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Some Eighteenth-Century Restorations of Myron's 'Discobolos' Author(s): Seymour Howard Source: Journal of the Warburg and Courtauld Institutes, Vol. 25, No. 3/4 (Jul. - Dec., 1962), pp.

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330 NOTES Catalogue29 that the painting was "perhaps [intended] for private devotion" may also be accepted all the more readily if we regard it as an "image of indulgence", since the read- ing of the prayers stipulated was, naturally, a matter of private piety. The Flemish minia- turist, painting Sixtus IV in prayer (P1. 45d), set the scene in a Gothic bed-chamber, where

the little devotional image with its text on the lower half of the panel hangs on the wall above a prie-dieu behind a curtain drawn back. We may thus be justified in inferring that the little National Gallery triptych once occupied a place, and performed a function, similar to the place and the function of the image of indulgence in the miniature.

S. RINGBOM 29 Davies, loc. cit.

SOME EIGHTEENTH-CENTURY RESTORATIONS OF

MYRON'S 'DISCOBOLOS' *

n these few pages, several versions of Myron's 'Discobolos' can serve to illustrate

the major, and most crucial, phases in restora- tion, between the last years of the baroque and modern times.

Myron's 'Discobolos' was famous in anti- quity; it is known at the present day from more than twenty full copies, fragments, and representations on gems.' One of the frag- ments, a torso, apparently had already been sketched in Rome by 1513,2 some decades before it was acquired by the Cardinals Cesi, whose collection of repaired and decoratively displayed antiques was among the city's earliest and largest.3 Interestingly enough, it

was not restored there. Restoration after 1540 was popular; the master, fledgling, and hack sculptors of Rome were then constantly em- ployed in repairing antiquities, often as soon as they were unearthed. But there was still occasional fascination with, or at least accept- ance of, untouched fragments, as the 'Torso Belvedere' and the 'Pasquino' bear witness;4 in addition, this trunk, unlike such fragments as the Ephebus torso that Cellini restored as a taunting Ganymede," did not invite fashion- able experiment in serpentine attenuation; and, furthermore, collectors often could not then afford to restore every piece.

It was not until the first third of the eighteenth century that the torso was restored (P1. 46a)-in the studio of Pierre 1tienne Monnot, the French 6migre sculptor working in Rome. It has been in the Capitoline since 1734,6 a year after his death. Monnot's last decades were spent in independent work; he is not known to have made other restora- * The text of this paper was originally presented as

a short talk in the Baroque and Antique Seminar (Chairman, Sir Anthony Blunt) at the XXth Inter- national Congress of the History of Art, New York, September 1961. 1 H. Bulle, in Photographische Einzelaufnahmen antiker Skulpturen, eds. P. Arndt, W. Amelung, G. Lippold, Munich, 1893, no. 500; P. E. Arias, Mirone, Florence, 1940, pp. 17 f.; E. Paribeni, Museo Nazionale Romano: sculture greche del V secolo, Rome, 1953, pp. 20 ff.; G. Lippold, Die Skulpturen des vaticanischen Museums, Berlin, 1956, III, 2, p. 89.

2 Ridolfi drawings, vol. B, fol. 21, Christ Church, Oxford, labelled as in the Zampolini (Giovanni Ciampolini) collection (R. Lanciani, Bollettino della Commissione archaeologica comunale di Roma, V, 1899, p. 1o5). Sold in 1520 to Giulio Romano, thence to the Cesi, possibly the Mellini, collection (H. Lucas, RMmische Mitteilungen (hereafter RM), XVI, 1901, pp. 244-46). 3 R. Lanciani, Storia degli scavi di Roma e notizie intorno le collezioni romani di antichith, Rome, 1902, IV, pp. 114 ft.; P. G. Huibner, Le statue di Roma, Leipzig, 1912, pp. 92 ff.; C. Huelson, Abhandlung der Heidelberger Akademie der Wissenschaften, IV, 1917, pp. 1-42; these, with U. Aldrovandi, Di tutte le statue antiche che per tutta Roma in diversi luoghi e case si veggono, in L. Mauro, Le

antichith della Cittd di Roma, Venice, 1556, and the archivist A. Bertolotti's publications before the turn of the century, introduce the principal characters traffick- ing in antiquities in Rome during the 16th century.

