¹ This paper is based on material assembled in connexion with Chapter One of Studies in Roman Imperial Numis matic Art (Ph.D. Diss., unpubl., London University, 1953)Google Scholar. The writer wishes to thank Professors C. M. Robertson and M. Grant for important suggestions and criticisms. Prof. B. Ashmole, Dr. D. von Bothmer, Mr. R. A. G. Carson, Prof. G. M. A. Hanfmann, Dr. C. M. Kraay, Mr. G. K. Jenkins, Dr. E. Paribeni, Dr. Emily Townsend, and Prof. J. M. C. Toynbee have also incurred the writer's gratitude for assistance of various kinds. The coins and gems are photographed from casts of specimens in the British Museum, Ashmolean Museum, the Bibliothèque Nationale (Paris), the Museo Nazionale Romano (Gnecchi Collection), Sir John Soane's Museum, and several private collections. The writer wishes to thank the Keepers and owners of these collections, also the Directors and Trustees of the museums in which the sculptures and paintings illustrated are found, for permission to reproduce them here. Completion of this paper in England was made possible by a grant from the Penrose Fund of the American Philosophical Society. Abbreviations follow the list in Amer. Journal of Archaeology lvi (1952), 1–7 Google Scholar.

² Gnecchi, F., I medaglioni romani, Milan 1912, ii Google Scholar, pls. 75, no. 1, 77, no. 1, 83, nos. 5, 6.

³ Toynbee, J. M. C., Roman Medallions, New York 1944, 220 Google Scholar ‘Reliefs and Paintings of Deities’, pl. XXII, 2 (Marcus Aurelius and Commodus, British Museum Coll., vide infra, note 59). Apollodorus ii. 5. 11; cf. Athenaeus xv. 11–13 (674–5) ( SirFrazer, J-G., Apollodorus, ed. Loeb, , London 1921, 228 f.Google Scholar, esp. note 3).

⁴ Furtwängler, A., Masterpieces of Greek Sculpture, London 1895, 249–56Google Scholar, esp. 255, also 49 ff.; the type of the athlete crowning himself with a filleted wreath appears as early as c. 480 B.C., on an Attic alabastron (see Blümel, C., Sport und Spiel bei Griechen und Römern, Berlin 1934, 9 Google Scholar, pl. 23 [F. 2258]).

⁵ Hyde, W. W., Olympic Victor Monuments and Greek Athletic Art, Washington (D.C.) 1921, 74 Google Scholar, ‘Assimilation of Olympic Victor Statues to Types of Gods and Heroes’; followed on the basis of the Antonine medallions by Robinson, D. M., ArtB xviii (1936), 147 Google Scholar. See also the illustrations of Commodus–Hercules coin types, Mattingly, , JRS xiii (1923), 108, pl. VI, no. 15Google Scholar.

⁶ Amelung, W., in Helbig, , Führer³ , ii, 452 f.Google Scholar, no. 1920 (741); Furtwängler, op. cit., 340 f., fig. 145.

⁷ Lippold, G., Kopien und Umbildungen griechischer Statuen, Munich 1923, 233 Google Scholar. In the texts to BrBr 609 and 4355 ff., we are reminded that the head of the Albani Herakles does not belong; it belongs to a mid-fourth century resting Herakles, known best through a replica in Copenhagen ( Poulsen, F., Cat., 1951, nos. 250 f.Google Scholar) and a head in Boston (BrBr 735).

⁸ In studying the close parallel of the athlete crowning himself and holding a palm in the left hand, a figure which appears often especially in the so-called Campanaterra-cotta reliefs, Hyde, Furtwängler, and A. Milchhöfer concluded that this figure in so many Graeco-Roman variants derived, perhaps through the painting of Eupompos, from a Polykleitan figure of the Westmacott-Kyniskos type (Furtwangler, op. cit., 256; Hyde, op. cit., 160f.; Milchhöfer, , in Arch. Studien H. Brunn dargebracht, Berlin 1893, 62 ff.Google Scholar; for the Campana plaques, Blumel, op. cit., pl. 48, no. 27, where the athlete is placed near a Herakles; for Eupompos, Swindler, M. H., Ancient Painting, New Haven 1929, 266)Google Scholar. The development of this motif in later imperial sculpture is traced by F. Castagnoli in connexion with a figure on the large capital in the Pigna Vaticana ( BullComm 71 [1943–1945], 1 Google Scholar ff.). McDowell, K. A. (JHS xxv [1905], 159 ff.)Google Scholar sought to restore the Albani Herakles as holding aloft the apples of the Hesperides (vide infra, note 18).

