and private collections. Villas, la mses, and public buildings were tilled with busts. There is an uninterrupted chronological series from Au gustus to Julian the Apostate. The most numer ous series is that of the Emperors and members of the Imperial family. The largest collection of these is at present in the Capitoline Ilusemn: the next in the Vatiean Nuseum in Rome. The British and Louvre have some good examples. It is by Walls of a comparison with coins; and medals that most of these can be iden tified with certainty, for the inscriptions on busts are not always reliable. The series of portrait busts of philosophers and poets was far less popular than before the Empire. Pri vate collectors of busts were not unknown, as, for instance, those of M. Terentius Varro and Pomponins Attieus. The letters of Cicero and Pliny show how they were made. One such col lection has fortunately been unearthed in the Villa dci Papiri at Herculaneum. belonging to a philosopher of the time of Cicero. This group, now in the .Napies Museum, and mainly of brollies, is the finest of its kind preserved from antiquity. The volleetor's taste was catholic. His busts begin with c.500 B.C., and the earliest are ideal heads of athletes; each century is represented with exquisite works; the ages of Polyeleins. of Praxiteles, of Lysippus. The masterpieces are perhaps some large heads of royal personages of the Alexandrian Age, sup posed to represent some of the Ptolemies, the so-called 'Plato,' Bereniee,' and 'Seneca.' In the set of miniature busts, for the decoration of library or lurarium, are a number of great philosophers and orators, some inscribed with their names.
The great period of portraiture closes with Septimius Severus and Caracalla, at the begin ning of the Third Century A.B.. and the decadence is then continuous to the time of Justinian in the Sixth Century, when busts ceased to be executed. It remained apparently a lost art until the Thirteenth Century. Then, curiously enough, a proto-Renaissanee in Southern Italy. under Fred erick II., included the revival of portraiture in the form of busts, such as those of Froderiek him self, and of his ministers, evidently imitated from the antique. The art of the Fifteenth Century was so thoroughly humanistic that portraiture was one of its favorite modes of expression. The permanent resurrection of the bust was then effected by Donatello, who was equally success ful in his portraits of men, which were forceful, of women, which were graceful. and of children,
where the real child-type was for the first time expressed in art with perfect mastery. His little busts of the Infant Christ and Saint John are among his most charming works. The Floren tine School continued in this new field. Desi derio da Settignano and Alin° da Fiesole were especially successful. In the Sixteenth Century the Lombard School of Portraits was more real istic, especially the branch established at Mo dena, which was partial to terra-cotta a nd colored busts. The fashion then spread to other nations, especially to France and Germany, where busts were exeeuted in the prevalent styles, though none equal those of the Fifteenth Century, e.x (•pt a few of the most recent examples, especially in France.
Since the Sixteenth Century, portraiture has preferred to express itself in painting, and this part of the plastic sense has not been active. Ilow far short ordinary modern aehievement falls in this field may be judged by comparing the series of marble busts of great Italians dot ted about. the Pineian Gardens in Rome with any corresponding collection of ancient busts. King Ludwig I. of Bavaria gathered in his Walhalla a remarkable collection of busts.
BIBLIOGRAPHY. Several attempts have been Bibliography. Several attempts have been made to publish sets of illustrations reproduc ing aneient busts. Such was the l'irnm, Inns irium Imagines of Fulvio Orsini (Rome, I569; Antwerp, 160G). The first scientific classification was by Visconti (q.v.) in his Iconographic greeque (Paris, 1811), and iconographic toffee (Paris, 1817). Bernouilli has given in his Die (rhaltenen Itildnisse beriihmter Grieehen ( Basel, i877) a brief and very ineomplele account of Greek portraits, and in his llumisehe lkono graphic (4 vols., Stuttgart, 1882-94) a far fuller reproduction of Roman portraits. The corpus for this subject will be Brune and Arndt, Griechisehe and romische Portriits (Munich. 1891, et seq.), a large folio publication with fine photographs and careful descriptions. Correspondingly important for the portraits of the Italian Renaissance is Bode's folio work, also with superb photographs, Die Denkmalcr der Renaissance in Italien (Munich, 1894).