¹ The writers are indebted to Dr. Berta Segall for much valuable help and advice in the preparation of this summary of the pre-Roman development of the peopled scroll, and in particular for information regarding Hellenistic metal-work.

² Bulletin of the Metropolitan Museum of Art, New York, i, 1906, 118–120Google Scholar; xxxv, 1940, 211 (ill.).

³ F. H. Marshall, Catal. of the Jewellery, Greek, Etruscan, and Roman in the British Museum, 1901, nos. 1611–4, p. 172 (figs.).

⁴ Otto Rubensohn, Hellenistiches Silbergerät in antiken Gipsabgüssen (Festschrift ztr Eröffnung des Pelizaus-Museums zu Hildesheim), 1911, no. 19, pl. ix.

⁵ S. Reinach, Antiquitis du Bosphore Cimmérien, 1892, pl. ii, 1; Minns, E. H., Scythians and Greeks, Cambridge, 1913, fig. 96Google Scholar.

⁶ Marshall, op. cit. no. 1610, pl. xxvii. Berta Segall, Museum Benaki, Athen: Katalog der Goldschmiedearbeiten, 1938, 28–9, no. 24, pl. 7, illustrates a very similar diadem in the Benaki Museum, and cites another, also in Athens, in the National Museum, no. 10832. She stresses the funerary connotations of such diadems.

⁷ Rostovtzeff, M., ‘Le culte de la grande déesse dans la Russie méridionale’, Rev. Études Grecques, xxxii, 1919, 462–481CrossRefGoogle Scholar, citing the relevant publications. The form with animal-headed coils, sometimes in the shape of stylized tendrils, sometimes serpent-like (e.g. Marshall, op. cit., nos. 1265–6, pl. xvi, two seventh- or sixth-century gold plaques from Cerveteri; Minns, op. cit., fig. 54, horse's frontal from Tsymbalka), is perhaps the prototype.

^7a Van Essen, C. C., ‘Modellen van Wapens uit hellenistischen tijd’, Bulletin van de Veraeniging tot Bevordering der kennis van de antieke Beschaving, i, I, 18–21, figs. 1 and 3Google Scholar. C. S. Ponger, Katalog der griechischen und römischen Skulptur, der steinernen Gegenstände und der Stuckplastik im Allard Pierson Museum zu Amsterdam, 1942, pp. 86–7, no. 177, fig. 4, pl. xxxix. See fig. opposite.

⁸ Curtius, L., JDAI, xliii, 1928, 281–297Google Scholar; found already in the 4th century on a three-sided base at Athens, dated probably 355–4 B.C. (Ath. Mitt. li, 1926 117 ff.Google Scholar); cf. the marble acroterion at Leningrad (ibid. pl. xix. 1) on which the figure clutches two beasts by the horns. For a surprisingly late representation, see the Antonine tomb of Q. Lollius Liberalis in the Lateran Museum (Curtius, loc. cit. fig. 19); each of the figures rests a hand on theshoulder of the deceased, and it is evident that, at least in a funerary context such as this, the foliate-skirted figure still retained a definite symbolic significance.

⁹ E.G. the gold diadem worn by the queen in the Koul-Oba tumulus (Reinach, op. cit. pl. ii, 3). It is found commonly on wooden sarcophagi of the fourth and third centuries (Watzinger, C., Griechische Holzsarkophage aus der Zeit Alexanders des Grossen, Leipzig, 1905, pp. 37–8Google Scholar, figs. 65–6; p. 53, fig. 111; p. 62, nos. r and s; Minns, op. cit., figs. 234, 276).

¹⁰ N. P. Kondakov, J. I. Tolstoi, S. Reinach, Antiquités de la Russie méridionale, 1891, figs. 256–7; Minns, op. cit., figs. 46–7; M. Rostovtzeff, Iranians and Greeks in S. Russia, 1922, pl. xxi, 2; P. Jacobsthal, Ornamente Griechischer Vasen, 1927, pls. 142–3.

