era.

The most remarkable specimens | moulds in the form of hares, rabbits, are placed in the centre of the rooms. birds, &c.; an egg-boiler with 29

1st Room (L1). In the centre,-On an old table, a kitchen range, with boiler, the lid ornamented with a head of Mercury. The celebrated Candelabra from the Villa of Diomed, one of the most elegant specimens of an antique lamp yet discovered. It stands 3 ft. high. On a rectangular plinth rises a rich pillar, surmounted by a capital. On the front of the pillar is a comic mask, and on the opposite side the head of a bull, with the Greek word Bucranion. From the extreme points of the abacus, four ornamented branches project; the lamps which now hang from them, though ancient, are not those which belonged to the stand, and were not found with it. The pillar is not placed in the centre, but at one end of the plinth. The space thus obtained may have served a stand for the oil-vase used in supplying the lamps. The plinth is inlaid with silver, representing vine-leaves, grapes, &c., the leaves of which are of silver, the stem and fruit of bright brass. On one side is an altar with a fire upon it; on the other a Bacchus naked, with his thick hair plaited and bound with ivy. He rides on a panther, and has his 1. hand in the attitude of holding reins; with the rt. he raises a drinking-horn. This lamp is placed on an old table of variegated marble.-Iron stocks found in the quarter of the soldiers at Pompeii, consisting, like those still seen in some of our English country towns, of a set of square spaces for the legs on an horizontal bar, closed by another moveable one; four skeletons were found with this instrument of punishment, and are supposed to have belonged to prisoners at the time the town was overwhelmed; and a circular one, also with spaces for the legs, round which the culprits must have sat, the legs confined in the same manner. In the presses:-A number of lamps and lampstands, of remarkable variety and grace of form, some with handsome reliefs. Kitchen utensils, such as caldrons, saucepans, frying-pans, flesh - hooks,

holes. Weights and measures, many similar to those now in use at Naples: the weights are of serpentine, lead, and porphyry; on the lead ones are the inscriptions Emis and Habebis; a pair of scales has its beam graduated with a movable weight attached to it, to mark the fractional parts; one of the steelyards is marked on the beam with Roman numerals from x to xxxx, and bears an inscription stating that it had been compared with the standard in the Capitol-EXACTA. IN. CAPITOlio-during the reign of Vespasian. Several of the counterpoises of these steelyards present forms of interest; one of them is in the form of a bust of Rome Triumphant, wearing a helmet on which are small figures of Romulus and Remus. Locks, door-handles, swords, sacrificial vsssels, &c., are among the other objects in the presses in this room.

2nd Room (L2). In the centre,

Two bisellia, in bronze, with inlaid ornaments in silver, and heads of horses and swans, of beautiful workmanship.-A triclinium, used by the Romans at their meals.-A beautiful tripod for a brazier, each arm ornamented with winged sphinxes, and the rim of the brazier itself decorated with reliefs of flower-wreaths and bulls' heads.--A fine tassa, or flat bowl, with inlaid flowers in silver.— A lectisternium, inlaid with silver and red mastic. - A marble table, enclosed in a bronze rim, and supported on very graceful legs, on each of which is a figure in relief, holding a rabbit.-A winged Victory, on a globe, holding a trophy in the right hand, the whole supporting a marble slab.-A Roman congius, or measure of capacity, bearing also an inscription of having been verified at the Capitol in the 6th year of the reign of Vespasian. In the presses:-Surgical instruments, differing little from many now in use; one is very similar to the speculum uteri which was invented as a new instrument in modern times.- Writing materials, which comprise numerous ink-vases

at Pompeii), latches, bolts, door-handles richly worked, screws; metal articles of horse trappings, and harness, bridles, stirrups; kitchen pots, sieves, tongs; children's toys, &c.-Near the window are:-Two curule chairs, one of bronze gilded; and several leaden vases, used for collecting water.

