spiteof theirsketchytreatment and the smallscaleon whichthey are made. They are nearlyall in motionbut without the effectof restlessness.The cattleare especiallyfine,and are cleverlyhandled,and J. Sieveking in discussing plates621-630of BRUNNBRUCKMAN's Denkmaler griech.u. r.im.Skulptur, suggests I thatthe Hellenisticreliefswith the emphasison the werebasedon plastermodels.PAGENSTECHER landscapes op. cit., pp. 45 ff. goes even furtherand says that the plasterreliefs were not only modelsfor the marble reliefs,but were the originalsthemselves.He callsattentionto the greatpartplasterplayedin Alexandria and thinksuchreliefsas the I Farmerdrivingthecow (SCHREIBER,Hell. Reliefbilder, PI. LXXX) canonlybe explainedby assigning themto a stuccooriginal. This wouldalso explainwhy these Hellenisticreliefsare all copies,and why no originalshavebeen found. 2 MAU,Geschichte d. dec. Wandmalerei in Pompeii, Rom. Mitt.,1911, pp. 12 ff., pp. 204 ff; ROSTOWZEW, Pls. 1-111. 3 LESSING-MAU, Wand-und-deckenschmuck, Plates. ' SAMTER,Rom. Mitt., 1893, pp. 105 if.; RosTOWZEW,Op. Cit., pp. 26 ff. 5 HELBIG,Fuhrer,3d ed., 11, 1893; RosTowzEw, Op.Cit.,pp. 25 f.

STUCCO RELIEFS and simplicity the architecture, althoughfancifulis convincing.An air of peacefulness is suggestedwhichcombinesto give the landscapes an indescribable charm. Closelyconnectedwiththe Farnesina is the seriesof rusticshrines landscapes which appearas a socledecoration in theUnderground Basilica. Here the reliefis higherand on a largerscale,and one motive,isolated,servesas a decorationfor a singlepanel. The largescaleof the reliefrequiresa differenttreatment and the modellingis not as welldone, nor by as goodan artist. Thustheeffectis different, eventhoughthetechnique employedin modelling the trees,for example,is the same. The landscapes of the secondclass-thosewhichserveas backgrounds, also appear in the Farnesina vaultsin the eightBacchicscenes. The emphasis is laidon thefigures and the landscapelements,which are thereforesubsidiary, are simplified.They are of the sametype as thosedescribedabove,but seen fromcloserat hand, so that the effect,thoughsketchy,is slightlydifferent.Thereare practically no architectural details, no sacredenclosures, or porticoes.A sacredtree, a columnand an altarwithperhaps a herm,serveto localizethe sceneat a rusticshrine. Inthisrespect,thisclassresembles somne of the Hellenisticpictorialreliefs. One of these in the NaplesMuseum1,for a sacredcolumnand a tree, and a naturalrocky altar instance,has as a background, decoratedwith fillets,toppedby a Priapushermand a cista. These featuresin modof course,the are very like thoseof the stuccoreliefs,discounting ellingand treatment in materials. difference HUMAN FIGURES. When humanfiguresappearin stuccoreliefs,they usuallybecomethemostimportant elementin the decorativescheme. Whetherused singlyor in groups,they are generallyon a largerscaleand in higherreliefthanthe othermotivesand are givena strategicpositionin the designas, for example,in the centralpanels,or thosealongthe springof the vault,and othersuponwhichthe eye of the observernaturally rests. In subject,as well as in treatment, they varyconsiderably in accordance withthe tasteof the periodand the skill of the modeller.The earlierones reflectmore stronglythe Greek characteristics,softened by Alexandrianinfluence,which prevailedin the Augustan Age, while in the later reliefs, the modellingis bolder and broaderand contoursare left intentionallyvague. The artistsseems to have been aiming at effects of light and shade rather than at beauty of outline, and we realize that the modellingis intended to produce its effect from some distance. I SCHREIBER,op. cit. P1. LIV.