¹¹ E. Pernice and F. Winter, Der Hildeskeimer Silberfund, 1901, pls. xxxii–xxxiii; Monuments et Mémoires: Fondation Piot, V, 1899, pls. ix–xGoogle Scholar.

^11a Ausonia, viii, 1913, 27–34Google Scholar, figs. I, a and b, 2.

¹² E. Gerhard, Apulische Vasenbilder des königlichen Museums zu Berlin, 1845, passim. The ‘Great Goddess’ figure, with kalathos and foliate skirt, figures once only (ibid., pl. A, 1); for other instances of this figure from Hellenistic Italy, see Van Essen, op. cit.

¹³ Praschniker, C., Jahreshefte des österreichiechen archäologischen Institutes, xxi–xxii, 1922–1924, 203–214, figs. 122–3Google Scholar; cf. fig. 124, from the shoulder of an Apulian amphora.

¹⁴ L. D. Caskey, Museum of Fine Arts, Boston: Catal. of Greek and Roman Sculpture, 1925, p. 105, no. 49; A. W. Lawrence, Later Greek Sculpture, 1927, pl. xc b; H. U. v. Schoenebeck, Mnemosynon Theodor Wiegand, 1938, 56, pl. xxi, 2.

¹⁵ Ausonia, viii, 1913, 7–26, pl. iGoogle Scholar.

¹⁶ E. v. Mercklin, Arch. Anz. 1925, 164 ff.; Ronczewski, K., Röm. Mitt. xlv, 1930, 59–79Google Scholar; Krauss, F. and Herbig, R., Der korinthisch-dorische Tempel am Forum von Paestum (Denkmäler antiker Architektur, 7) 1939, 76Google Scholar.

¹⁷ Photo: Alinari, Roma 35574.

¹⁸ J. Kohte and C. Watzinger, Magnesia am Maeander, 1904, figs. 57, 60, 61 (acroterion), and 65, 69 (frieze). Pride of place should perhaps go to the small winged at the centre of the scroll from the smaller, and probably slightly earlier, temple of Zeus Sosipolis in the same city, now in Istanbul (Mendel, I, pp. 423–4, no. 194). Here, too, the stems of the scroll spring from an acanthus-calyx and not from the body of the figure.

¹⁹ Pergamon, v, 2, 33–4, pls. xiv–xv.

²⁰ Weigand, Th., Didyma, i (H. Knackfuss, Die Baubeschreibung), Berlin, 1941, nos. F. 248–251, pls. 107–9Google Scholar, and remarks on p. 66. For the chronology of the Didymaion, see Pontremoli, E. and Haussoulier, B., Didymes, Paris, 1904Google Scholar; Van Essen, C. C., Bulletin de Correspondence Hellénique, lxx, 1946, p607–616Google Scholar.

²¹ Gerhard, op. cit. passim; O. Walter, Beschreibun der Reliefs im kleinen Akropolismuseum in Athen, 1923, p. 221, no. 450 (fig.).

²² E.g. Rizzo, G. E., Le pitture della ‘Casa di Livia’ (Monumenti della pittura antica scoperti in Italia, iii, fasc. 3) 1936, fig. 10Google Scholar; Gusman, ii, pl. 73 (the Farnesina stuccoes); ibid., pl. 88 (circular marble base in the Terme Museum); ibid., iii, pl. 164 (terracotta mural plaques in the Louvre; cf. the plaques from Myrina in the same collection).

²³ Pergamon, vii, 2, pp. 328–30, no. 412 (fig.). In every essential this arrangement already anticipates the topmost feature of one of the pilasters of the Severan basilica at Lepcis Magna (p. 38).

²⁴ E.g. the circular altar of Eumenes, (Pergamon, vii, 2, 322Google Scholar, pl. xli); the marble relief-fragment showing sprays of corn and poppies (ibid., no. 408, fig.); and the fragment of a terracotta beaker, now at Marburg, with putto and garland (Transactions of the Oriental Ceramic Society, xix, 1942–1943, pl. ii aGoogle Scholar).

