reason of the universe, if we may be allowed the expression, that we ought to regulate our own individual reasons, as we regulate our watches by the sun." Ever since I witnessed this conversation, I have endeavoured to judge of every thing like a philosopher. I found also, that it was the same with our globe and its inhabitants as it was with respect to Silesia; every man forms his ideas according to his education. Astronomers can see nothing in this world except a globe like a Dutch cheese, which revolves round the sun, according to some Newtonians; military men see nothing except fields of battle, and promotions; the nobles think of nothing but seiguorial domains and vassals; the clergy dream of nothing but mitres and benefices; merchants look for commerce and money only; painters see nothing but landscapes; and epicures flatter themselves with prospects of terrestrial paradises. But the philosopher considers this world with respect to its relations with the wants of men; and he regards mankind themselves with re. spect to the wants they have among each other, For the Monthly Magazine. BEMARKS on the TOWNLEY STATUES, in the BRITISH MUSEUM. By the Rev. THOMAS DUDLEY FUSBROOKE, M. A. F. A. S. Nir (Fourth Room.) 70. 1. A bust of Trajan, with the breast naked. The tip of the nose is restored. Busts of Trajan are not uncommon. There are two colossal, and crowned with oak, at the Capitol and Palace Farnese. At the palace of Cardinal della Valle is another, thought to have been the head belonging to the statue on the column. The Villa Albani has a third colossal head. At the French Museum are two busts, one of which was brought from the above villa. The statue of the Villa Maffei, which represents Trajan seated, draped en philosophe, with a foot and antique shoe, had been removed from thence to the Museum Pio-Clementinum, but is now in the French Museum. Winckelmanu quotes Homer and Anacreon for the beauty of the breast in men, ascribed by the former to Neptune aud Agamemnon. It consists, says W. in the fine degagement of its elevation. No. 2. A bronze Hercules, carrying away the apples from the garden of the • Hesperides. No. 3. A prop of a table. No. 4. A head of Apollo, of very early Greek work. I think, from the hair, that it is Etruscan. The very early Greek style is only known from some Etruscan works and gems; for whether there are any marbles, is doubted by Winckelmanu, (Art. ii. 17 ed. Amstel. and De Piles, &c. have made perpetual errors upon this subject. No. 5. A statue of Thalia, found at Ostia, in the baths of Claudius. Tho folds of the drapery are exceedingly fine. No. 6. A head of Decebalus. This is probably a very rare and valuable bust of the Dacian king. No. 7. A bronze Apollo. No. 8. The prop of a table in por phyry, representing the head and leg of a Panther. Winckelmann determines statues of this marble to be the works of Greek artists, under the Ptolemies, or made under the emperors; but the Romans thought little of porphyry, as Pliny shows, when the statues were in troduced from Egypt, in the time of Claudius. The panther was a symbol of Bacchus, also of Pan. No. 9. A colossal head of Marcus Au relius, represented as Pontifer Maximus, in his sucrificing robes. There is much majesty in the forehead. His busts are very common. The toga of the Pontifex Maximus differed from that of the other priests, and his cap was like that of the Flamen Dialis, the spike or apex excepted; but the term sacrificing robes is vague, when it is known that he wore his consecration dress, laid by for that purpose at the Taurobolia, Criobolia, or go-bolia. This consecration-dress was, in the words of Maillot, (Costum. i. 266.) "son bonnet, son habit pontifical, et sa robe ceinte et troussée. "? No. 10. A bust of Lucius Verus, covered with the imperial paludamentum. There are many busts of Verus, but some are copies; two out of the three are such at the Villa Borghese, where is also a colossal bust, &c. The French Museum has three busts, and there are many others elsewhere. No. 11. Bacchus and Ampelus. No. 12. A head of the young Hercu les. This is very fine. No. 13. A head of Juno. No. 14. A statue of Diana, draped, and running. I do not like these Dianas: the drapery has an awkward, stiff, and unpleasing, form. It turns off too abruptly at the height of the knee. It would be better to float more gracefully from the waist. No. 14, is a bust of Hadrian, with the the breast naked. His busts are very common. (Fifth Room.) This room contains monumental inscriptions, urns, &c. of course. I shall not proceed through it seriatim. The earthen olla, for inferior people, were of two kinds: cineraria, for the ashes; ossariæ, for the bones. Two of these urns have the story of Echellus. It is singular how favourite a subject this is of Etruscan sarcophagi; besides two here, Buonarotti has published two others from the Vatican and Villa Albani. N. 24. of Echettes; on the cover a recumbent female figure; and N. 34. the Combat of Eteocles, &c. both occur in Montfaucon, (Suppl. v. 5. b. 6. c. i. 2.) as Etruscan monuments; and a recumbent figure appears upon all the six sarcophagi there given. Upon another Etruscan urn, besides the Combat of Eteocles and Polynices, are Furies. It was their office to purify the Bouls of mortals at the instant of leaving the body. Hence they frequently occur upon tombs. See Stat. Theb. 1. 