* H. Ladendorf, Antikenstudium und Antikenkopie, 2nd ed., Berlin, 1958 (Abhandlung der S&chsischen Akademie, XLVI, 2), pp. 31-32, 36, 37, 95 ff., ioo f.; also R. Lanciani, New Tales of Old Rome, Boston, 1901, p. 47.

6 Vita, Bk. II, ch. Io, ?s 6, 12, ch. 11, ? I; H. Diitschke, Antike Bildwerke in Oberitalien, Leipzig, 1878, III, p. 532; M. Neusser, Wiener Jahrbuch far bildenden Kunst (hereafter Wien. Jb.), VI, 1929, PP. 31-34; F. Rossi, II Museo Nazionale di Firenze, Rome, 1932, pl. 82, Sala del Cellini. 6 H. S. Jones (ed.), The Sculpture of the Museo Capito- lino, Oxford, I912, pp. 123 f., pl. 21, Galleria no. 50; M. Cagiano de Azevedo, Il gusto nel restauro delle opere di arte antiche, Rome, 1948, p. 35. Both briefly discuss the restoration.

7 S. Lami, Dictionnaire des sculpteurs de l'ecole franfais sous le rigne de Louis XIV, Paris, 1906, pp. 381 if.; P. Francastel, Gazette des Beaux-Arts (hereafter GBA), VI, 9, 1933, PP. 149 ff.

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SOME EIGHTEENTH-CENTURY RESTORATIONS 331 tions. But single or late essays in this genre by mature sculptors, even in the previous centuries, were hardly unknown, though, as Baglione and others imply, they were largely beginners' or second-raters' work.8 The in- gredients of Monnot's style, described as a blend of Bernini's baroque, French academic classicism, and contemporary Roman anti- quarianism, are striking in his restoration, which, like other restorers' additions, contains immutable projections of his taste and, by extension, that of his milieu. (It must be allowed, however, that though the history of restoration is a lesser discipline, running largely parallel to the development of major art, it is not without its own character.)9 With- out prototype but with the astonishing, even wanton, ilan and confidence of many restorers before him, Monnot succeeded in transform- ing the severe, flat, compact, and planimetric

transitional Greek composition into a centri- fugal design whose richly modelled volumes exuberantly twist and spin in the deep irregu- lar space of baroque sculpture. But he also introduced confining classicist elements; this was uncommon practice in restoration before the eighteenth century, and his use of them was still undiscriminating. The head is a free copy taken from Laocoon's elder son, and the subject, a fallen warrior defending himself, may be derived from another Hellenistic work, the Capitoline 'Dying Gaul'-perhaps its intended pendant, since the poses, attri- butes, and pathos of both have an affinity in kind, if not in quality.'x To accomplish this extraordinary metamorphosis the restorer inflicted customary violence on the fragment: the stumps were cut and shaped to accom- modate a freer movement of the limbs; the torso was brought to the same high polish as the additions, and the support remnant, which gave the figure a vertical, not hori- zontal orientation, was trimmed away."

Restoration continued into the second half of the eighteenth century as it had, uninter- ruptedly, since the early I500's. But during the profound change in taste and cultural leadership after 1750 a totally unprecedented number of antiques were uncovered, either at ancient sites or in Renaissance magazines, and submitted to the inevitable restoration, or fashionable renovation, which preceded their display and sale by agents and dealers to collectors.12

8 G. Baglione, Le vite de' pittori, scultori, architetti, etc., facs. 1642 ed., Rome, 1935, pp. 69, 72, 74, 90, 12o, 151, 152 ; G. B. Passeri, Vite de' pittori scultori ed architetti ... dall'anno I64ofino all'anno 1673, ed. J. Hess, Leipzig, 1934, pp. 104, 112, 113; A. Mufioz, L'Arta, 1916, pp. 129-6o; see also B. Cellini, Vita Bk. II, ch. X, ? 6, and further lists of scarpellini in n. 3.

