Heroes and Personifications of .nature touch of origi nality and ideality is found in the Antinous, who is represented on Plate to (fig. 5) as a rustic divinity. This suggests the Bithynian origin of the beautiful youth who became the favorite of the emperor Hadrian, and who, in obedience to the oracle, prolonged his master's life by throwing himself into the Nile. The town of Besa, near which he was drowned, received the name Antinoopolis, and statues were set up in his honor in every part of the Roman Empire. Not a few of these statues have been preserved to us, and are among the most attractive remains of Roman sculpture. • Sleeping lighter and more joyous subjects of Greek sculp ture, the Bacchantes, Tritons, Satyrs, Nymphs, and Silenuses, were freely copied by the Romans. In the Sleeping Faun of the Munich Glyptothek (j5/. t fig. 9) we have a statue of this order so vigorous in treatment that it may be assigned to the third century B. c. There is no attempt here, as in the Satyr of Praxiteles, to refine the coarse side of his nature. The semi-brute sleeping off the effects of intoxication may inspire us with a fLelin.; of repulsion, but the free, original design and its skilful execu tion cannot but command ollr attention.
The Nile of the 1;711ian (pl. TO, S) is a statue of somewhat later pet iod. Ili:re the Nile is represented as a reclining figure, after the man lier of the river-gods in Greek pedimental sculpture, though far removed from the simplicity and grandeur of the types established by Plrcidias. A number of secondary motives are thrust upon us winch detract from the effect of the whole.
The god leans against a sphinx; lie carries in his left hand the horn of plenty and in his right a sheaf of wheat; about him clamber sixteen little cupids, symbolic of the gradual rise of time sacred river. A crocodile and an ichneumon appear in the foreground, increasing the number of figures in tin.; already overcrowded composition. Even the base on three of its sides is ornamented with relief sculptures of subjects suggested by the Nile. This statue was found in Rome, near the Church of Santa Maria soma Alinerva, the site of an ancient temple of Isis. The somewhat similar but inferior statue of the Tiber in the Louvre Museum was recov ered from time same spot.
I bit rrlf lure Masks.—In the treatment of ideal themes the Romans followed closely upon the lines established by the Greeks With the thousands of Greek statues brought in triumph to Rome, and with skilled workmen at his command, it was no difficult matter for the prac tical Roman to multiply by casts and copies the forms which lie could not hope to surpass But in the line of portraiture he found a field of work more in consonance with his traditions and better fitted to gratify his pride. From time immemorial lie had set apart in his house a room where he preserved his family documents and the wax masks (intaAsines) or portraits of his ancestors. On funeral occasions these masks were worn by people who represented the ancestors of the deceased, and who rode in chariots in grand funeral procession. At au early date it became customary
to put up statues to great men, and by the year 200 B.C. the Capitol and the Forum were overcrowded with them.
Port•ail-slatu•s rf Philosophers and !'be/s.—Men with a taste for phi losophy or for literature were anxious to preserve the forms and features of the great leaders of Greek thought. Thus we find in the galleries of Rome and Naples portrait-statues, or busts, of Plato and Aristotle, Epicu rus and Zeno, .Eschylos and Sophoklcs and Euripides. The fine bust of Homer in the :Museum of Naples (/5/. 1 2, fi fr. 1) is, of course, ideal, but the Euripides (//),-. 2) is supposed to he an authentic portrait. The so-called luad of Aratus•.11, whether rightly named or not, is a por trait of considerable merit. Cicero, who once disclaimed all interest in art, fell in with the prevailing fashion, and adorned his villa at Tusculum with statues and reliefs. His portrait is preserved in a number of busts, one of the be-4 of which is given on Plate m r (fig. 6).
The /...smiso-orc. were the most frequent subjects of Roman statuary. Their portraits were to be found in every city and Roman camp, in public places and in private houses. Examples of these are given in the thought ful head of Julius Cresar to, jig. 3), in the refilled and noble head of the youthful Augustus (p1. 12, fig. 3), and in the bust of the repulsive, brutal Caracalla 4). The differences in treatment of these portraits tell us of the more ideal touch of the sculptors of the Augustan period, as distinguished from the coarse vulgarity which prevailed in later times.
Augustus had done much to stimulate a love of Greek art. The stat ues which he brought from Greece and Asia Minor represented the best work of various periods of Greek art, and the Attic sculptors whom he employed in Rome were superior to those who remained in Greece. This Greek influence is evident in the head of the youthful Augustus, and appears, also, though less purely, in the magnificent figure of the full grown Augustus in the Vatican (p1.10, fig. 9). Here the emperor stands bearing his sceptre in an attitude suggestive of the Dorvphoros of Polv kleitos. His head shows the developed features of the youthful Augustus; his somewhat heavy mantle, falling over the left arm, exposes to view an elaborately-ornamented breastplate, on which, in colored relief, is repre sented Augustus himself receiving from a Parthian the Roman standard which had been lost under Crassus. Below this central scene are Apollo and Diana, and Ceres with her horn of plenty; on either side are lament ing barbarians; while overhead are Ccelus, the god of heaven, Sol in his chariot, and Aurora heralding the new dawn. Possibly the cupid on a dolphin at the foot of the statue has reference to the supposed descent of the Julian family from Aphrodite. When the statue was discovered, in 1863, traces of color made it evident that the mantle was originally painted purple, the tunic crimson, the fringes yellow, and the reliefs of the breast plate in various colors.