⁹ Mattingly, H., Coins of the Roman Empire in the British Museum, London 1923–1950 Google Scholar (hereafter BMCCRE), i, 137, no. 116, pl. 24, no. 14, also nos. 132 ff., Introd., cxxxviii, and older refs.; D. F. Brown, The Temples of Rome as Coin Types, Amer. Num. Soc, Num. Notes and Monographs, No. 90, New York 1940, 14, 17, etc., pl. II, 1, VIII, 6 (the last a view of the cult image, pediment and roof of the temple on a medallion of Alexander Severus and Orbiana: Gnecchi (n. 2), ii, pl. 102, fig. 3); Bernhart, M., DJbNum 1 (1938), 146 fGoogle Scholar; Colini, A. M., BullComm 51 (1933), 337 Google Scholar.

¹⁰ Platner, S., Ashby, T., A Topographical Dictionary of Ancient Rome, London 1929, 138 ff.Google Scholar; Pliny, , N.H., xxxiv. 73, 77, 80, 89, 90 Google Scholar, xxxv. 66, 131, 144, 196, xxxvii. 4.

¹¹ Mattingly, BMCCRE, iii, Hadrian, pl. 46, nos. 9, 14, 17, pl. 48, nos. 1 f., pl. 51, no. 15, pl. 54, no. 7, pl. 76, no. 2, pl. 77, no. 2; Sabina, pl. 64, nos. 12 ff.; Aelius, pl. 67, nos. 1 ff., 6, 8, 9, pl. 100, no. 3 (w.o. Spes); Antoninus Pius (as Caesar), pl. 67, nos. 19 f.; BMCCRE iv, Faustina Sr., pl. 1, no. 20, pl. 2, no. 1.

Coin types of Elagabalus suggest that the statue was remade during his reign to place double cornucopiae in the left arm of Concordia and eliminate the statuette of Spes from the position beside the throne. This becomes the invariable seated Concordia type on coins for the remainder of the century (Plate I, 10 [Pupienus], 11 [Galerius]). Reverses from Nero to Vespasian reproduce the cult image in general but variable terms (Plate I, 12 [Galba], 13 [Vespasian]). Minor variations in coin reproduction are solved if we follow the reasonable hypothesis that the cornucopiae and statuette of Spes were removable additions to the permanent costuming of the image. A second century A.D. inscribed block in the Galleria delle Statue of the Vatican (Amelung, Cat., no. 401a) presents a view of the temple with its cult statue and a statue of Virtus set beneath the portico ( Reinach, , Rép. rel., iii, 417 Google Scholar, no. 3), and the cult image of Concordia appears on the Julio-Claudian altar of C. Manlius in the Lateran ( Ryberg, I.S., MAAR xxii [1955], 86 Google Scholar, fig. 39b, and older refs. Also AJA lxi (1957), p. 241).

¹² Strangely enough, the sestertius of Tiberius was used as the basis for reconstructed views of the Temple of Concord as early as Canina, L., Gli edifizj antichi, ii, pl. XXXVGoogle Scholar; the two statues on the balustrade are, however, misunderstood.

¹³ Jones, H. Stuart (ed.), The Sculptures of the Museo Capitolino, Oxford 1912, 220 Google Scholar, Stanza degli Imperatori, no. 93, pl. 53; Colini, A. M., MemPont 7 (1944), 45 Google Scholar, fig. 19, as dedicated to the fountains and nymphs of the Valle d'Egeria (vallis Egeriae).

¹⁴ Rodenwaldt, G., JRS 28 (1938), 60 ff.Google Scholar, esp. 62; on 61, W. Deonna's collection of monuments illustrating the Three Graces is brought up to date (from RA 1930, 1, 280 ff.; see also Becatti, G., BullComm 65 [1937], 41 ff.Google Scholar).

¹⁵ Amelung, , Cat., ii, 730 Google Scholar, Loggia Scoperta no. 5, pl. 83; Reinach, , Rép. rel., iii, 386 Google Scholar, fig. 2; Monumenta Matthaeiana, iii, pl. LII, fig. 1; Dal Pozzo Collection drawing, Windsor no. 8314 (see ArtB 38 [1956], 31 ff.Google Scholar). On these Nymph reliefs in general: Forti, L., RendNap 26 (1951), 161–91Google Scholar.

¹⁶ There is still (?) in the Palazzo Mattei a sarcophagus relief the central scene of which, Hylas and the Nymphs, shows a composition close to the corresponding section of the Capitoline relief ( Robert, , Sark. rel., iii. 1. 163 f.Google Scholar, pl. 43; Reinach, , Rép. rel., iii, 298 Google Scholar, fig. 3, and older bibl.). The Hylas myth is discussed by Grünhagen, W., Der Schatzund von Gross Bodungen (RGKomm, vol. 21), Berlin 1954, 53 ff.Google Scholar, with list of eighteen representations of the abduction scene. On the gesture of shading the eyes, see the various references in Jucker, I., Der Gestus des Aposkopein, Zürich, 1956 Google Scholar.