8. Gori Mus. Etrusc, tab. 175. The specimen of Mosaic pavement is not rich. It has the Guilloche, as usual, but no central figure, and the dies are irregular. (Sixth Room.) No. 1. Profile of a Greek Philoso pher in a medallion. C. Caylus (ii. 188.) notes from Pliny, how particular the Romans were in having portraits of philosophers accurate resemblances. Antiquaries are agreed in calling phi losophers, statues or busts which have only a cloak with a tunic, and the breast entirely uncovered. In both the philosophers here, the head is inclined; but that is by no means any characteristic. It occurs indeed in a Plato published by Fulv. Ursinus, and in the Herculanean collection, (Bronzi, i. p. 103.) and the pretended Florentine Demosthenes, perhaps in one or two other instances, but it is not general. No. 2. Achilles among the daughters of Lycomedes, upon a sarcophagus. The incidents in the life of Achilles, are very common subjects in the gems of Stosch, and the Monumenti Inediti of Winckelmann. The beauty of Achilles, so celebrated among the Greeks, is united upon the marbles to that fierce and disdainful air which Homer ascribes to him: but this bas-relief, as well as No. 4 to 8, all parts of sarcophagis are of inferior work, being probably made ready for sale, and the subjects trite. No. 8, is the medallion of an inclined Head, as No. 1. No. 9, representing captive Amazons, has a coincidence to that of a si milar profile in every one of the Amazons. Modern artists should note, that all Amazons elsewhere, as well as here, are always alike, and have a serious look mixed with grief and pain. The eyebrows are indicated by an arrete vive? As this practice was chiefly in use in the ancient style of sculpture, it may be conjectured, that the Amazon of Etesilaus, which won the prize against Polycletus and Phidias, was the model of all the others. (Enc. des Antiq. v. Amazones. No. 10. Bacchus with a Thyrsus, his right arm over the shoulder of a Faun. In Maffei, La Chausse, Boissard, and Montfaucon, are Bacchus's in this attitude. Bacchus here has buskins, as in La Chausse, &c. No. 11. An elderly man reading a manuscript roll; before him stands a Muse, holding a mask. This is a dramatic author. Count Caylus (Rec. ii. pl. 8. n. 5.) has published a figure hold ing a mask, which from thence he takes to be a comic author. In a painting of Herculanum, is a woman turning her back upon a tragic poet; she is kneeling opposite a tragic mask upon a pedes tal. Liceti (Gem. Antiq. c. 118.) thinks that a mask denotes a dramatic writer, in speaking of a head ascribed to Virgil, which has also a mask, thought by Gronovius and Gori (Mus. Flor. Gem. i. pl. 48. n. 7.) to allude to the manes, from the description of the infernal regions in the Eneid. This mask has no beard. No. 12. A Bacchanalian procession. We see here Silenus and the ass. An elephant is introduced. It was particu larly consecrated to Bacchus, and some times accompanies the mysteries of that god, to shew his voyage and conquests in the Indies. (Beg. Thes. Brandenb. i. 260.) No. 13. Paris and Helen. In the famous gem possessed by M. Chretien Dehn, of Rome, the two heads of Paris and Helen are remarkably fine. No. 14. Genii and Armour. No. No. 15. A Head of Jupiter. The nose is restored. No. 16. A terminal Statue of a Youth, who is represented with the attributes of Mercury! This is a strange denomination of Alcibiades. A Greek observed of a handsome young man, that Mercuries ought to be made after his likeness, and not after that of Alcibiades. (Aristenatus l. i. ep. 11.) Arnobius (l. 6.) assures us, upon the testimony of Clemens Alexandrinus, that the statuaries of Athens gave to Mercury the features of Alcibiades. Hence portraits of this famous friend of Socrates have been taken from Mercuries. Assuredly, however, the PioClementine Alcibiades, a bust with the name, (tom. vi. pl. 31.), is a very different face from that of a Mercury, but that is a figure in age. No 17. A votive Altar, sacred to Apollo. It has the raven for symbol, Probably it should be denominated, sacred to Apollo Pataraus. See the coins. The raven has an oracular application. See Stat. Theb. iii. 506. No. 18. Apollo Musagetes. This term was given to Apollo, from the frequent representation of him accompanied by the Muses. No. 19. A Greek Inscription. No. 20. A Diana Triformis. The figure has a modern key, and the head