EMILY L. WADSWORTH In the Farnesina vaults,whichare the earliestof thoseunderdiscussion, thereliefs are severein style, smoothand minutelyfinished.They have the clear-cutheautyof outlineone expectsin cameowork,and the modellingloses none of its qualityby a close examination.The treatmentof the draperyand of the nude formsis equally well handledand nowheresurpassed in stuccodecoration.The gracefulfiguresof the Tomb of the Valeriiare treatedwith less restraint,but are not less charming.The soft, effeminate typesof the femaleformare displayedin a varietyof poses,and with to the aboveis a surenessof touchwhichrevealsa masterhand. In absolutecontrast of some of the subordinate the sketchy,crudeand at times,stiffand faultymodelling reliefsin the Underground Basilica. Froma distancethe effectis strikingbut a close revealsmanyflawswhichdetractfromthe artisticmerit. A Greekinfluence examination all cases,in the costumes and hairarrangement. is noticeable,in practically The subjectsof thesereliefsseemto be the same as those whichappearin the and frescoesof the period,althoughtreatedat timeswitha greateroriginality. sculpture of the HomericepisodesrepreWe haveseveralof the famousand almost'hackneyed - thatis, the Judgment sentedin two of the reliefsof the Tomb of the Pancratii of Parisand the Ransomingof Hector'sBody. Other mythological subjectsare chosen fromthe cycle of legendswhichgainedpopularity duringthe Alexandrian Period,such as the Theseusand Ariadneand the Herculesand Hebe of the theaterat CastelGanof Hesione,the Flayingof Marsyas,Jasonand Medea,and dolfo,and the Liberation of the Danaidswhichappearin the Underground the Punishment Basilica. Someof the reliefsgive originalor unusualversionsof a well knownmyth. Examplesof such are the othertwo reliefsof the Tombof the Pancratiiwhichportrayincidentsin the legendsof Herculesand of Alcestis. The Phaethonreliefsof the Farnesinand the one of Sappho'sLeap in the Underground Basilica(P1. XLV) on the otherhand,are themeswhich,thoughfoundin literature, are unusualin art. Thereis a secondgroupof subjectscomprising theMaenads andSatyrs,theNymphs, and otherminorcharacters of GreekMythology, appearing in the samevarietyof form and presentation that theydo in Pompeianwall paintings.Lyingon theborderbetween the purelyornamentalfigures,like the Victories,for instance,and the pictorialreliefs described above, they were popular with the stucco decorator not so much for the subject as for the wonderfulopportunitythey offered him of representingbeautiful and graceful forms. The Bacchic reliefs of the Farnesinacan not be classed with exactness under the mythologicalsubjects,althoughDionysus and his mysterieshad a prominentposition in legendary literatureand were favoritesubjectsin Alexandrianart. The charactersinclude human votaries and ministrantsas well as the imaginaryBacchus,Silenus, Bacchantesand