¹⁷ Windsor, vol. A-40, no. 8186; British Museum (Franks), ii, no. 368 (vide supra, note 15).

¹⁸ Hyde, op. cit., 159; the standing Diskobolos of Naukydes presents the extreme development of this type (AJA lix [1955], pl. 43, fig. 13, the Duncombe Park replica); the unpublished headless statuette in the C. Ruxton Love, Jr., collection in New York is closest to the Museo Mussolini statue, Mustilli, 115 f., no. 4. Miss Iris Love brought the small statue to my attention. McDowell (vide supra, note 8) illustrates (fig. a) a bronze statuette of a bearded Herakles of the type of the Capitoline relief. He would restore the statuette with the apples of the Hesperides in the raised right hand; this Polykleitan figure may have influenced the details of the Herakles in the relief.

¹⁹ From the Arundel and Pomfret collections: Michaelis, A., Ancient Marbles in Great Britain, Cambridge 1882, 538 ff.Google Scholar, 551, no. 39, and older refs.; Reinach-Clarac, , Rép. stat., 465, 4Google Scholar; McDowell, op. cit., 161 f. (called to his notice by Prof. P. Gardner).

²⁰ Robinson, D. M., ArtB 18 (1936), 140 Google Scholar

²¹ A number of these are collected and discussed by Robinson, op. cit., 144 ff.; the most novel is surely the Icarus found near the Via dell' Impero ( Mustilli, D., Il Museo Mussolini, Rome 1939, 93 Google Scholar, no. 16, pl. LIII, 216 f.; see also 145, no. 10).

²² Robinson, E. S. G., Sylloge Numorum Graecorum, iii, The Lockett Coll., London 1938, no. 3351 f., pl. LIXGoogle Scholar; British Museum Cat., Greek and Scythic Kings of Bactria and India, London 1886, 6 Google Scholar, nos. 1–12, pl. 11, nos. 9–12 (tetradrachms, drachms, and obols; the B.M. Coll. has been considerably enlarged since compilation of this catalogue); Kozolubski, J., Seaby's Coin and Medal Bulletin, Feb. 1951, 51 Google Scholar, nos. 98 ff., fig. 39, Oct. 1951, 397, no. 142, fig. 64; Brett, A. B., Museum of Fine Arts, Boston, Cat. of Greek Coins, Boston 1955, 295 Google Scholar, no. 2237, which is Chase, G. H., Greek and Roman Antiquities, Boston 1950, 121 Google Scholar, fig. 150. The British Museum Cat. has been revised on historical points, needless to say, by the works of SirTarn, W. W., The Greeks in Bactria and India, London 1951 Google Scholar, and Whitehead, R. B.'s articles in NumChron, 1923, 1940, 1947, and 1950 Google Scholar. New types of Herakles Crowning Himself, on tetradrachms of Lysias, are illustrated by Bivar, A. D. H., NumCirc 62 (1954), 187 ff.Google Scholar

²³ B.M.C., , Greek and Scythic Kings, 6, no. 8Google Scholar; also an unlisted specimen from the Sir Alexander Cunningham Collection. The letters ΦΑΡ on this countermark are probably the name of a Baktrian Satrap of Demetrios. The type was copied on a silver hemidrachm of the Indo-Greek ruler Theophilos ( Whitehead, , Cat. of Coins in the Panjab Museum, Lahore, Oxford 1912, I, 87 Google Scholar, viii, pl. IX), on a copper of the Indo-Scythian King Azes (ibid., 124, no. 254), an d on coppers of Vonones with Spalahores (here Plate I, 21) and Spalagadames (ibid., 141, nos. 375 ff., pl. XIV, 142, no. 385, pl. XIV). These pieces, like the others in their series, copy reverse designs of the older tetradrachms, which were by then highly valued.

²⁴ B.M.C., , Greek and Scythic Kings, 10 Google Scholar, no. 1, pl. IV; Kozolubski, op. cit., 396, no. 137; Cook, A. B., Zeus iii, 761 Google Scholar; Jitta, A. Zadoks, JRS 28 (1938), 55 Google Scholar, notes 35 ff.

²⁵ B.M.C., , Greek and Scythic Kings, 8 Google Scholar, nos. 1 ff., pl. III, nos. 3 f.