3rd Room (L 3) is decorated in the Pompeian style. In it are:-A triclinium, consisting of 3 bronze bedsteads, inlaid with silver;-2 large money. chests, strongly bound in iron and bronze, one discovered in 1864, near the Sea Gate at Pompeii, the other, more decorated still, with bronze figures in relief, from a house on the Via di Stabiæ in the same town; both were empty of valuable contents when opened.

with remains of ink; one of which | dice, door-hinges of bronze, locks, with seven faces, found at Turricium, keys (a set of which were found with the modern Terlizzi, in the province a skeleton in the House of Diomed of Bari, has on it the seven divinities that presided over the days of the week, inlaid in silver; it is probably of the time of Trajan. Amongst the other objects of this class are the calamus, the style and its case, the tabulæ or tablets covered with wax and separated from each other by a button or umbilicus, which prevented the pages touching when closed, and a reed cut in the form of a modern pen.Musical instruments, comprising the flute, the sistrum, cymbals of brass, and a singular clarionet without lateral holes, but surrounded by metal tubes, the real object of which has never been satisfactorily explained.—Tesseres, or tickets for the theatre, bearing numbers. -Bells for cattle present no difference from those which are still in use in the country; fish-hooks, &c.-The articles for the toilet comprise mirrors of metal, pins, ivory bodkins, rings, THE COLLECTION OF PAPYRI (M), necklaces, combs, earrings, brace- placed in a series of rooms in the 1. lets, hairpins, the ornaments called wing on ascending the great staircase, bullæ, and pots for rouge.-The dis- before entering the picture gallery.— taffs, spindles, thimbles, and small This collection excites the strongest spinning-wheels show what were among interest, not merely for the intrinsic the occupations of the Roman ladies.- value of the ancient writings, but A very curious instrument of seven also for the skill with which masses tubes in ivory covered with bronze, of blackened matter, buried for censimilar to the modern bagpipe of the turies, and changed by the action Abruzzi mountaineers, or Zampognari, of air and moisture into what were found in the barracks at Pompeii.—A at first considered to be sticks of charportable stove, in the form of a medi- coal, have been unrolled and successæval castle, having towers at each fully deciphered. Nearly the whole corner, with a compartment surround-collection was discovered in 1752, in ing for heating water, on the same principles as in our modern kitchenranges; the machicolations are supposed to have been used to support spits over the central brazier.-A drinkingcup for libation, with a stag's head, the eyes inlaid with silver.-Two beautiful double-handled water-pots, with silver inlaying; on one handle the name of the owner, Cornelia Chelidon, from Herculaneum.-A very curious vessel for heating water, on the principle of our modern tea-urns, having, like the Russian samovars, a space for charcoal in the centre.-Other articles in these rooms include loaded and ordinary

a suburban villa at Herculaneum, in a small room which had evidently been a library, for the papyri were ranged in presses round the walls of the apartment. The workmen destroyed those which were first discovered, thinking that they were mere pieces of charcoal; but on the opening of this room the remarkable arrangement of the rolls excited curiosity, and led to the discovery of Greek and Latin words. The whole collection in the villa was then carefully preserved, and deposited in the Royal Museum at Portici, together with seven inkstands of various forms, a stylus and its case, bronze busts

of Epicurus, Zeno, and Hermachus, | seems to have consisted chiefly of bearing their names in Greek letters, treatises on the Epicurean philosophy. and other articles which were found in Two books of a Treatise de Naturâ by the same apartment. The first person Epicurus, and some on Music, on Vice who suspected the real character of the and Virtue, and on Rhetoric by Philopapyri was Paderni, who, in a letter to demus, a philosopher from Syria, who our countryman Dr. Mead, expressed appears to have visited Rome in the his conviction that the supposed sticks time of Cicero, are the most imof charcoal were MSS. altered by the portant of these discoveries. Nearly action of the fire. A long time elapsed all the MSS. have lost their first leaves, after this discovery was verified by fur- but the titles are repeated at the end. ther observations before any practical They are written in columns containmeans of unrolling the papyri was de- ing from 20 to 40 lines in each, and vised. The papyrus was formed of without stops or marks of any kind to thin laminæ of the vegetable tissue of indicate the terminations of sentences the rush whose name it bears; and or the divisions of words. The letters these lamina were pasted together so of the Greek MSS., with the exception as to form a long narrow sheet varying of the w, are all capitals; some of them from 8 to 16 inches in breadth. The are peculiar in form, and bear accents surface was polished with some hard and marks of which all knowledge has substance, and the ink was then ap- been lost. The A, A, E, A, M, P, and 2, plied with a reed or calamus. This as Winckelmann pointed out nearly a ink, however, being a simple black century ago in his letter to Count Bruhl, fluid, without a mordant, was liable to differ in character from all other exbe effaced by the application of mois- amples of ancient writing with which we ture. The utmost skill and caution are acquainted. The columns are from were therefore necessary in unrolling 3 to 4 inches in width, and are separated the papyri to preserve uninjured the from each other by spaces of about an writing upon their surface. Mazzocchi inch; they are also in some cases ditried in vain the plan of placing them vided by red lines. under a bell glass in the sun, believing that the moisture and heat would detach the leaves. The Padre Piaggi at length invented an ingenious machine for separating and unrolling them, which, although tedious in its operation, is still used as the best that has yet been suggested. Sir Humphry Davy visited Naples for the purpose of ascertaining whether the resources of chemistry could not be made available in discovering a more expeditious and certain process of unrolling. After analysing several papyri, he tried various experiments with more or less success, but at last he relinquished the undertaking, from disappointment, it is said, at the failure of his plans. The number of papyri now exceeds 1750, of which about 500 have been successfully unrolled. Several volumes of the transcripts have been published -3 in 1861, and 2 in 1862. No MS. of any known work has been discovered; and so far as the examination has yet advanced, the library