9 For a selection that will introduce the recent litera- ture on restoration and its problems, see 0. Benndorff, AthenischeMitteilungen (hereafter AM), IV, 1876, pp. 167- 7'1 ; G. Kinkel, Mosaik zur Kunstgeschichte, Berlin, 1876, pp. 29-56; H. Graeven, Rimische Mitteilungen (hereafter RM), VIII, 1893, pp. 236-45; L. Pallat, RM, IX, 1894, PP. 334-48; W. Amelung, RM, XII, 1897, pp. 71 ff.; H. Bulle, Jahrbuch des Instituts, XVI, 1901, pp. 1-18; H. Posse, Jahrbuch der Preussischen Kunst- sammlungen, XXVI, 1905, pp. i09-20i; A. Grtinwald, Miinchner Jahrbuch der bildenden Kunst, V, 1910o, pp. I1- 70; A. H6ron de Villefosse, Revue d'art ancien et moderne, XXXI, 1912, pp. 81-96; E. Michon, Monuments Piot, XXI, 1913, pp. 13-45; A. E. Popp, Wiener Jahrbuchfiir bildenden Kunst, I, 1923, PP. 215-35; M. Neusser, Studien iiber die Ergdnzung antiken Statuen, Vienna, 1926 (diss.); id., Belvedere, XIII, 1928, pp. 3-9, 51-55; id., Wiener Jahrbuch, VI, 1929, pp. 20-42; F. Noack, Repertoriumfiir Kunstwissenschaft, 1929, pp. 190-231; G. M. A. Richter, Metropolitan Museum Studies, II, 1930, pp. 29-39; W. R. Valentiner, Pantheon, X, 1937, PP. 329-34; R. Bianchi- Bandinelli, this Journal, IX, 1940, pp. I-io; M. Wein- berger, Art Bulletin, XXVII, 1945, pp. 266-69; E. Mandowsky, Art Bulletin, XXVIII, 1946, pp. 115-18; id., The Burlington Magazine, XCII, 1950, pp. 231-32; Cagiano, passim, pp. 91-Ioo (bibliog.) ; id., Bollettino dell'istituto centrale del restauro, II, 1950, pp. 71-72; Ladendorf, pp. 55-61, 113-15, 181 (bibliog.); E. Vegara-Caffarelli, Rivista dell'istituto nazionale d'archeo- logia e storia dell'arte, III, 1954, PP. 29-69; R. Witt- kower, Gian Lorenzo Bernini, New York, 1955, pp. 180- 181, 191-92; J. Pope-Hennessy, Burl. Mag., XCVIII, 1956, pp. 408-09; Y. Bruand, Milanges d'archtologie et d'histoire de l'k9cole franfaise de Rome, LXVI, 1956, pp. 397-418; S. Howard, American Journal of Archaeology, LXIII, 1959, PP. 365-69; F. Magi, Atti della Pontificia accademia romana di archeologia, IX, 3, 1960, PP. 5-59; R. Herbig, RM, LXVIII, 1961, pp. 187-97.

10 The attitude of defence may have been taken from the Pergamene 'Falling Combatants' of the smaller Athenian dedication (A. Schober, Die Kunst von Pergamon, Vienna, 1951, pp. 126 ff., figs. 99, 102), which Monnot could have seen in Venice on frequent trips from Rome to his commission in Cassel; similarly, he may have known the Uffizi torso, infra. The shield, sword, and supporting right arm of the Capitoline 'Gallic Trumpeter' (Jones, Capitolino, pp. 338 ff., pl. 85, Stanza del gladiatore) are, it should be noted, 16th- century restorations, traditionally ascribed to Michel- angelo's atelier.