²⁶ B.M.C., op. cit., 4, nos. 1 ff., 5, no. 10, pls. I, nos. 10 f., etc.; Kozolubski, op. cit., nos. 140 f., fig. 63. For earlier uses (tetradrachm of Antiochos I, 279-261 B.C.), see Newell, E. T., The Coinage of the West Seleucid Mints, A.N.S. Num. Studies no. 4, New York 1941, 271, 274, 274 Google Scholar, etc., no. 1456, pl. LXI, 3, and for later Baktrian dynastic use of the type, Bellinger, A. R., YCS 8 (1942), 53 ff.Google Scholar, esp. 56, 67, pl. I. Also in groups on Graeco-Roman gems, e.g. with the stag, on a carnelian intaglio in the University Museum, Philadelphia ( Somerville Coll., Cat., 701, no. 532Google Scholar).

The identical statuary type, seen from the right front, is reproduced on a medallion of Commodus (Plate II, 6; Gnecchi, op. cit., II, pl. 80, no. 7) and, seen from the left front, on a small AE medallion of Hadrian ( Toynbee, , Roman Medallions, 138 Google Scholar, notes 109 f., pl. XXIII, 6). With military attributes and trappings, the statue is viewed frontally on coins of Hadrian (Plate II, 4) and a medallion of Antoninus Pius (Plate II, 5; Mattingly, , BMCCRE 253 Google Scholar; no. 97, pl. 48, no. 16; Gnecchi (n. 2), II, pl. 45, no. 4). These reverses reproduce a Roman cult statue of Hercules Invictus ( Squarciapino, M. Floriani, BullComm 73 [1949–1950], 205 ff.Google Scholar; Strack, P. L., Untersuchungen zur römischen Reichsprägung des zweiten Jahrhunderts, ii, Stuttgart 1933, 88 f.Google Scholar), which also appears in one of the Hadrianic tondi on the Arch of Constantine (BrBr no. 565, fig. 2; Bulle, H., JdI xxxiv [1919], 149 f.Google Scholar [not Gaditanus, another coin type]; L'Orange, H. P., Gerkan, A. von, Der spätantike Bildschmuck des Konstantinsbogens, Berlin 1939, 169, 174, 178 Google Scholar, fig. 4) and as decoration with the Capitoline Jupiter on the altar in a scene on the Arch of Galerius at Salonike (Ryberg, op. cit., 139 f., fig. 76).

As this was being completed Miss A. M. McCann pointed out a minor variation of the Poseidon of Melos on a scarce Baktrian tetradrachm of Antimachos ( Seltman, C., Greek Coins, London 1955, pl. LV, no. 3Google Scholar). The coin is dated c. 180 B.C. ( Tarn, W. W., The Greeks in Bactria and India, Cambridge 1938, 90 ff.Google Scholar; vide supra, note 22).

²⁷ Hellenistic and Roman imperial die designers in remote regions could reproduce famous statuary types on coins without seeing the statue or a copy, through such media as gems (vide infra, note 63), models for silverwork, state seals, etc. The dry Egyptian soil has preserved stucco plaques used as models for small reliefs in late Hellenistic or imperial times (e.g. those in the Gayer-Anderson Coll. at University College, London, AJA lix [1955], 141) and plaster casts from metal reliefs ( Richter, G. M. A., Three Critical Periods in Greek Sculpture, Oxford 1951 33 Google Scholar). The best links between Alexandrine stucco and plaster models and the further regions of the Graeco-Roman world are the finds from Begram in Afghanistan (see Hackin, J. et al. , Nouvelles recherches archéologiques à Begram [1939–1940]Google Scholar, Mém. de la Déleg. Archéol. Française en Afghanistan, xi, Paris 1954 Google Scholar, and older bibl.; esp. nos. 99, 101, 128, 130 [figs. 292 ff.] and others featuring well-known fourth century to Hellenistic motifs: Ganymede and the eagle drinking, the theft of the Palladion, etc. [cf. figs. 417 ff.]; summary and rev., Hallade, M., Arts Asiatiques 2 [1955], 234–9, esp. 238 f.Google Scholar, on the section ‘Begrām et l'Occident gréco-romain’, by O. Kurz). Terra-cotta models were used in the fourth century A.D. in the dissemination of motifs from the zoccoli of the Arch of Constantine ( NumCirc 61 [1953], 297 ff.Google Scholar), and their connexion with metalwork from the late Archaic period to the fourth century B.C. is well known ( Thompson, D. B., Hesperia viii [1939], 285–316 CrossRefGoogle Scholar; idem, Hesperia Suppl. viii, 1949, 365–72).

²⁸ British Museum Cat., Italy, London 1873, 50 Google Scholar; E. S. G. Robinson (n. 22), nos. 347, 349 f., 352, pl. VI; Lockett Sale Cat. (Glendining and Co., 25–8, x. 1955), nos. 240, 242 ff.