STUCCO RELIEFS Satyrs. They are accordingly moreor less connectedwith the genrescenes. The best examplesof the genrereliefsare foundin the Underground Basilica.We see the jugglers,pygmies,and otherhumorous characters of an Alexandrian originand the school scenesof boyswith theirmaster,athleticscenes of varioustypes, womendancing,or sacrificing, and the like. seemsto The numberof figuresin one reliefvaries,but the favoritearrangement a have beento use two only- a Bacchante and a faun,a nymphwith a sea monster, heroor a god with the partnerof one of his amours,etc. Thereare so manyof the lattertype, thatof a manand a woman,whereone of the figuresis seatedand the other is standing,thatit is often impossibleto determinejust which pair and which incidentis represented.In the stuccodecoration at PrimaPorta,and of the Bridgeof Caligula,the imprintof severalsuch compositions can be distinguished.The use of singlefigureseemsto be confinedalmostentirelyto the perpendicular surfacesof walls as in the friezeof Domitian's theaterand the lunettesof the Tomb of the Pancratii. VICTORIES. a personified Althoughoriginally abstract quality,theNike,or Victory,hadacquired a firmpositionin the realmof pure ornament by Alexandrian times. A favoritein Romanart, she appearsin variousformson all sortsof objects,and is a very popular motivein stuccodecoration.As commonly usedin the stuccoreliefs,thesefigureshave an archaistic character as they walk on tip-toelike the figuresof the firstcenturyB. C. can be seen of a compromise Indications established betweenthe Alexandrian taste,the lovelygracious,living art and the taste for archaismwhich charmedthe Romansat the end of the Republicand in the AugustanAge. The sameelementsare foundin the terracottas,but the artistswho modelledthe stuccofreehandon the vaultswere less boundby traditionthanthosewho madethe mouldsfor the plaquesaccording to old prototypes. On the wall of the apsein the Underground Basilica(P1. XLV), the Victoryis given a position of importanceand prominence,possibly with allegorical as well as decorative intent. She is not stylized, but is evidently a replicaof a statueor similartype of Victory personified. The Victory in the lunette of the Tomb of the Pancratiiagain holds a prominentplace, between two of the Olympian deities in fact, and is treated as a statue (P1. XXXIII). She is crowned, and has as attributes a palm branch and a round shield. The purely decorativeVictories are apt to be stylized; their drapery, wings, and pose approachthe stiff archaistictreatmentwe see in the figures of the Neo-Attic re-

EMILY L. WADSVWORTH liefs'. Even whenthe draperyis natural,thereis an affectedbut gracefulpose in the swirlof the folds,or in the tip-toepositionof the figure. Oftenthey appearin pairs, on eitherside of a candelabrum or thymiaterion or as decoration for companion panels; The Victoriesof thisclassare morenumerous and appearat all periodsof our reliefs. In the Farnesina, thoseof the firstvault(Pi. I), whichhold the swordsand helmets, are purelydecorative althoughthey go backto the allegoricalVictorywho helpsarm the hero. The affectation of pose and draperyis evidentin spiteof theiroriginality and gracefulness.The seatedVictory(P1. 1, Fig. 2) in the samevaultis alsotreatedwith morefreedomthanmostof the typesof this class. Her positionis unusual,but her wingshave the archaising curl,and she is pouringa libationin heraldicopposition to a companion figure(now lacking)beforea candelabrum motive. In the othertwovaults, the Victoriesare in the usualheraldicgrouping with candelabra, and are morestylized. A morepronounced stereotyped formis foundin the Underground Basilicaunder the archesbetweenthe main and side aisles (Pls. XXXVI, XXXVII), and in the lunettesat the ends of the side aisles. These Victoriesstandstifflyon smallplant calyxes,withtheirskirtsdrawnin at thebottom. Theirwingsareraised,andtheirelbows are held tightlyat theirsidesalthoughtheirhandsare extended,eachholdinga flower. Thereare similarVictoriesholdingpaterain the anglesof the bordersurrounding the largerectangular reliefsin the vaultof the Tombof the Pancratii.The drawingsof the Tombof the Arruntiishowthattherewere threetypesof victories in theonevault. Somewere like thoselast mentioned in the diamond shapedfields,holdingfilletsin their outstretched hands2. Othersservedas candelabra or caryatidfigures,and stillothersas grotesques carryinghorns. CUPIDS. The cupid,puttoor amorino, with its roundchubbybodyandlittlewings,furnished Alexandrian art, and incidentally the Roman,with one of its favoritemotives. Because of its highlyornamental quality,it was especiallypopularin stuccodecoration.Amorini playinggamesfill the panelsin the Palatinecryptoporticus and the vaultsof the Colosseum. In these instances,they resemble the frescoes of the House of the Vettii at Pompeii, where Cupids enact scenes from daily life. Cupids are also used singly to fill small panels and compartments,and especially in coffers to take the place of rosettes. As such, we find them in the Tomb of the 1 HAUSER,Die neu-atlischen Reliefs, pp. 4 ff. 2 Mrs. STRONG,Apotheosis andAfterLife,p. 209, refersto thesefiguresas geniiwith symbolic intent,but to me they seem to be merelydecorativeVictories.