11 See Arias, fig. 9, for back view. 12 A. Bertolotti, Archivio storico dell'arte archeologia e

letteratura della citth e provincia di Roma, I, pp. 173-85; II, pp. 20-25, 209-24, 266-300; III, pp. 171-81; IV, PP. 74-89; P. Paciaudi, in Correspondance inidite du Comte de Caylus avec le P. Paciaudi, Paris, 1877, I, p. I 18 ; G. Gorani, Rom und seine Einwohner am Ende des XVIII Jahrhunderts, Riga, 1794, pp. 60 ff.; L. Cicognara, Storia della scultura dal suo risorgimento in Italia fino al secolo di Canova, 2nd ed., Prato, 1824, VII, p. 30; E. Quatre- mere de Quincy, Canova et ses ouvrages, Paris, 1834, p. 18; A. Michaelis, Ancient Marbles in Great Britain, Cambridge, 1882, pp. 2-3, 55-128; L. Hautecoeur, Rome et la Renaissance de l'Antiquitt a la fin du XVIIIe sidcle, Paris, 1912, pp. 56-11o.

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332 NOTES The second restoration (P1. 46b)'3 has a

characteristic history for its time. It was found in 1772 at Tivoli by Gavin Hamilton, the Neo-classic history painter, who had be- come one of Rome's most trusted and success- ful antiquarian entrepreneurs.'4 It was soon restored and sent to William Fitzmaurice, First Marquess of Lansdowne, most of whose collection was obtained through Hamilton. The letter accompanying the shipment is as revealing a document on contemporary deal- ing as one could wish.'5

"Rome, the 25th March, 1776: I have never mentioned to your Lordship one of the finest things I have ever had in my possession, as I was not sure of getting a license to send it out of Rome. Now that I have got it safe on board the Felucca for Leghorn, I have ventured to recommend it to your Lordship as something singular and uncommon. It is a Diomede carrying off the Palladium. Your Lordship when in Rome mentioned to me particularly sub- jects of this sort as interesting to you, but besides the subject, give me leave to add that the sculpture is first-rate, and exactly in the style and size of the Cincinnatus [in fact, a Lysippian Hermes]s6 to which I mean it as a companion, being a Greek hero to match the Roman. The legs and arms are modern, but restored in perfect harmony with the rest. He holds the Pal- ladium in one hand, while he defends him- self with the right holding a dagger. Your Lordship will ask me why I suppose this statue to be a Diomede. I answer because it would be to the last degree absurd to suppose it anything else, as I believe your

Lordship will easily grant when you see it . . ." Hamilton chose the subject to please his patron. A letter he wrote to Charles Townley indicates that this choice was arbitrary.'7 Not surprisingly, for another customer Hamilton had a different torso similarly restored as Diomedes.s8 He knew the Monnot restora- tion, though he did not mention it, and so did his restorer. No document mentions him, and such work was rarely signed, but Hamil- ton's choice of restorers and the appearance of minutiae and attributes, hallmarks of each restorer's shop, indicate that he was Monnot's own pupil, Bartolommeo Cavaceppi.x9 Cava- ceppi was the most famous and gifted restorer in Rome after I750, and his career, though superficially typical, outstrips his contem- poraries'. A brilliant academic technician, he soon became a prot6g6 of, and restorer for, great Roman collectors when there was an almost exclusive interest in antiques. This lucrative market, his influence and friends in antiquarian Rome, and the nature of his talent and temperament caused him to re- main almost wholly a restorer. In his shop well over a thousand ancient sculptures were repaired.

Even under Hamilton's supervision, Cava- ceppi produced an imaginative descendant of Monnot's dramatic and free baroque restora- tion, but despite a similar subject it is a very anaemic restatement of the other's defensive action, pathos, and violence. It is rather characterized by the well-bred, playful, rococo, and anecdotal philological conceits so dear to the contemporary abbe and col- lector.20 But underlying this approach is a

1i J. Dallaway, Anecdotes of the Arts in England, London, I800, p. 377 ; F. de Clarac, Musee de sculpture, Paris, 1826, V, p. 289, pl. 839, 2085a; Michaelis, p. 467, no. 89; Catalogue of the Celebrated Collection of Ancient Marbles the Property of the Most Honorable the Marquess of Lansdowne, M.V.O., D.S.O. (Christie, Manson, and Woods sales catalogue), London, 1930, pp. 42, 96, lot 61, no. 89; Einzelaufnahmen, pp. 4919-20; C. C. Vermeule, AJA, LIX, 1955, P. I31 (now at Bowood near Calne, Wilt- shire).