A number of bills or contracts on two tablets (dyptychon) or three tablets (triptychon) were discovered in Herculaneum in 1876, and have been removed here: specimens are in course of publication by the director of the Museum, but they do not offer any particular interest.

A very curious fragment, consisting of a portion of volcanic ashes, on which are impressed a piece of a papyrus from Pompeii, has recently been placed here, the only literary fragment yet discovered in that ruined city; it appears to belong to a legal document relative to the transfer of property.

Having now gone over the most interesting portions of the antiquarian collections, the visitor must retrace his steps to the Great Staircase, out of which, on the 1. or eastern side, opens

A room (N) corresponding to that of the gems, &c., on the other side, containing copies of Pompeian paintings,

2nd Room (P 2). Parma and Genoese Schools. 1. Ber. Strozzi (Capuccino), Head of a Monk.-2. Castiglione A pretty composition of a Woman and Child.-14. Schidone, Christian Charity.

-35. Parmegianino, The City of Parma as Pallas, unarming the young Alessandro Farnese.

The next room to it (O) contains the only one worthy of notice-28-is engravings and some drawings of the an indifferent copy or replica of the great masters, &c.; the most remark-beautiful Madonna delle Grazie in the able objects to notice here being :-In | Bridgwater Gallery. presses,- -a series of volumes containing a rich collection of engravings formed by Count Firmian, Minister of Maria Teresa, and which, being part of the library at the royal palace, were removed here. In the same presses are 3 good engraved silver plates attributed to A. Carracci; and on the walls some cartoons of men in armour attributed to Michel Angelo, especially a Venus and Cupid kissing, a superb work; and others by Raphael, An. Carracci, Domenichino, Correggio, Mazzola, or of Cesare da Sesto. 1, 23. Schidone, the Zuccheris, L. da Credi, &c. On Portraits of the Shoemaker, and of the stands,-3 busts of Pope Paul III., one Tailor of Pope Paul III.-12. Parmeattributed to Michel Angelo; and upon gianino, pretended Portrait of Amerigo a bracket,—a bronze one of Dante, said Vespucci.-11. Bernardino Luini, St. to have been taken from a cast after John the Baptist.-17. Cesare da Sesto, death, but of the history of which little A large Adoration of the Magi; full of is known; it appears, however, to date mannerism, and with much useless and from a very early period. In the centre oppressive richness in the accessories. of this hall are preserved the drawings-24. A curious triptych of the early and plans of the discoveries at Pompeii, Lombard School, representing the especially interesting as showing the Nativity, the Visitation, and state in which the different buildings Adoration of the Magi. were when uncovered.

From the antechamber of this hall we pass into

3rd Room (P 3).

Lombard School,

the

Boleyn, attributed to Sebastiano del
Piombo. - 8. Sebastiano del Piombo,

4th Room (P 4). Venetian School. -4. Alvise (Luigi) Vivarini, The Virgin between St. Thomas and St. Bernard; much rubbed and daubed over; THE PICTURE GALLERIES (Pinaco- a good early specimen of the master. teca), containing upwards of 500 paint-6. A pretended Portrait of Anne ings, many of which were brought from Rome, having formed a part of the Farnese collections. Those of the Neapolitan school are unique in the history of art, nowhere to be studied so well as here. The catalogue gives merely the numbers, the name of the painter, and the subject, without any reference to its history.