STUCCORELIEFS Valerii,and in the coffersof the firsttwo mentioned monuments.Underthesecircumstances,they are dancingalong,with a bit of fluttering draperyand holdingan object of somesortin theirlittlearms. They almostseemto be illustrations fora poemfrom the PlanudeanAppendix,wherethe poet says: n Look how the Lovesdelightin their spoils;look how,in childishtriumph, they wearthe weaponsof thegodson theirsturdy shoulders: the tamborine and thyrsusof Bacchus,the thunderbolt of Zeus, the shieldof Ares and his plumedhelmet,the quiverof Phoebuswell stockedwith arrows,the tridentof the sea-god,and the clubfromthe stronghandsof HerculesI". In the Tombof the Pancratii,theyarestylizedandin theBathsof Hadrian's Villa, theyare usedin pairswitha candelabrum motiveas decoration for someof thesmaller fields. In the Farnesina in severalof the friezes- a vaults,they appearas grotesques motivewhichreachedthe heightof popularity duringthe Renaissance. GRIFFINSAND SPHINXES. The griffinand sphinx,fabulous,composite creatures originallyimportedfromthe East,were oftenusedin stuccowork. The formeris usuallyrepresented witha crested eagle'shead,a lion'sbody,and wings,whilethe latterhas a femalehead, a lion or pantherbody,and wings. Mythically,the griffinwas supposedto symbolizethe evil spirit,the spiritof darknessor destruction, while both animalswere regardedas prophylacticand as guardians.In this last role, the sphinxappearson eitherside the doorwaysof Assyrianpalacesand in heraldicgrouping with the Tree of Life. In Romanart, and in stuccoreliefsin particular, theseanimalsare generallyrepresentedin heraldicgroupingon eitherside of a candelabrum, vase,or other central motive. The typesare interchangeable and the stereotyped formsare alteredaccording to the capriceof the artistuntilall semblance to theoriginalsis lost. Accordingly,the bodyand head may be adaptedfromany beastor birdof the realor imaginary world, the wingsmay be simpleor elaborate,and the body,as oftenas not, diminishes intoa tail curlingup intolargeplantvolutes. In a lunetteof a Republicanhouseunderthe FlavianPalaceon the Palatine,we have two large griffinswith volute tails. In the Farnesinareliefs, the griffinand sphinx grotesquesare at the height of decorative usefulness. Nowhere are they more attractive and varied. Some are horned and bearded; others have Serapis, panther or women's heads. In the UndergroundBasilica, in the side aisles along the spring of the vault, we have a band of grifins to the right and left of large jars. They stand quietly on their four feet and resemble a similar band Greek Anthology,Loeb Tr. V, Secundus,PlanudeanApp., Nos, 214, 215.