14 Michaelis, pp. 72-84, passim; Dictionary of National Biography, VIII, pp. 1039 f.; Lansdowne Catalogue, pp. 4- 8, 77-107; R. W. Zeitler, Figura, V, 1954, PP. 46 ff.; E. K. Waterhouse, Proceedings of the British Academy, XL, 1954, PP. 57-94; R. Rosenblum, Burl. Mag., CIII, 1961, pp. 8 ff, D. Irwin, Art Bull. XLIV, 1962, pp. 87-o102. 15 Lansdowne Catalogue, pp. 94-95, no. 27. 16 Michaelis, p. 464, no. 85; Lansdowne Catalogue, PP. 32-33, lot 49, no. 85; Vermeule, AJA, LIX, 1955, p. I40 (in Copenhagen); B. F. Poulsen, Katalog over Antike Skulpturer, Copenhagen, I940, pp. 203 ff., no. 273a.

1 A. H. Smith, Journal of Hellenic Studies, XXI, 1901, pp. 306-21. Hamilton noted (p. 315) that the "Le Gros" restoration was incorrect (the Capitoline torso has elsewhere been attributed to Monnot's com- patriot in Rome: Dallaway [ed. Millin], II, p. 29; H. Ellis, The Townley Gallery, London, 1846, I, 243).

1s Clarac, V, p. 70, pl. 830, 2085 (Annibale Mala- testa coll., Rome). 19 F. Noack, Das Deutschtum in Rom, Anstalt, 1927, II, p. 123, and in Thieme-Becker, VI, p. 209; S. Howard, Bartolomeo Cavaceppi, Eighteenth-Century Restorer, Chicago, 1958 (diss.: Lib. Cong. no. Mic 59-7511), pp. 95, 227 f., bibliog. pp. 271-81. On the attribution see also Michaelis, p. 467, and A. H. Smith, in Lans- downe Catalogue, p. 42.

20 See, for example, H. Blundell, Engravings and Etchings of the Principal Statues etc. at Ince, Liverpool, 1809, I, preface, p. 41; G. Casanova, Abhandlung iiber verschiedene alte Denkmiler der Kunst, Leipzig, 1771, pp. 8- 10, 65, passim; C. G. Heyne, Sammlung antiquarischer Aufsdtze, Leipzig, 1779, II, pp. 275-76; Ellis, I, pp. 6- 9; C. Justi, Winckelmann und seine Zeitgenossen, 4th ed.,

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SOME EIGHTEENTH-CENTURY RESTORATIONS 333 slowly growing objectivity, a more deliberate and self-conscious antiquarianism, which haltingly accompanied serious contemporary archaeological development. To give the un- usual and erudite subject additions with a sufficient air of authenticity, a restored an- tique head (on a new neck) was supplied to the mid-fifth-century torso; but the head, that of a Pergamene Gaul,21 had little to do with purposive stylistic accuracy. The modern Palladion, too, smacks of the antique; it is a freely adapted late fifth-century peplos type. There is also a greater respect for the integrity of the fragment. Remnants of the supporting stump have been retained to give the statue its correct stance. The breaks have not been trimmed to accommodate an invented action, but they have been made regular and curv- ing, so that the additions seem natural-in fact, like Monnot's, antique. Also like Monnot, Cavaceppi refinished the surface, but lightly, to a more fashionable Neo-classic bisque. The additions enhance the figure's descriptive silhouette; their compression into relief-like space and shallow modelling are similarly close to contemporary taste; and they contribute to make the general appear- ance of the work deceptively similar to that of the intact original Neo-classic copy. As one might expect, agreeable restorations were usually produced by artists whose style and temperament were compatible with those of the fragment.