²⁵ Pergamon, v, i, Textbd. pls. xxvii–xxxviii; Tafbd. pls. xvii, xviii; Rostovtzeff, M., Social and Economic History of the Hellenistic World, ii, 1941, 660, pl. lxxiv, 2Google Scholar.

²⁶ To the metal-work examples already cited may be added a gypsum cast from the late third-century metal-worker's shop at Memphis with tiny putti scrambling through the naturalistic foliage of a vine-rinceau (Rubensohn, op. cit., no. 25, pl. viii; v. supra, p. 4, n. 4).

²⁷ E. Pernice, Die hellenistische Kunst in Pompeji: Pavimente und figürliche Mosaiken, 1938, 150, pls. lii, liii.

²⁸ Ibid. 150, pl. xliii, 2.

²⁹ Pergamon, vii, 2, pp. 323–6, no. 407, fig. and Beiblatt xliii; Mnemosynon Theodor Wiegand, 1938, 59, pl. xxiii (one face only).

³⁰ G. Moretti, Ara Pacis Augustae, 1948, pls. i–iv, x–xviii.

³¹ Arch. Anz. 1934, 473–4, fig. 19; V. Spinazzola, Le arti decorative in Pompei e net Museo Nazionale di Napoli, 1928, pls. xxi b, xxii. Photo: Alinari, Napoli 19045.

³² Moretti, op. cit., 201–3, fig. 162. Photos: Anderson, Firenze 9320, and Brogi, Firenze, 4301.

³³ Capitolium, viii, 4, April 1923, 167–171, figs. 15–19. The suggestion that they may come from die forum of Caesar must be rejected. They are altogether more delicate and widely spaced than the Domitianic scrolls from that site (v. infra, p. 12). The deeply-drilled border-moulding, however, suggests a date little, if at all, before the middle of the first century.

³⁴ De Architectura, vii, 5, 3–5, published after the battle of Actium in 31 B.C. and before the assumption of the title Augustus in 27 B.C.

³⁵ Rizzo, G. E., Le pitture della ‘Casa di Livia’ (Monumenti della pittura antica scopertiin Italia, iii, fasc. 3) 1936, 11–14, figs. 8–10Google Scholar.

³⁶ E. Pernice and F. Winter, Der Hildesheimer Silberfund, 1901, pp. 25–6, pl. iii; pp. 37–41, pls. xiii–xvi; pp. 57–9, pl. xxix; pp. 67–9, pls. xxxviii–xl.

³⁷ Corpus Vasorum Antiquorum: U.S.A. fasc. 9, Metropolitan Museum of Art, fasc. i, 1943, 20, pl. xxxGoogle Scholar. Cf. Karl Schumacher Festschrift, 1930, 303, pl. xxxv, 5; H. Dragendorff—C. Watzinger, Arretinische Reliefkeramik, 1948, nos. 231–2, 266.

³⁸ Zahn, W., Die schönsten Ornamente und merkwürdigsten Gemälde aus Pompeji, Herculaneum und Stabiae, I, 3, 1828, pl. xxixGoogle Scholar. Cf. von Blanckenhagen, 85, n. 4.

³⁹ von Blanckenhagen, 85, n. 3.

⁴⁰ Spinazzola, op. cit., pl. cv.

⁴¹ Zahn, , op. cit. I, i, 1828, pls. v, viGoogle Scholar; I, 5, 1828, pl. xlix; III, 1852, pl. vii; von Blanckenhagen, pl. xxix, 81; Elia, O., Le pitture del tempio di Iside (Monumenti della pittura antica scoperti in Italia, iii, fasc. 3–4) 1941, figs. 1 and 5, pls. vi, viiGoogle Scholar.

⁴² Zahn, , op. cit., I, 7, 1829, pl. lxviGoogle Scholar.

⁴³ Museo Borionico, 1833, ix, pl. xxivGoogle Scholar.