1st Room (P. 1). Roman School. The paintings most worthy of notice here are 5. Claude, A Sunset on the Sea.-27. Sassoferrato, The Adoration of the Shepherds, has a cheerful effect, which is unusual for the age in which the painter lived (1635).-46. Polidoro da Caravaggio, Jesus falling beneath the cross. Of the several supposed copies from Raphael, the

Head of a Monk;" considered by Crowe and Cavalcaselle to be a portrait of Pope Clement VII., "executed with surprising clearness and force of character and expression."-39. Il Moretto, Our Saviour bound; a fine little work in the painter's broad silvery manner, and modelled with extreme care.-49. Schiavoni, Christ before Herod.-8, 13, 16, 22, 25, 28, 41, 44, 47, 51, 52, 55. Canaletti (B. Bellotti). A series of views of Venice, small but good.-56. Girol. da Santa Croce, Martyrdom of St. Lawrence.

5th Room (P 5), called the SALA DI CORREGGIO, contains sixteen pictures, nearly all masterpieces—

a

6th Room (P 6), called the SALA DI RAFFAELE, also containing masterpieces, some of which are temporarily removed to the room of engravings (O).

1. Salvator Rosa, Christ Disputing | Titian, PORTRAIT OF POPE PAUL III., with the Doctors. He " paints the a half-length figure, sitting in an armmost brutal people round the helpless chair. 11. Titian, FULL-LENGTH PORchild," Cic.-2. Sebastiano del Piombo; TRAIT OF PHILIP II. of Spain; Madonna covering up the Sleeping masterpiece of portraiture, powerChild, a picture of great celebrity and fully expressive of the projector of beauty.-3. Correggio, The "ZINGA- the Armada.-12. Spagnoletto, St. RELLA, or the "Madonna del Coni- Sebastian, 1651, "remarkable as the glio," a most beautiful and touching last picture of his, painted with feelcomposition. It represents the Ma- ing," Cic.-13. ST. JEROME startled donna resting during the flight out of from his prayers by the sound of the Egypt, with the infant Saviour sleep- last trumpet; a picture hardly to the ing in her lap; above are angels in a surpassed in power of execution and cloud of palms. "Correggio here truth of colouring.-15. Guercino, The brings out the maternal element with MAGDALEN in prayer, her eyes swollen a certain passion, as though he felt with weeping, and her countenance he could give no higher meaning to expressive of the deepest penitence, his type." It derives the name of but still retaining all her charms.-16. "Zingarella" (or the Gipsy) from the Rubens, Head of Friar. white bands plaited into the hair of the Blessed Mother, and that of the "Madonna del Coniglio" from the rabbit (coniglio) in the foreground.-4. Van Dyck, portrait.-5. Titian, Danaë and Cupid; a beautiful picture painted for Duke Ottavia Farnese, in 1548. Perhaps defective in drawing, but more pleasing than his celebrated Venus in the Uffizii at Florence, the colouring being even richer, and the attitude and expression more delicate.-6. Correggio, The Sleeping infant Saviour.-7. THE MARRIAGE OF ST. CATHERINE; a small picture, admitted to be one of the happiest examples of the grace and harmony of colour for which Correggio was remarkable. The subject, taken from one of the legends of St. Catherine of Alexandria, represents her betrothal to the infant Saviour, who is placing the ring upon her finger, while the Madonna, one of the sweetest faces which Correggio ever painted, guides his hand with an expression of tenderness. "That the Child should look up questioningly to the mother at the strange ceremony, is quite a feature in the manner of Correggio, who could never conceive children other than naïve," Cic. In the countenance of St. Catherine meekness and beauty are combined with innocence and gracefulness. She holds the palm-branch of martyrdom in her right hand, while the sword lies upon the block on which she kneels.-8.

17. Giulio Romano, The "Madonna della Gatta," one of the finest of Giulio's works. It is a repetition of Raphael's Holy Family called "The Pearl," in the Museum of Madrid.— "The additions made by the pupil are mere desecrations, such as the cat, the transformation of Elizabeth into a gipsy, &c." Cic.-18. Portrait of Cavaliere Tibaldeo, formerly attributed to Raphael.-20. Raphael, La Madonna del Divino Amore. "Elizabeth wants the child Christ to bless little John kneeling on the left, and leads him gently by the hand. Mary prays as if confirming it; she has let go her hold of the Child on her knee, rightly, for, if he is capable of blessing, he must also be able to sit firm. It is just in traits of this kind that later art is so poor. The execution must be the work of pupils," Cic. It was painted for Lionello da Carpi.-21. Andrea del Sarto, the famous copy of Raphael's PORTRAIT of LEO X., sitting at a table, and attended by the Cardinal Giulio de' Medici (afterwards Clement VII.) and Cardinal de' Rossi. It has often been maintained, that this picture is the original, and that the picture at Florence is the copy, This assertion,