Sarcophogi.—Roman sarcophagi follow the tradition of the Etruscan ash-chests in being superabundantly decorated with sculpture. The sub jects of the reliefs, however, are drawn largely from Greek mythology and refer more or less directly to the life to come. Thus, in an interesting sar cophagus from the Villa Panifili now in the Capitol, we have a strange mingling of the Greek and Hebrew stories of the origin and destiny of man (p1. II, Io). At the extremes are figured Adam and Eve and the Creator, while the remainder of the composition is concerned with the story of Prometheus. To the left smiths are forging his chains, and are surrounded by 2Eolus and Vulcan, Neptune and Tellus; in the centre Prometheus forms the clay image of man, into whom Minerva puts the soul in the form of a butterfly, and the living man stands complete. Farther on the newly-formed man lies dead in the presence of the genius of the grave, and Cupid stands sorrowing over his departing butterfly soul. The soul again appears in renewed form, being hurried away by Mercury, while Prometheus is about to be freed from his bondage by Hercules. Not only are the subjects of many of these sarcophagi directly taken from Greek mythology, but in many cases single figures, and some times entire groups, are copied from earlier Greek types.
Engraved .S7oacs: Cameos.—The Romans had great taste for engraved stones, and especially for cameos, sonic of which are remarkable for their size as well as for the excellence of their execution. Of these, one of the most interesting is the cameo of Vicuna, on which is portrayed the glory of Augustus (fig. 3). The cameo-relief is cut upon a sardonyx of two strata, nine by eight inches in size. Augustus is enthroned as a Jupiter
alongside of Roma, and is receiving a wreath of glory in the presence of l)rnsus and Tiberius, who have returned from their Vindclic and Rlicetian campaigns. Below, Roman soldiers with their allies are about to erect a trophy to Tiberius. In our second illustration 2), taken from a Roman cameo, we see Persephone and Bacchus in a chariot drawn by male and female centaurs. More conventional in treatment, this would seem to belong to a later period, when the cameo-cutters had lost the fresh ness and vigor of the art.
Imperial Coias.—The types of imperial coins have reference more or less directly to the emperor in whose reign the coins were struck. One side gives with care and fidelity a portrait of the emperor and in general reflects the qualities of contemporary sculpture. The reverse side pre sent, either a mnibol of prosperity or some incident of the imperial reign. Skt.tche, of important buildings and ancient statues have frequently been pre,ened to us on Roman coins, and thus have rendered invaluable assist ance to the historian of ancient art. In Figure S (p1. we see the laurel crowned head of I ladrian, the imperial friend of art. The inscription Inp(e valor) CleSar Trilliums 1 ladrianus Aug(uslus) 1'(onlifr.0.1f(a.rinms) Tr(i unittr) 1)(o/•stat•) cos III (Consul lerlium) states that lie is high priest and now consul for the third time, with the authority of a tribune. On the reverse side he is called the enricher of the earth (locuplelalor orbis terrarum), and envoys paying homage appear before his raised throne. S. C. (Senatns Consultu) attests that the coin was struck in accordance with a decree of the Roman Senate.