turreted. Some marbles are known of Diana tergimina, or triformis. Count Caylus (t. 5. pl. lxv. and 6. pl. xiv.) has engraved two; but, he observes, care must be taken not to confound these representations of Diana with those of the Parcæ and Furies, which are equally composed of three figures, but with quite different attributes. The key occurs in one of the Dianæ triformes of La Chausse, No. 21. An Altar of Roman work, ornamented with Egyptian figures. No. 22. A head of an Amazon. No. 23. A funeral Monument of Xanthippus, who is represented sitting in a chair, and holding a human foot in his right hand. The foot was sacred to Pluto. The foot, or sole of the foot, upon sepulchral stones, has been thought to imply vows, made by persons who have been cured of a disorder in the feet, but they more probably imply thanks made by travellers for a successful journey or voyage. See Stosch, Cl. 4. n. 207. La Chausse, n. 32. All the inscriptions are addressed to Isis, Serapis, and Celeste-Urania, a Carthaginian dei. MONTHLY MAG. No. 210. No. 25. A Roman Allar, on which various Egyptian figures are represented. These imitations commenced with Hadrian, and almost all have been found at his villa at Tivoli. The eyes of these imitations are, according to the Greek system, très enfoncés, in numerous instances, and are not a fleur de tête, as in nature. Winckelm. Art. It is No. 26. A female Bacchante. very fine; and has the look of sleepy intoxication, so impressive in figures of this kind. No. 27. A sepulchral Monument. No 28. [and No. 39.] Victory sacrificing a Bull. It has been before noted that this ought to be called Victoria Mithriaca. Upon a B. coin of Vespasian, is a Victory sacrificing a Bull, with the legend "Pax orbis terrarum." The Roman generals who triumphed sacri. ficed an ox to Jupiter Capitolinus; and the above victory and legend seem to imply termination of a war. No. 29. Bust of Hadrian. No. 30. 36. Foot and Sandal. No. 32. A small Jupiter, represented in his two-fold capacity, as king of the upper and lower regions. Choul has published a coin, with various em blems, indicative of this dominion of Ju piter. No. 33. Priam supplicating Achilles. No. 33. A Greek Inscription. No. 34. A Bust of Severus. It should have been specified, whether Septimius or Alexander Severus. No. 35 to 40. include a Jupiter Se rapis, a Foot, (see No. 30.) a sarcopha gus colossal Foot of Apollo; Victory and a Bull. No. 40. A Head of Faustina, wife of Marcus Aurelius. There is a bust at the Capitol, and a portrait in Mariette, Pierr. Grav. ii. pl. lxxx. No. 41. Base of a Candelabrum. No. 43. A Swan. The legs are restored. It is more probable, I think, that it accompanied the figure of a divi nity, as a symbol; than that it was intended for Jupiter, so metamorphosed in his pursuit of Nemesis. ર No. No. 45. A Head of Aratus. It is not a common head. No. 46. A Greck sepulchral Monu ment. No. 47. An Eagle. No. 48. Base of a candelabrum. No. 51. A sepulchral Cippus. No. 53. Adonis. No. 54. An unknown Female. Ceres crowned in the manner of Isis. Ceres was the emblem of the productive power of the earth, whence she is confounded with the Egyptian Isis, the Phænician Venus, and Vesta. No. 56. Head of Nero. Busts of Nero are very rare. In the superb collection of imperial portraits at the villa Albani there is no Nero; of the two at the Capitol, one is almost wholly restored, the other represents Nero as a child. No. 57 to 62, include a votive Foot; sepulchral Cippus; an Urn; an Altar; a head of Minerva; a funeral Monument of Damocles. No. 63. An infant Bacchus. The drown of ivy, and the goat's skin, &c. show this statue to be similar to that engraved by Montfaucon, v. i. p. 2. v. i. s. 12. No. 68. Two Dogs. These have been much admired; at least, by those who like the animals of the ancients. No. 69. bust of Mureellus. A bronze bust of Hercules, known to be his by the ears, has been mistaken for Marcellus. (Bronzi Ercol. tuv. 49.) Qu. if this be a Marcellus? No. 70. An unknown Head. No. 71. Fragment of a Foot. No. 71. A Muse holding a Lyre. It is Terpsichore. Wincklemann (Art. 4.2.) says thus of the lyre in the hands of a Muse, in the paintings of Herculanum, with this inscription, TEPIXOPH AT PAN. It is a small lyre, and made probably like that made by Mercury, with the shell of a tortoise, and which was called chelys No. 73. A Cupid bending his Bow. No. 78. Sarcophagus. No. 79. A fragment of a mask of Bacchus. The masks which chiefly refer to the feasts of Bacchus are represented upon many coins of Neapolis, in Macedonia; Populonium, in Etruria; Abydus, in the Troad; Parium, in Mysia; Camarina, Mazara, in Sicily; and especially those of Thrace and Macedonia; where these feasts were celebra ted with more solemnity. These masks are, for the most part, hideous, and such as Virgil describes, Georgic, iii. S88. Of masks of Bacchus, see Antiq. Expliq. v. ii. 