At about the same time, another copy of the torso, in the Uffizi (P1. 46c), was re- restored in a somewhat comparable way: a former 'Endymion', startled, supported by a dog, was transformed into a fleeing cower- ing 'Niobid' (with an ancient head of Alexan- der);22 thus it became the missing son of the famous Uffizi group.23

In 1792 another 'Discobolos' was found at Tivoli (P1. 46d),24 and its repair anticipates many enlightened views of the next century.

The owner, Charles Townley, and his dealer, Thomas Jenkins,25 apparently carefully supervised its reconstruction, probably after the Massimi copy,28 which had been found intact ten years earlier and was immediately identified by Carlo Fea27 as the discus thrower of Myron described by Lucian and Quintilian,28 thus dismissing the older restorations. In the Townley drawings at the British Museum (P1. 46e) there are four ver- sions of the figure that the collector and dealer may have used for comparative, or corrobora- tive, evaluations. The right arm follows the Massimi example, and both hands seem taken from it. But, perhaps reacting excessively against the earlier restorations, with similar liberty, they had the head, which is antique and Myronic but does not belong to this torso, reset incorrectly: it was made to look forward, continuing rather than containing the action of the body (as a result of turning the head, the neck has two Adam's-apples). (On the Vatican 'Discobolos' torso,29 found almost simultaneously at Tivoli, a modern copy of the Townley head, perhaps originally its own, was similarly placed.) In all these undertakings the restorer, Carlo Albaccini,30

Leipzig, 1943, I, pp. 6oo ff.; Michaelis, p. 85, passim; Cagiano, pp. 45 ff.

2x Einzelaufnahmen, 4921; Vermeule, AJA, LIX, 1955, P. I31.

2s Uffizi, no. 212; A. F. Gori, Museum Florentinum, Florence, 1740, III, p. xxx; G. A. Mansuelli, Galleria degli Uffizi: le sculture, Pt. I, Rome, 1958, PP. 32 f., no. 5 (according to the Uffizi accounts, restored as Endymion before the inventory of 17o4-14 [Mansuelli, p. 268, no. 212]).

28 E. Mandowsky, GBA, XLI, 6, 1953, PP. 251-64, 288-91; Mansuelli, pp. o10-22, nos. 70-83.

"4 A. H. Smith, A Catalogue of Sculpture in the Depart- ment of Greek and Roman Antiquities, British Museum, London, 1892, I, pp. 90 f., no. 250; Ellis, I, pp. 239-46.

25 Michaelis, pp. 72-84, passim; T. Ashby, Papers of the British School at Rome, VI, 1913, pp. 487 ff.; F. Noack, Das Deutschtum in Rom, II, pp. 288 ff., and in Jahrbuch der Goethe-Gesellschaft, XII, 1926, pp. 94 f.; J. Hess, English Miscellany, 1955, pp. 175 ff.

26H. Brunn and F. Bruckmann, Denkmiiler griechischer und r mischer Skulptur, Munich, x888, pl. 256, no. 566; AJA, LVI, 1952, p. 132, pls. 13-14; Paribeni, pp. 22 f., no. 20o (formerly in the Lancelotti collection, now in the Terme). According to Ellis (I, p. 244), restored by [Giuseppe?] Angelini, who was associated with Cavaceppi's studio (Cavallucci, in Meyer, II, p. 46; M. Missirini, Memorie per servire alla storia della romana Accademia di S. Luca, Rome, 1823, p. 462; Rome, Archivio di Stato MSS., AntichitA e belle arte, Espor- tazione di oggetti, 1786; C. Kuthmann, Provincial- Museum Hannover, Hanover, 1914, pp. 6-7 and nos. 5, 13, 14, 19).