²⁹ Lehmann, P. W., Statues on Coins of Southern Italy and Sicily in the Classical Period, New York 1946, 5 ff.Google Scholar; see the whole Introduction, ‘A Numismatic Approach to Sculpture’ (1–8), which gives a concise summary of the problems connected with investigation of statue types on Greek coins of the fifth–fourth centuries and the Hellenistic period. The conclusions drawn as to the statuary origins of stater reverses parallel to the type discussed here strengthen the belief that this composition derives from a free-standing bronze statue. See also Bothmer, D. von, BMMA 9 (1951), 156 ff.Google Scholar, on an early South Italian column krater showing a painter using the encaustic technique on a statue of Herakles comparable to those on Herakleia staters.

³⁰ On the allied subject of Athenian artistic influence and type transmittal to Southern Italy and Sicily in the period c. 430–390 B.C, see JHS lxxv (1955), 104–113 Google Scholar. A frequent reverse type on silver coins of Bruttium, 282–203 B.C. ( B.M.C., , Italy, 15–28 Google Scholar), shows a nude athlete standing facing, a spear vertically on the ground in r. hand, drapery over l. arm, crowning himself with the r. hand. The weight likewise rests on the r. foot, with the r. hip out.

³¹ Lacroix, L., in Mélanges Charles Picard (RA, 1948), 534 Google Scholar, fig. 1, no. 5, 538 ff. K. A. McDowell (loc. cit., esp. 159) discussed these coins in connexion with a Polykleitan or later statuary type of Herakles holding aloft the apples of the Hesperides. His bronze statuette from Cyprus (vide supra, note 18; also Reinach, , Rép. stat., iv, 127, 6Google Scholar), however, follows the stance and proportions of the Antonine medallion figure; the different stance in the Corinthian coin types cannot be explained away as carelessness on the part of the die designers. Too many examples adduced here disprove this.

³² Amelung, , Cat., i, 413 Google Scholar, Museo Chiaramonti (LV-16) no. 162, pl. 43 (l. side). The statue is unrestored, an the r. arm goes straight out. There appears to be support on the shoulder for the reversed bend of the arm to the brow; remains of the l. leg indicate that the foot was turned out. The copy dates after the mid-second century A.D.

³³ Vide supra, note 6.

³⁴ Amelung, op. cit., 508, no. 295, pl. 52; Bieber, M. AJA xliii (1939), 717 CrossRefGoogle Scholar; Blümel, C., Katalog, v, Berlin 1938, 19 f.Google Scholar, K227, K228; Rizzo, G. E., Prassitele, Milan–Rome 1932, 79 ff.Google Scholar, pls. CXIX ff., Paris statue, Cassel torso Cf. also the derivative type of the Apollo qui tenet citharam ascribed to Timarchides ( Bieber, M., The Sculpture of the Hellenistic Age, New York 1955, 160, figs. 678 ff., and older refs.Google Scholar).

³⁵ Mendel, G., Musées Impériaux Ottomans, Catalogue des sculptures, I, Constantinople, 1912, 334 f.Google Scholar, no. 129 (1998); Reinach, , Rép. stat., V, 293 Google Scholar, no. 2; Lippold, G., Handbuch der Archäologie, iii. 1 (Munich 1950), 264 Google Scholar, note 15, as a Roman adaptation of a work of c. 340–330 B.C., in the manner of Euphranor or Skopas. My attention was called to this statue by Professor Ashmole, who kindly lent a large photograph, procured in Istanbul. Dr. N. Firatti aided first-hand study in July 1957.

³⁶ There are traces of a small, secondary support on the r. shoulder of the Istanbul–Miletos athlete, indicating that the copyist-adaptor had to leave a strip of marble to bolster the forearm in its reverse bend to the crowning hand (vide supra, note 32). It would not be too ingenious to suggest that one reason for the popularity of the Westmacott Athlete type in marble was the greater structural unity afforded the copyist in the bend of the head and body to meet the arm (see following note).

³⁷ See Hyde, op. cit., 158 f., discussion of metal wreaths on marble copies of the Kyniskos type. The first century A.D. copy of the head in Sir John Soane's Museum, London, has a marked circular furrow in the hair where the wreath was set on ( A New Description of Sir John Soane's Museum, London 1955, 45 Google Scholar, fig. 18B; 1830 Inv. no. 974M, p. 60), and there are copies with remains of a puntello where the hand met the r. side of the head (Robinson, op. cit., 140 ff. and lists). I would be inclined to place among the late Hellenistic-Augustan variants any Westmacott copy which could be restored as an athlete with a strigil rather than the wreath in the r. hand ( Hafner, G., SBHeid 1955, 1. 7–22 Google Scholar, esp. the Baltimore copy, fig. 7, with a puntello on the r. shoulder). The difference in location of the puntello from that on the Istanbul athlete (notes 35 f.) may be explained by the greater bend of the Westmacott figure.