89.; repeated in the Miscellanea of Spon. In the Maffei collection (Gemine Antiche, iii. tav. 64.) is a tree upon which are suspended many small masks, alluding to the feasts of Bacchus, See too the famous Vase of S. Dennis, where are numerous masks of this kind. See further Plutarch's Roman Questions. No. 80. A totive Foot, with a serpent twined around it. The serpent is cer tainly the known symbol of Esculapius, and medicine; because, every year, casting its skin, it resembled renovation and fresh youth. Father Montfaucon has published a similar foot with a ser pent, from Bonami, and, after conceding the appropriation to Esculapius, says thus: "This sort of foot, with the serpent, is also found in Egyptian monuments, as in the image of Serapis and Isis, published by Fabretti." Vol. ii. p. i. 6. 4. c. 6. This overturns the above appropriation. No. 81. A Vase. No. 82. A Foot, as before. No. 83. A Mask, as before. No. 84. A Sphinx, &c. Here it is the base of a candelabrum. It was a favourite decoration. At the famous feast given at Alexandria, by Ptolemy Philadelphus, there were 100 beds of gold, with the feet of sphinxes. No. 85. A bust of Sabina. There is one also at the Capitol, and another in the Pio-Clementine Museum, and a portrait upon a gem. Pier. Grav. Pal. Roy. tom. ii. pl. xxxix. No. 86. A recumbent Satyr. No. 87. A sepulchral Cippus, ornamented with festoons of fruit. The flowers so common around funeral monuments alluded to those which were spread over the grave at the anniversary, and, according to Winckelmann's opinion, upon a similar representation of a gob. let, &c.; the fruits are the emblems of provisions, which were customarily left for the soul of the defunct. No. 88. An Egyptian Tumbler, pracLing his art on the back of a tume Cro. codile. This is an exquisite and curious marble. No. 89 to 98. include sepulchral Cippi, an unknown Bust, and a Trophy. No. 94. A Head of Messalina. This is not, I believe, a common bust. There is a very curious gem of her in Stosch, with a snail, the emblem of salacity, priapi, &c. See too Daerval, in a dissertation printed at Paris, 4to. 1708. the No 95. A torso of Hercules. No. 96. Monumental Inscription. No. 97. Stutne ending from *waist downwards in a terminus. In the right hand is a bunch of grapes, at which a bird, held under the left arm, is pecking. Representations of this kind are common on funeral monuments, In Boissard, vol. i. pars iv. pl. 105. is a child with a bunch of grapes, one of which he holds out to a cock perched upon his knee. The allusion to domestic animals kept for pleasure, is proved by another monument of Heteria Superba, in the same work, (iii, 101.) There is a female figure, with a bird in one hand, and a bunch of grapes in the other. At her feet are a dog and a bird, anxiously looking up to her. No. 98. A votive Altar, with a dedi catory inscription to Bona Dea Annianensis. In Boissard, (v. iii.. pl. 96.) is a singular coincidence: we have there a marble, with Annia. P. and Flora ez testamento. Bonai deai sacrum, Annia soror, Isia liberta faciundum cu Goltzius mentions coins of a rarunt. Roman family named Annia. I can find no name of nearer allusion in Leut priere. No. 99. Is a Jupiter Serapis, once painted. To the Editor of the Monthly Magazine. THE paper signed " A True Briton," in your last volume, page 357, ent titled, on the blue cover, "Queries re lative to the Folly and Inutility of the present War," brings to my recollection similar queries and pertinent observa tions on war, contained in a public fast sermon preached during the heat of the late American war. The following quotations are from the works of the Rev. and eccentric William Thone, late minister of Gowan, near Glasgow, consisting of a small volume of sermons, letters, tracts, &c. printed at If you think thein Glasgow, 1779. worthy of a place in your interesting publication, as in any degree subservient in forwarding the ideas of your feeling correspondent H. W. on the subject of war, expressed in your Number for August last, page 15, or as containing any inprovement on the plan for abolishing war suggested by Mentor, in the last or as in any volume, page 271; way in point in the present enquiry, I shall be obliged by an early insertion of them. This last-mentioned and humane correspondent suggests the propriety of submitting to arbitration the disputes which may arise amongst nations, with a view to prevent the misery and destruction consequent on war, instead of resorting to that desperate and inhuman expedient. But Mr. Thone, besides making the same proposal, goes much farther; thinking that princes or their ministers," rather than drench the ma tions in blood, should meet and finish their senseless differences by fighting it out themselves, and, in their own persons, finish the war which they have provoked." I am the more strongly induced to hand. you |