27 C. Fea, in J. J. Winckelmann, Storia delle arti del disegno presso gli antichi, Rome, 1783-84, III, 4. See also G. A. Guattani, Monumenti antichi inediti, 1784, p. 8, pls. I, 9. An account illustrating the fascination this torso and the riddle of its meaning held for contem- poraries is given by the painter Barry (Works of James Barry, Esq., London, 1809, I, pp. 479 ff.). 28 Lucian, Philopseud., I8; Quintilian, Inst. orat., II, 13. 8, io. 29 Lippold, III, 2, pp. 88 ff., Sala della Biga, no. 6I8, pl. 44. Restored by "I1 Sposino" according to Charles Townley on a leaf in the Townley Drawings, British Museum; Ellis, I, p. 244, n. 68; for another restoration by this little-known sculptor see U. Ulrichs, Die Glyptothek seiner Majestit des K6nigs Ludwig I, Munich, 1867, p. I6.

30 See Vatican MSS., Status Animarum, S. M. d. Popolo, 1755 ff., S. Lorenzo in Lucina, 1767 ff. ; Rome, Archivio di Stato MSS., AntichitA e belle arti, Espor-

12

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334 NOTES

Cavaceppi's pupil, acted as little more than an artisan, whose work was totally deter- mined by the collector, his dealer, and the form of the original to be copied. This menial position, or less, was usually all that was left to the restorer after this time.

I close with a restoration designed after 1900 (P1. 46f), but of a sort first contemplated at the end of the eighteenth century;31 the

type is still popular. More accurately, it is a reconstruction, since no parts are antique and all are taken from casts of various copies. This version, now in the Museo dei Gessi in Rome, like the one in Munich32 of reinforced plaster painted bronze, simulates the material and unsupported limbs of the original. Its torso was taken from a fragment found early in this century that is displayed in the Terme un- restored,33 as notable antiquities have slowly tended to be since the Elgin controversy in 1816.34 From the Massimi copy, whose neck is intact, the backward-looking head is taken, thus verifying Lucian's observations and cor- recting the Townley and Vatican repairs. The well-modelled right arm is from another fragment, in the Casa Buonarroti collection,35 and the feet are taken from the Townley piece in the British Museum. In a curious, or should one say obvious way, this too is a pastiche, but of more contemporary attribu- sion and connoisseurship that selects and synthesizes from each copy only what is of highest quality and most stylistically accept- able-as well as what is best preserved- supposedly for scientific accuracy. But of course none of it is certainly Myron for these reasons, and surely the result is intended to be, in its own way, as reassuring and pleasing as the products of the more naive caprice found in restorations of the past.

SEYMOUR HOWARD

tazione di Oggetti, 1745-1800; Diario Ordinario, Rome, nos. 922, 1783, 1793, 19o2; F. Brun, Tagebuch fiber Rom, Zurich, 8o01, I, pp. 323-25; Goethes Werke, Weimar, 1906, XXXII, p. 438; J. W. Goethe, Philipp Hackert, Tiibingen, 1811, p. 91; more recently, Justi, II, p. 535; Meyer, I, p. 70o; Michaelis, Jb d I, VII, 1892, p. 87; Michaelis, pp. 79, 91 ; Lanciani, II, p. 161; Hautecoeur, p. 59; A. Rumpf, RM, XLII, 1927, pp. 242-48; A. De Franciscis, Samnium, XIX, 1946, pp. 2 ff.; Cagiano, p. 58; Ladendorf, p. 59. Examples of his restorations can be found in W. Amelung, Die Skulpturen des vaticanischen Museums, Berlin, 1903, I, pp. 42, 189, 387, 51o, 614, 671, 773, 781, II, 242, 497, 696; Lippold, III, 2, pp. 79, 97; W. Helbig, Guide to the Public Collections of Classical Antiquities in Rome, Leipzig, 1895, P. 239; A. Ruesch, Guida illustrata del Museo Nazionale di Napoli, Naples, 1909, pp. 13, 15, 68-69, 71, 74, 79, 89-90, o103-05, 164-65, 169, i8i, 188-89, 237; Michaelis, pp. 339, 342, 360; Smith, III, p. 26; B. Ashmole, A Catalogue of the Marbles at Ince Blundell Hall, Oxford, 1929, PP. 7, 13; Ulrichs, p. 15; C. Pietrangeli, Scavi e scoperte di antichita sotto il pontificato di Pio VI, Rome, 1958, pp. 89, 96, 115, 140, 143. A letter (June o10, 1794) to Townley's friend and fellow- dilettante, Henry Temple, the second Viscount Palmerston, from Sir Charles Blagden, Secretary of the Royal Society, indicates that "the arm holding the quoit was broken off--it is supposed at the Customs House here-but Nollekens has repaired it" (B. Con- nell, Portrait of a Whig Peer, London, 1957, p. 302). For some of Nollekens' activities as a restorer see his biographer J. T. Smith, Nollekens and His Times, London, ed. of 1949, PP. 5 ff., 49 ff., 90 (a Venus restored for Townley), 122, 128, 129, 145 if., 239; A. Cunningham, Lives of the Most Eminent British Painters, Sculptors and Architects, London, 1830, III, pp. 128-28, 166; Ellis, I, p. 71; Michaelis, pp. 77, 79, 90, 93, 529.