⁴⁴ von Blanckenhagen, 85.

⁴⁵ Pergamon, vii, 2, 306–7, no. 396, Beiblatt 40.

⁴⁶ E.g. inv. no. 59506, from the Abruzzi; above, a horizontal acanthus-scroll with man and bird and, below, a fragmentary inscription, in good first-century lettering: … VLLI. L. PHILO SEVIR … O MENOPHILO LIBERTO … TIOPAE LIBERTAE VXORI. (R. Paribeni, Le Terme di Diocleziano ed il Museo Nazionale Romano, 1932, p. 61, no. 41); and inv. no. 120709, from Otricoli, a horizontal acanthus-scroll with a miniature pig and a bird (Pietrangeli, C., Ocricolum (Italia Romana: municipi e colonie, I, 7) 1943, p. 98, no. 34Google Scholar; pl. xvi, c illustrates a part of the same frieze); and inv. no. 34219, from Chieti (found with the remains of the tomb of C. Lusius Sorax), a funerary stele with a scroll-work border, one volute of which is filled by a mask with a tiny bird above it (Monumenti Antichi, xix, 1908, 582, n. 1, fig. 17Google Scholar).

⁴⁷ E.g. two horizontal frieze-fragments with birds at Foligno.

⁴⁸ Inscribed: ARBITRATV C. BETVTI M.F. OVF. ET P. ALFI P.L. PHILOMVSI. Former German Arch. Inst., Rome, neg. 31. 3979.

⁴⁹ Former German Arch. Inst., Rome, neg. 33. 437.

⁵⁰ A Nervan-Trajanic date has been proposed by McFayden, D. (Classical Journal xi, 1915, 131 ff.Google Scholar) and Magi, F. (I rilievi flavi del Palazzo della Cancelleria, Rome, 1945, 160 ff.Google Scholar); but the reasons advanced are hardly sufficient to justify the rejection of the traditional date, confirmed by Lehmann-Hartleben, K. (Bull. Com. lxii, 1934, 89–122Google Scholar) and von Blanckenhagen (pp. 62–4). See JRS xxxvii, 1947, 190Google Scholar.

⁵¹ L. Rossini, Gli Archi Trionfali, 1836, pl. xxxiv; von Blanckenhagen, pl. xvi. 51.

⁵² L. Rossini, op. cit. pl. xxxiv. Photo: Gabinetto Fotografico Nazionale, neg. 26503.

⁵³ Bianchini, F., Del Palazzo de' Cesari, Verona, 1738, 50 ff., pls. ii–vGoogle Scholar; Durry, M., ‘Les trophées farnèses’, Mélanges d'archéologie et d'histoire, xxxix, 1922, 303–318, pl. viiiGoogle Scholar; von Blanckenhagen, pp. 64–7, with bibliography.

⁵⁴ Epigr. vii, 56.

⁵⁵ Ruesch, Guida illustrate del Museo Nazionale di Napoli, 1911, no. 1020; von Blanckenhagen, pl. xix, 56 and 57.

⁵⁶ Von Blanckenhagen, pl. xx, 58; cf. pl. xx, 59, from the Aula Regia.

⁵⁷ Ruesch, op. cit., no. 1020; von Blanckenhagen, pls. xxii, 65; xxiii, 66 and 67.

⁵⁸ CIL VI, 953 = 31213.

⁵⁹ Epigr. i, 2, 8.

⁶⁰ von Blanckenhagen, pl. xiii, 39 and 40.

⁶¹ Pergamon, vii, 2, 1908, p. 307, no. 397 (fig.)Google Scholar.

⁶² Ricci, C., Colini, A. M., Mariani, V., Via dell' Impero (Itinerari del Musei e Monumenti d'Italia, 24), Rome, 1933, p. 43 (fig.)Google Scholar; AJA, xxxvii, 1933, pl. lvi. 2Google Scholar. Photo: Comune di Roma, neg. 21 × 27, 1000.