EMILY L. WADSWORTH of animalsin Piranesi's drawingsof the Tombof the Arruntii.Theyappear,crouching or standing,facingor turnedfromlyres,plants,vases or gorgoneiain the minorcomof the Tombof the Pancratii. As singlefigures,in conjunction partments withwinged cows,horses,fishetc., they fill the largerspacesin the stuccodecorationof the small nicheat Tor de' Schiavi. In no case has the monsterhada prominent placein the decoration.He is everyin the generaldesignand can not be considered wheresubsidiary as symbolical.He is conceivedas purelydecorative and ornamental aridnot as a funeraryemblem. The motiveis foundin manytombs,but also in privatehousesand on publicmonuments. MINORMOTIVES. Thereare numerous minormotives,used as fillersmainly,in subordinate panels, in the decorative borders,and the like, whichare almostsubmerged scheme,butwhich have theirown artisticusefulness.Dolphinsand sea monsters of hybridtypesareoften At timesthey are conventionalized usedin thesecircumstances. and usedin pairswith theirtailsintertwining, as for instance,in the designunderthe nichesof thethirdtomb underSan Sebastiano, the bordersin the cryptoporticus of the Palatine,and in the fragments of vaultin the underground passageof the Colosseum.In the Tombof the Valerii,the maindecorativelementsare the dolphinsand varioussea monsters, either usedalone,or carryinga Nereidon its back. One has only to look at these animals with theirlongcurlingtailsand featheryfinsto realizetheirtrueornamental quality. whichoriginally Gorgoneia, mayhave been usedwith prophylactic intent,in stucco workare merelydecorative.Their formmakesthemespeciallyadaptedto smallround or squarecompartments.Like them in this respect,are the variousother maskmotives, sun faces, and the like. In differentforms, we find them in the UndergroundBasilica and the Tomb of the Pancratii. Tall narrow spaces are admirablyfilled by candelabra, all more ornamentalthan realistic. The fancy of the stucco worker often ran riot with this motive as we see in the Farnesinareliefs. Simpler examples are to be found in the Underground Basilica and the Tomb of the Arruntii. In the frieze at Castel Gandolfo, the candelabrum,very attenuated,becomes the division between panels. Shells, modelled architecturallyor on a flat surface as a decorative motive, vases, cult implements,trophies and other weapons, rosettes, and various small animal figures are used in some of the more elaboratedesigns. Rinceaux, Greek frets, and the guilloche are also foundin bordersand bandings,but may be classed with the egg and dart or water leaf mouldingsas structuralornamentin the majorityof cases.

PLATE I - 1, 2, Musco delle Terme. Farnesina. (pp. 23 iff).

PLATE 11 fi-ff@';s* l A_r iE l!___x_ >'>, -vX I I~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~X I~ l ~~ ~~~~~~~~~~~~~~~~~~~~ f4Wg I tj w v 4 t t?;i0v (p ' ^^"''V:'~~~~~'K'' . !g)~~~~~~~~~~~~~~~~A G, 3~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~P

ef~~~~~~~~PLT I~~~~~~~~~~~~~~~~~~~~A Museodelle Terme. Farnesina. (pp. 25 f.).~~~~~~~~~~~~~i:-n

f 77, OV, A0 5A Alk AM; -7a, zip Z7 W I (p. 2 7). 1 2. Museo delle Terme. Farnesina.

PLATE V t';t~~~~~~~4 M W MIGI 1 (p. 25). IF VM d. ei''re Farne,ina.

PLATE VI 1-3, Museo delle Terme. Farnesina.

~ ~ ~ ~ ~~ |~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Z -- ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ N - ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~rZ Museo delle Terme. Farnesina. (p. 29).~~~~~~~~~~~1414"

PLATE VIII A ~ ~ ~ A 1 (p 30) 1, 2, Museotz d Tr. ......X E~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ l...... 1~~~~~~~~~~~~~~~~~~~~~~~~~~~~~51 g L s~~~~~~~~> ---| 4 ^ ^ i] _ _-~~~~~~~~ (. 31):: t > - r~~~~~~~~~~~~~~~~~~~~~7

PLATE IX ,<Si.-~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~4 --.~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~M Yi..j I 01,7 .~~~~~~~~~~~~~~~~~~~~~~~~~~~~i EIA M .' ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~l ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~, -.>..90!..:..z Rm X,,1 3as,~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~v -;-A% Terme. Farnesina.(p. 33).~~~~~~~~~~~~~~~Z delle A/luseo