3a G. E. Rizzo, Boll. d'Arte,,I, 907, pp. I ff., pls. 1-3; Brunn-Bruckmann, pl. 632; Arias, p. I7, figs. 7-8, 11; Enciclopedia Italiana, XXIII, p. 432 f., pl. io8; G. M. A. Richter, Three Critical Periods in Greek Sculpture, Oxford, 1951, p. 3, n. 3, fig. I. On casts and reconstructions see Cagiano, pp. 81 if.; Ladendorf, pp. 62 ff., I5 if., 183; Howard, pp. 193 ff.; also C. Biagi, Ragionamento sopra un'antica statua singolarissima nuovamente scoperta nell'Agro romano, Rome, 1772; F. Magi, Atti dell. Pont. accad. rom. d. arch., IX, 3, 1960, pls. 17-18.

32 Brunn-Bruckmann, pl. 566; G. M. A. Richter, The Sculpture and Sculptors of the Greeks, New Haven, 1957, fig. 578 (Lancelotti head, Vatican body).

** Terme, no. 56039; Paribeni, p. 24, no. 21 (from Castelporziano).

** The Autobiography and Memoirs of B. R. Haydon, 1786-1846, ed. T. Taylor, New York, 1926, Novem- ber io-I6, 1815; February 23, 1816; Farington Diary, ed. E. Grieg, London, 1923, IV, pp. 56, 145; V, p. 72; VIII, p. 46; Report from the Select Committee on the Earl of Elgin's Collection of Sculptured Marbles, March 25, 1816; Michaelis, pp. I35-5I; A. H. Smith, JHS, XXXVI, 1916, pp. 163-372, esp. pp. 203, 297-98, 333; Laden- dorf, pp. 49, 170 (bibliog.). This view of abstinence had become increasingly current among scholars dur- ing the last half of the i8th century (Cagiano, pp. 48 ff.; Howard, pp. 21 o ff.).

*5 Brunn-Bruckmann, no. 631, p. 9, fig. 12.

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Article Contentsp. 330p. 331p. 332p. 333p. 334[unnumbered]

Issue Table of ContentsJournal of the Warburg and Courtauld Institutes, Vol. 25, No. 3/4 (Jul. - Dec., 1962), pp. 159-350Front MatterAn Eleventh-Century Ivory Pectoral Cross [pp. 159-171]Late-Antique Influences in Some English Mediaeval Illustrations of Genesis [pp. 172-198]Numerical Composition in The Faerie Queene [pp. 199-239]Some Principles of Elizabethan Stage Costume [pp. 240-257]The Dance and the Masques of Ben Jonson [pp. 258-277]The Abb de Cordemoy and the Graeco-Gothic Ideal: A Prelude to Romantic Classicism [pp. 278-320]NotesNotes on Cyriac of Ancona and Some of His Friends [pp. 321-323]A Note on Nicolas Froment's 'Burning-Bush Triptych' [pp. 323-325]Maria in Sole and the Virgin of the Rosary [pp. 326-330]Some Eighteenth-Century Restorations of Myron's 'Discobolos' [pp. 330-334]The 'Bonus Eventus' Relief in the British Museum [pp. 335-337]

Back Matter [pp. 338-350]