³⁸ Gräf, B., RM iv (1889), 189 ff.Google Scholar; Ashmole, , JHS xlii (1922), 242 ff.Google Scholar, figs. 6 ff.

³⁹ Johnson, , Lysippos, Durham N. C. 1927, 53 f.Google Scholar; Jones, H. Stuart (ed.), The Sculptures of the Palazzo dei Conservatori, Oxford 1926, 90 ff.Google Scholar, no. 28, pl. 33. Although a herm, the hea d is inclined to the left, as was the case with the Museo Chiaramonti torso (supra, note 32).

⁴⁰ The Lansdowne variants are well known, the statue being now in the Paul, J. Getty Museum, Malibu, California (AJA lix [1955], 137 Google Scholar; Schweitzer, B., JOAI xxxix [1952], 101 ff.Google Scholar). A. H. Smith made final identification of the Skopas statue seen by Pausanias in the gymnasium at Sikyon (ii. 10. 1) and shown on Greek imperial coins of that city ( Imhoof-Blumer, F. W., Gardner, P., A Numismatic Commentary on Pausanias, JHS 6–8 [1886–1887], 30 Google Scholar, pl. H, 11) from a little-known Herakles with unbroken Genzano-type head, now in the Los Angeles County Museum (AJA lix [1955], 134; An Ancient Greek Statue of Heracles, From the Arundel and Hope Collections, Spink, and Son, , London 1928 Google Scholar; Reinach, , Rép. stat., v, 81 Google Scholar, no. 6). A late Hellenistic modification of this figure, likewise with original head, is at Osterley Park, Middlesex (AJA lix [1955], 144, pl. 45, fig. 26).

Relation of the Genzano type to a statue of Herakles Crowning Himself would (1) indicate an original head somewhat like the Aberdeen Herakles, a late Praxitelean work with Skopasian qualities (Rizzo, op. cit., 74 f., pl. CXI), (2) suggest a later fourth century B.C. contamination of a Genzano-type Herakles head in a Praxitelean motif. There remains only the meagre evidence of a Graeco-Roman bronze in the Bronze Room of the Louvre (no. 4153, de Gléan gift), a utensil leg in the enriched furniture tradition. Herakles Crowning Himself, with facial features of the Genzano type and with r. hip thrown out, springs from the foliage terminating in an animal's paw.

⁴¹ Vide supra, note 8.

⁴² BMCCRE iv, pl. 6, no. 14, 32, no. 14; Robert, , Sark.-rel., iii. 1. 108 f.Google Scholar, pl. 25, no. 88, 227 ff., esp. 227 f., nos. 188 ff., pl. 60 f.; Richter, G. M. A., Ancient Italy, Ann Arbor 1955, 95 Google Scholar, fig. 273 (illustrated here).

⁴³ Platner and Ashby, op. cit., 554; NumCirc, lxiii (1955), 372, fig. 4Google Scholar.

⁴⁴ Amelung, , Cat., ii, 87 f.Google Scholar, no. 36, pl. 9. There are versions of the composition, with Mars walking in either direction, in all media, including a painting from Corridor 16 of Nero's Domus Aurea ( Strong, E. S., Art in Ancient Rome, New York 1928, ii, 25, fig. 286, etc.Google Scholar). Although an intermediate painting or relief probably explains the sarcophagus sculptors' and die designers' reversal of the pedimental composition, mirror reversal was much practised among second century A.D. copyists in all media and was, of course, a natural step in stamping coins from an intaglio die. Robert (loc. cit., esp. 230) has seen other influences of the Venus and Rome Temple sculptures in Antonine and Severan sarcophagus enrichment; he saw the Venus Felix image as influencing figures in nos. 188, 188a, and 190, and as Phaedra in nos. 164 f. (p. 205). The cult statue is well known from coin reverses of Hadrian, Lucilla, and Julia Mamaea (Plates II, 29,30; III, 1).

⁴⁵ Examples illustrated are, sestertius of Galba (no. 9), denarius of Vespasian (10), denarii of Augustus (11, 12), sest. of Titus (13), sest. of Antoninus Pius (14), sest. of Alexander (15), den. of Elagabalus (16), carnelian intaglio gem in Sir John Soane's Museum (17; see NumCirc 60 [1952], 396 Google Scholar, fig. 4), Antoninianus of Probus (18), and Ant. of Numerianus (19).

