104 
TEMPLE COLLECTION. 
[UPPER 
relief, exhibiting a figure of Ceres receiving offerings. On the top of 
the table is a plain mosaic, in the middle of which is placed a Greek 
bronze cuirass, of remarkably fine workmanship • and at the ends 
and sides are six objects in bronze, of which the statue of the Infant 
Bacchus is remarkable for its beauty, the two horses' muzzles for 
their rarity, and one of the helmets for the unusual preservation of 
its details and fittings. On the small table between these two last, 
stands a Roman marble cinerary urn. 
The description proceeds next to the objects arranged round 
the sides of the room, of which the most remarkable only can 
be here enumerated. 
Beside the South door is a bust of a laughing child. 
The adjoining Cases, numbered 33-36, contain minor specimens of 
sculpture, architectural or decorative fragments, and inscriptions. 
They belong chiefly to the Roman period, though some are of the class 
described as Grgeco-Roman. Their subjects, and, whenever known, 
their sites of discovery, are indicated on their pedestals, or on the 
labels attached. In Case 33 is an inscription on a monumental tablet, 
which, though imperfect, is of considerable interest, having originally, 
as it is believed, been dedicated to the memory of Vitruvius, the 
celebrated writer on architecture. On the upper shelves of Cases 
35, 36, is a collection of terracotta masks, and anteflxal ornaments, 
designed to cover the ends of the roof-tiles over the external cornice 
of a building. In Case 35 are two Roman weights, and in Case 36 a 
mutilated, but very beautiful, bas-relief of Ariadne sleeping on a rock. 
Case 37. Roman terracotta lamps, variously ornamented in bas-relief. 
Cases 38, 39. Small terracotta figures and fragments, chiefly of 
Italo-Greek workmanship; amongst them, a jointed doll; and under- 
neath, two Etruscan cinerary urns, partially coloured, with bas-reliefs 
in front, and recumbent figures of the dead upon their covers. 
Cases 40, 41. Terracotta vases, either perfectly plain, or with un- 
giazed colours. They are in some instances Greek, in others Roman, 
and designed for various uses. The most curious and elegant are the 
Greek rhytons, or drinking horns, terminating in animals' heads, the 
mouths of which were pierced for the passage of the wine. 
Cases 42, 43. A shelf of the red Roman earthenware with moulded 
reliefs, sometimes called Samian, sometimes Aretine. Another shelf, 
with small vases and lamps covered with a vitreous glaze of some rarity. 
In the lower half of these Cases commences the series of Greek 
painted fictile vases, which is continued through the next eight Cases 
(44-51). The whole have been arranged under a chronological classi- 
fication, exhibiting the progress of the ceramic art through five 
periods, which are approximately defined by the dates inscribed on 
the labels within the Cases. The first period, on the middle shelf 
in Cases L2, 13, is that of the style commonly termed Phoenician, or 
Nolano Egyptian, in which animals and human figures are rudely 
painted in dark brown or maroon colours, on a pale yellow clay. On 