⁶³ MAAR, xiii, 1936, pl. liii, 1Google Scholar.

⁶⁴ MAAR, xiii, 1936, pl. liii, 3Google Scholar.

⁶⁵ Lib. de Caes. 13.

⁶⁶ Notizie degli Scavi, 1932, 201.

⁶⁷ See also von Blanckenhagen, p. 77. Characteristic of Flavian architecture is the insertion of two small rings between the dentils of the entablature (Lugli, G., Bull. Com. xlvi, 1918 (1920), 35Google Scholar, note 1); cf. von Blanckenhagen, pls. xxi, 60 and xxvi, 72–3). Compare also the simaornament (MAAR, xiii, 1936, pl. li, 2Google Scholar) and the elaborately decorated bases (Naumann, R., Der Quellbezirk von Nîmes (Denkmäler Antiker Architektur, 4), 1937, 46 ff.Google Scholar, pl. 39; JRS, xxxviii, 1948, 64, no. 17Google Scholar) with those of the Aula Regia (von Blanckenhagen, pl. xxi, 61 and 62; Bianchini, F., Del Palazzo de'Cesari, Verona, 1738, pl. iiiGoogle Scholar).

⁶⁸ AJA, xxxvii, 1933, pl. lvi, 1Google Scholar; MAAR, xiii, 1936, pl. li, 1Google Scholar; Ricci, Colini, and Mariani, op. cit. p. 44 (fig.).

⁶⁹ Squarciapino, M., ‘Pannello con amorini del Foro di Cesare’, Arti Figurative, ii, 1946, 69 ff., pls. xxix and xxxGoogle Scholar.

⁷⁰ Benndorf and Schöne, pp. 38–9, nos. 59 and 60; Strong, i, pl. xxxiii; Gusman, ii. pl. cv. Photos: Anderson, Roma 1851 and 1852.

⁷¹ Bartoli, A., ‘La recinzione meridionale del Foro Traiano’, Atti della Pontificia Accademia Romana di archeologia, series 3, Memorie, i, II, 1924, 177 ff.Google Scholar, pl. xxxvii; 185, fig. 5.

⁷² Gusman, iii, pl. cl. Photos: Anderson, Roma 1850; Moscioni, Roma 2932.

⁷³ Bartoli, op. cit. 183–4, figs. 3 and 4.

⁷⁴ See Castagnoli, F., Bull. Com. lxix, 1941, 59–69Google Scholar, a convincing interpretation of the much-discussed topographical panel as representing a series of Flavian monuments, in the construction of which the deceased had taken part.

⁷⁵ von Blanckenhagen, p. 105.

⁷⁶ Strong, ii, 379, fig. 226.

⁷⁷ Gusman, i, pl. 27. Photo: Anderson, Roma 1875b.

⁷⁸ Gusman, loc. cit.

⁷⁹ Benndorf and Schöne, p. 225, no. 350; von Blanckenhagen, 101, pl. xxxvi, 98. Photo: Anderson, Roma 24123.

⁸⁰ Benndorf and Schöne, pp. 226–7, no. 353.

⁸¹ W. Altmann, Die römischen Grabaltäre der Kaiserzat, 1905, p. 40, no. 4, fig. 26; pp. 42–3, no. 9, fig. 30. Inv. nos. 78165, 78166.

⁸² Inv. no. 2364; British Museum Marbles, v, 1826, pl. v. 1–3Google Scholar.

⁸³ Catal. of Sculpture in the British Museum, iii, 1904, 341–2, fig. 52Google Scholar.

⁸⁴ Amelung, W., Die Sculpturen des vaticanischen Museums, i, 4, 1903, p. 639, no. 497a, pl. lxviiiGoogle Scholar; Altmann, op. cit., p. 146; no. 163.

^84a Former German Arch. Inst. neg. 1933, 1426.

⁸⁵ Altmann, op. cit., p. 147, no. 168, fig. 120; Amelung, , op. cit., ii, 3, 1908, p. 426, no. 356aGoogle Scholar.