⁴⁶ For a detailed discussion of the Mars Victor statue, see NumCirc lxiii (1955), 371 ff.Google Scholar; the Augustan cult statue of Mars Ultor, also appearing in a variety of views on coins (Plate II, 25–8), is considered in the light of numerous appearances in several media (op. cit., 316 f.). This bearded Mars in Greek warrior armour becomes mixed with the iconography of Mars Victor and Romulus Augustus, an early imperial decorative figure, on imperial coin reverses from Antoninus Pius to Florianus (Plate II, 20–4). This is quite characteristic of the Hadrianic and Antonine eclectic tendencies under consideration in this section.

⁴⁷ Coins of Octavius: BMCCRE i, pl. 15, no. 5. Vespasian, Type I: BMCCRE ii, pl. 2, no. 4, 12, etc. Type II: ibid., pl. 11, no. 4, 13, no. 1. Hadrian, Typ e I: BMCCRE iii, pl. 81, no. 5 (dolphin), no. 6 (wave). Type II: pl. 81, no. 3 (dolphin), no. 4 (wave). Most representations in statuary, Greek imperial coins, gems, paintings, etc., are collected in Johnson (n. 39), 144 ff. Hadrian Type I equals (roughly) Johnson 1–12, gem 3, and the mosaic, or the Lateran group. Hadrian Type II equals 18–20, gem 2, or the Eleusis statuette group. Octavius and Vespasian Type I are best paralleled by Johnson 14, a bronze statuette in Paris. See further, Jitta, A. Jadoks, JHS lvii (1937), 224 ff.CrossRefGoogle Scholar; Richter, , Three Critical Periods in Greek Sculpture, 19 Google Scholar.

⁴⁸ Toynbee (n. 3), 220 f.; Gnecch i (n. 2), ii, pl. 62, no. 6.

⁴⁹ Esculturas Romanas, Madrid 1949, i, 408 ff. Google Scholar, ii, 291.

⁵⁰ Pausanias i. 24. 3; Johnson, op. cit., 146 f.

⁵¹ Gnecchi, iii, 146, nos. 8 f.; Toynbee, 216 f., note 58, pl. XXIV, 2; Stevens, G. P., Hesperia xv (1946), 1 ff.CrossRefGoogle Scholar, the Antonine medallion wrongly labelled ‘coin of Athens’. Stevens assumes that ‘the groups’ consisted of statuary and accessories on a base rather than a relief on a base, a point not made clear by Pausanias.

⁵² Gnecchi, ii, pl. 82, no. 4.

⁵³ Gnecchi, ii, pl. 85, nos. 8 f.; Toynbee, 214; Johnson, op. cit., 202 ff., pl. 37; cf. also the groupings of Fortuna Redux and Jupiter Capitolinus with the Emperor on parallel medallion reverses (Plate III, 14, 18, both Commodus and in the British Museum: Grueber, nos. 18, 9).

Two other representative examples of medallic eclection featuring statuary types are the Commodu s reverse of Jupiter Capitolinus enthroned between the Dioskouroi of the Capitoline balustrade and other representations (Plate III, 15; cf. I, 14 [pediment group on medallion of Antoninus Pius], 15 [bust of image destroyed A.D. 69, on denarius of Civil Wars]) (Gnecchi, ii, pl. 83, no. 2; Toynbee, 215; Ashmole, B., A Catalogue of the Ancient Marbles at Ince Blundell Hall, Oxford 1929, 101 Google Scholar, nos. 271 f., pl. 50). The twin on the 1. appears in another Commodus reverse, facing the Emperor who is seated r., in military uniform on a cuirass (Plate III, 17); this creates an Emperor-divinity statuary combination similar to the Poseidon and Herakles groupings discussed previously (Gnecchi, ii, pl. 84, nos. 6 f.; Toynbee, 215; see further, Cesano, S. L., BullComm 55 [1927], 101 ff.Google Scholar, esp. pl. IV).

⁵⁴ Gnecchi, ii, pl. 53, no. 2; Toynbee, 218; Pontremoli, E., Collignon, Max., Pergame, Paris 1900, 94 Google Scholar; Winnefeld, H., Altertiimer von Pergamon, III, 2 Google Scholar, pl. XXXI, 6.

⁵⁵ Johnson (n. 39), 202 f. The Lysippic resting Herakles appears on a denarius of Q. C. Metellus P. Scipio, struck by his legate M. Eppius in Africa 47–46 B.C. ( Sydenham, E. A., The Coinage of the Roman Republic, London 1952, 175, no. 1051, pl. 28, and older refs.Google Scholar).

