\ 
460 
22, to C. Julius Primigenius; No. 93, 
to Lucretia; and No. 44, to Isidorus. 
Among the most singular of these se- 
pulchral antiquities, are two earthen 
oll (No. 6) placed in the manner of 
those which contained -the ashes of the 
slaves, and the inferior orders of the Ro- 
man people. The monumental inscrip- 
tion in front of these ancient relics of 
Roman customs, records the names of 
Anniolena Maxima, and Servilia Irene. 
No. 12, is a sepulchral vase, found 
near Naples. 
This ancient city and Pisa both had 
cemeteries of such magnitude and ele- 
gance of construction, that they might 
be taken as models of such structures. 
The disposition or arrangement of the 
great cemetery of Naples, where this 
vase was found, had particular reference 
to salubrity. 
hollowed into as many subterraneous 
apartments as there were days in the 
. year, presenting three hundred and sixty- 
five openings, arranged symmetricaily 
round its superfices. Every opening 
was enclosed by a stone, and every cata- 
comb only opened once in the year, on 
the day of which opening all the dead 
who were to be buried on that day were 
deposited; and by putting lime into 
coitins, the bodies were consumed, or 
their more putrescent parts decayed, be- 
fore the annual opening of that catacomh, 
Thecemetery of Pisa, called the Campo 
Santo, was a celebrated and noble edi- 
fice, of a good style of architecture, and 
one of the most remarkable funereal mo- 
numents in Europe. It was~ projected 
by Ubaldo, the Bishop of Pisa, in 1200, 
began in 1218, and fimshed in 1288. 
John of Pisa, the most celebrated archi- 
tect of histime, had the care of this great 
werk, which reflects much honour on his 
memory as an architect of great ability. 
t was nearly five hundred féet in length, 
and eighty in breadth. This cemetery 
-was entirely built of white marble. 
~ No. 13, in this reom, isa remarkable 
sarcophagus of good workmanship, re- 
presenting the lamentation of a family 
over the dead body of a departed relative. 
Nos. 21 and 24, are both. Etruscan 
cinerery urs in terra cotta. The:basso 
rilievos on the fronts of both, represent 
the hero Echetles fighting with a plough- 
share for the Greeks, at the battle of 
Marathon, and on each of the covers: is 
a recumbent female figure. On the 
upper part of the latter urn isan Etrus- 
can mscription in red letters, which was 
recovered to the world by the zeal and 
“ 
. Dilletanti Tourist, —No. gs 
generosity of the late ingenious Sir Wil+ 
{t was a vast enclosure, 
[June 1, 
ham Hamilton. 
According to Fabretti, the cizerarium 
was the name of a sepulchral edifice; in — 
which conjecture he is supported by, 
Monfaucon, and in the 5th Vol. Plate 
4th, he describes. a cinerarium of this 
description. But the true meaning of 
the word is undoubtedly as here em- 
ployed by the editors of the Synopsis of 
the Museum; that is,an urn in which 
theveineres or ashes of the dead were de- 
posited, as the ossuarium was a vessel in 
which the bones of the departed were 
enclosed. The rest of the sepulchral an- 
tiquities in this noble collection are 
equally valuable and interesting to the 
history ofthe arts. "They serve to point 
out the names of illustrious men, and 
shew us how the Romans respected the 
manes of their departed relatives. One 
of them is peculiarly interesting ; itis a 
sarcophagus, on the front of which various 
figures of Cupid and Psyche are repre- 
sented, perhaps to the memory of a 
departed virgin on the eve of marriage. 
The next rooms appropriated to Greek 
and Roman. sculptures, as medallions, 
sarcophagi, basso - rilievos, fragments, 
shields, altars, busts, &c, IJ shall men- 
tion a few of the principal, for if I were 
to enumerate all that are worthy of no- 
tice, I should describe every article, and 
never bring my letters toa close. No, 
2is part of the front of a sarcophagus, 
representing Achilles among the daugh- 
ters of Lycomedes. Nos, i and 8, are 
two medallions, representing in profile 
the bust of an unknown Greek philoso 
pher, of early workmanship and good 
sculpture. No. 11 1s. a fine fragment of 
aimagnificent sarcophagus, representing 
an elderiy man with a manuscript roll in 
his hand, which he is reading, and be- 
fore him a Muse is standing holding a 
mask ; probably to the memory of a co- 
median, or dramatic poet. 
No. 10 is a fragment of a sarcophagus 
representing Bacchus with a thyrsus in 
his left hand, and with his right arm 
thrown over the shoulder ofa Faun. Now 
I am upon the subject of the thyrsus, 
which I alluded to in my last, I take the 
opportunity of mentioning that I have 
enclosed you herewith an outline sketch 
of a bacchanal, frem the collection of 
Lord Elgin, which I chose purposely from 
having the pine-apple head of the thyrsus 
distinctly represented. No, 12 is re- 
markable for its representing a baccha- 
nalian procession, forming the front 
of a sarcophagus, .No. 18 is an alto- 
f rilieve 