PLATE X T -W:, - - k. :,:J- NW , , NA or AL t-*-tiqi A 91%fq S fet, Mll Wit: T W6 In .. ........ V A e 77 o.i.. '04ti A f n4 Ai -7 4"th iL sif .4% A it 4 fb s 41 ol '14 01- ji, S. d 4al "Aa,

PLATE XI L~~~~~~~~~~~~~~~~MI I~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~L IND [S __ -w _ [ ! {4 53 | _ _t S l_!~~~~~~~~~Z 91Z<1 iErg?*;fT^wIt 2 MC 1, 2, Palatine, Cryptoporticus.(p. 44). :~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ I, 2, Palatine, Cryptoporticus. 44).~~~~~~~~~~~~~~~~~~~~~~~~~~~~~n"

64, 4rN~~~~~~~ -,Plaie UBigeo Clgla'

PLATE XIII _~~~~~~~~~~~~~~ i rm,# 1, 2, Castel Gandolfo. Villa of Domitian. (pp. 49 if.).

PLATE XIV IA'~~~~~~~~~~~~~~~ p. 50). OM ||v~~~~~~~~~~~~~~~~~~~~~~~~A C-I ik "r 1, 2, Castel Gandolfo. Villa of Domitian.

PLATE XV Vi fi~~~~~~~~~~~~~~~~~~~~~~~~~~~~4 -w _aIN M _. _ _,. ....... -.- -S- --------- _ 1.X~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ _ l i _ -di. III > , tH~~~~~~~~~~~~ NOU a . ' i e ) 1 ?~~~~~~~\ | 1 4 l l \ > "S i \ .. < 4s 4 wFO <vr]~Ai ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~A Aj f1 \ ' *4 s ^ 5~~~7j ^ .<s~~~~~~~~~~~~~~~~~~~~~~1 4 | t 1t4> _- %;zit 'x~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~. -. /i1i A 1t; \ 9 j~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

_AI 2, Vault under S. Clemente. (p. 56).

dy~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~4 ~~~~~~~~~~ ?' I \~ ~ ~ 1 2 Hadian'silla. p. 61)

PLATE XVIII loop, MA ;Nrz W W91 t.

PLATE XIX TA ..... ......... .............. .. .... ... . ... .... ...... ... .. 17 T7 ... . .. .. ........... 'Al si, 4_

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PLATE XXI 1,4 IF s "J1W 7-4 ....... .01 ......... r iz-r-w-r r r MWO f,W, 1r:#, vr f'r p v t r r v;,pv i-r- t 9-# ,7 ro 77 s A9 IPR N-a I: -Vt Ti1-1WU . ... ... .. Pt ri

61~~~~~~~~~~~~~~~~ Tomb of the Valeni~~~~~

IN M Xlic' A116 Al Zqx -W it P, f x 7. 1, 2, Tomb of the Valerii. (pp. 69 ff.)

-aAAl? iN 4 WARM Nt"'15 j4 4.1 .7. T 1, 2, Tomb of the Valerii. (pp. 69 ff

^q A .. A M A', Vr I N Ak. a .4-L A-e A 4L p nih 04. Tomb of the Pancratii. (pp. 73 ff.).

4M 3-A C:L P,. V.. 4- Al, M W 41 uv jil, ir;. llfol-.7 5W, N'. lz, AP N-4 LT. Jr 7777 Js T AM..-MIMMOM Tomb of the Pancratii.

77tt74 -. 7_6 A 77 417 T, A ik r-.7 wr T N. zo Fv , A.-Or 4, SWO, Wr 'IrIiE MI _V, w"..W .4. 'Afi-VS.,IN-, Tomb of the Pancratii. (p. 74).

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'kz SE YT, IY: Mg ;O&Q41 7! W A 23: 611:3mli X, -Oll-; It i41 W Vk cv, TV:'V N -.6nN 57 IV Pk M AN l . 'A '7 W ...... .. . ... FF k % Or .... ...... _"Ju S -20 Tomb of the Pancratii.