⁵⁶ Beazley, J. D., Ashmole, B., Greek Sculpture and Painting Cambridge 1932, 98 f., fig. 210Google Scholar; Gabriel, M., Masters of Campanian Painting, New York 1952, 27 ff.Google Scholar, esp. 30 and note 6; Hamann, R., ‘Herakles findet Telephos’, AbhBerl 9 (1952), 17 pp.Google Scholar; Matz, F., AM 39 (1914), 65 ff.Google Scholar Herakles in the Pergamum frieze suggests a fourth century Attic grave relief rather than free-standing sculpture (e.g. Diepolder, Die attischen Grabreliefs, pl. 53). The headless statuette in the British Museum ( Smith, , Cat., iii, 92 f.Google Scholar, no. 1728, fig. 13) is a modification of the Lysippic type, with the r. hand placed on the hip. The whole is the slightly altered counterpart of the Antonine medallion.

The artist of the Pergamene-type painting from Herculaneum has used a statue group such as that in the British Museum seen from the back as model for his Herakles-Telephos composition. The figure of Herakles suggests the Lysippic type as reflected in the Uffizi and Villa Borghese copies (Johnson (n. 29), pl. 38 f.); the Pergamene relief and the British Museum group reflect a totally different prototype. We conclude that the creator of the Herculaneum composition knew the combination of the Lysippic-type Herakles with Telephos and the Hind when he planned his composition in the second century B.C. It follows that the Lysippic original was a group of this sort but not the only inspirational prototype, as witnessed by the Pergamene frieze (cf. the Copenhagen statue type, supra note 7), or that the Lysippic Herakles within about a century after its creation was being adapted to a statuary group connected with Pergamene legends. Single figures exhibiting more baroque qualities than Lysippos possessed, such as Glykon's statue in Naples, may derive from this Pergamene re-styling of the fourth-century type (cf. the Herakles holding Telephos, in the Museo Chiaramonti, re-styled from the original of the Villa Torlonia-Albani Herakles, refs. supra notes 6f.).

When the Pergamene painter borrowed the Herakles for his painting, the exigencies of composition led him to view the statue from the back. The Telephos group, however, when compared with its counterpart in the British Museum statuette and even in the small Pergamum frieze, appears not to have been viewed from the back by the painter but is in correct frontal view, demanding a position for Herakles as on the Antonine medallion. In his sketch-book the painter merely rearranged two elements of the same statue group to suit his own composition, an earlier manifestation of the eclectic process which reaches its fullest development in later Hadrianic and Antonine numismatic art.

⁵⁷ BullComm 72 (1946–1948), 231 f.Google Scholar; Fuhrmann, H., AA 1941, col. 539 f.Google Scholar; Capitolium 17 (1942), 4 Google Scholar.

⁵⁸ No. 1775, Sard intaglio.

⁵⁹ Mattingly, , BMQ ix (1934–1935), 50, no. 39Google Scholar; vide supra note 3. An Alexandrine drachm reverse of Antoninus Pius is also generally identified as Herakles in the Garden of the Hesperides, but again we may have the hero plucking a branch with olives enlarged by the die designe ( Curtis, J. W., JEA xli [1955], 119 Google Scholar, pl. XXIV).

⁶⁰ Gnecchi, ii, pl. 64, no. 2; Toynbee, 222.

⁶¹ Gnecchi, ii, pl. 53, no. 1; Toynbee, loc. cit. (n. 60).

⁶² Cf. esp. in the attitudes of the delivered, the second of these two compositions and the two Campanian wall paintings of Theseus Victorious Over the Minotaur ( Hermann-Bruckmann, Denkmäler der Malerei, Munich 1906–1931 Google Scholar, Series i. 1. 107 f., pl. 81, 195, pl. 143). Richter (Ancient Italy, figs. 231–42) illustrates other examples of close compositional parallels in Campanian and later paintings and mosaics.

⁶³ On an Alexandrine billon tetradrachm of Maximianus I, in the collection of F. S. Knobloch of New York, who has kindly supplied the cast illustrated here. The coin seems unique (published by Knobloch, F. S., NumRev iii [1946], 128 Google Scholar, no. 16, pl. XXXIX). The reverse is copied from the Antonine medallions, with omission for lack of space of the altar at the r. The Antonine composition, with tree and altar omitted, appears on an onyx intaglio gem in the Museo Archeologico, Florence ( Reinach, S., Pierres gravées, Paris 1895, 25 Google Scholar, pl. 18, no. 36, 2, and older refs.).

⁶⁴ The Epitynchanus relief in the Museo Capitolino, discussed for its inclusion of the statuary on the Temple of Concord balustrade (supra, note 13) is a classic example of Antonine eclecticism in relief sculpture.