PLATEXXX _S\ >Xt] LW_ e~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~;im 2 ;'M7 vi^S t _ iS0'' ' L"'''''I'i'' t :S, e n , : iL Yan& 'tt ''" ! S702:is W R~~~~~~~~~~~~~~~~~~St Na \E lt S Nma3Re\\sf e,, t S X ^ |; / WS l~~~~~~~~~~~~~~~ 2z~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~k :;,%t'X'' A~~~~~~~~~~~~~~~~~~~~Z E1 \~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ fWsS+.~~MA

PLATE XXXI Tomb of the Pancratii (p 75).

PLATE XXXII Tombof the Pancratii.(p. 75).

-IE~~~~~~~~~~~~~~~~~~LT i l 1| i _I __|~~~~~~~~~~~~ ~ ~~~ R*MII11X __ i | _l~~~4- ~ ~~~~~~~~ __Rssssss e; - a- | AM|III 1~~~~~~~~~~~~~~~~~~~~- ON E __~~~~~~~~~~~~~~~~~~~~~~~~~~~AU Tomb of thePancratii. :Es S | I I | ZD-D~~~~~~~~~~~~~~~~W

P AN--4 'a 7 OFN 41- jp VI Y; Tomb of the Pancratii.

PLATE XXXV 1, 2, Tomb of the Pancratii.(p. 77).

PLATE XXXVI t_~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~O _._l | | i _.._; , | , W |I~~~~~~~~~~~~~3 |-| _IE. r_ _ .-ssen,> .~~~~~~~~~~~~~~~~~~~~~'k _~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ :X_' IIF! ? W H0rP i^ * P-~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ *f0S Fffl sS Itw.X <' ' >,?X k;; : 9 + a : r ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~i .. l: E :, f v. ; tj7 ' 7 t > S %i, w.,'; >;i:Ess :i~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~t t.r. Af .r, > ;s ;t 7 ' t'$t7i t' s,'k7; i_~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

PLATE XXXVII \7..-sK_ _ 1 ' _, MA " 'k-4 The Underground Basilica" A~~~~~~~~~~~~~ (pp. 79 if.).

2"e" A The Underground Basilica

PLATE XXXIX _ ,. s _ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ AW-__ w 10 fifi||_-SSeJ i_ . i~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ..i|N_lSvw....? a a__;f l _ l WS __l _ | _ $ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ I ~~~~~~~~~~~~~~~~~~. o.^.; .... .1.. 4-Z|1lt WISIL |~~~~~~~~~~~~~~-7 J.s 7 iv A is',l; A;i'sstei..'4ta~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

PLATE XL Ai. OKA MM PAIMF -44 J1. Ai Al

Basilica" The Underground O'44-c'ima~~~ (p 83)~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

PLATEXLII -T!T - zR 4 46 gti 4,'67 ..3 ARV w& ILL LT k I-P J-01 AWN .. ...

T IC P4 IT V', TV AL W. Mi e 4? X XA: I-N JO I I"F VWWWR 1- ki -J OJ 4i X 7 The Undergrounct Basilica

PLATE XLIV > .' r^s + ev v w; ..| i'4-X 4 i_t +!wx b,..............,. Vi 41 I'>___ t.q.#. .,, .....,... ,* ...................................... _ Basilica'. (p. 85). n"TheUnderground

------------- --L _~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~V v:,R 1~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ iN n AA~~~~~~~~~Rle Mh negondBslc inase

~ 3 ~ ,~~~~~~~~~w 1 2~~~~~~~~~~~~~~~~1 TeUdegondBslia"r(.8)

PLATE XLVII 'OV tg U.S. Mi, J-c ON m 2iA IFF ri. ZQ, A .,

~~~~~~~~~~~~~~LAEXVI 6~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~1 ~~~~~ j~~~~~~~~~~<~ ~ '~~ The Underground Basilica". (p. 86).~~~~~~~~~~~~~4

XLIX 4f N.,