⁸⁶ Altmann, op. cit., p. 164, no. 206, fig. 133; Amelung, , op. cit. ii, 3, 1908, p. 420, no. 253a, pl. xlviGoogle Scholar.

⁸⁷ Amelung, , op. cit., i, 2, 1903, p. 256, no. 126, pl. xxviGoogle Scholar; Gusman, i, pl. liv; J. M. C. Toynbee, The Hadrianic School, 1934, pl. xlviii, 3.

⁸⁸ R. Paribeni, Boll. d'arte, 1914, 279–83, fig. 3; R. Paribeni, Le Terme di Dioclezano e il Museo Nazionale Romano, 1932, p. 266, no. 833; G. Kaschnitz-Weinberg, Sculture del magazzino del Museo Vaticano, 1937, pp. 193–4, nos. 429–31, pl. lxxvi. Alinari, Roma 38254.

⁸⁹ A. Michaelis, Ancient Marbles in Great Britain, 1882, 459, no. 76; R. Paribeni, Boll. d'Arte, 1914, 283, fig. 4; Auction Catal. of Ancient Marbles in the Lansdowne Collection, March 5, 1930, p. 48, no. 69.

⁹⁰ MAAR, xiii, 1936, pl. xxxix. 4Google Scholar.

⁹¹ Ibid., pl. xxxix. 3.

⁹² Ibid., pl. xxxix. 1.

⁹³ Gusman, i, pl. 1; MAAR, iv, 1924, pls. xx and xxiGoogle Scholar.

^93a F. Cumont, Études Syriennes, 1917, p. 78, fig. 32; Lux Perpetua, 1949, p. 295, fig. 7; Reinach, S., Répertoire de reliefs, iii, 1912, p. 76Google Scholar; Ruesch, Guida illustrata del Museo Nazionale di Napoli, 1911, no. 1879.

⁹⁴ von Blanckenhagen, pp. 67–8, 90–9.

⁹⁵ See notably von Blanckenhagen's analysis of the arch of the Argentarii, pp. 90–2. The influence of Flavian monuments on the arch in the Forum Romanum is less pronounced, but is attested by such features as the rings between the dentils of the cornice flanking the central passage-way; see also von Blanckenhagen, pp. 92–3.

⁹⁶ (a) Ibid., pl. xxxii, 89, from the Aula Regia, now in Naples Museum; (b) ibid., pl. xxxiii, 91, in situ; (c) ibid., pl. xxxiv, 92, in situ; also two smaller fragments in the Villa Mills.

⁹⁷ In situ.

⁹⁸ (a) Ibid., pl. xxxv, 95; cf. the stylistically similar fragments in the Vatican Museums (Museo Chiaramonti), with putti standing between the whorls and animalprotomai emerging from the terminal flowers, Amelung, W., Die Sculpturen des vaticanischen Museums, i, 4, 1903, p. 629Google Scholar, nos. 487a and c, pl. lxvi; (b) Gusman, iii, pl. clxxvi, 2; Strong, ii, 309, fig. 187; photo, Moscioni, Roma 2992; (c) unpublished.

⁹⁹ (d) Unpublished; (e) Benndorf and Schöne, p. 198, nos. 314–6; (f) photo, ex-German Arch. Inst. 31. 1678; (g) A. Munoz, Il restauro della chiesa e del chiostro del SS. Quattro Coronati, 1914, 127–30, figs. 169 and 170.

¹⁰⁰ von Blanckenhagen, pl. xxxii, 88.

¹⁰¹ von Blanckenhagen, pl. xxxv, 95.

¹⁰² For a general view of these entablatures see photo, Alinari, Roma 5862.

¹⁰³ Benndorf and Schöne, pp. 199–200, nos. 320, 320a; Gusman, iii, pl. cxxi; Squarciapino, pl. L b. Photo: Anderson, Roma 24122.

¹⁰⁴ Brunn, H., Kleine Schriften, i, 1898, 64–70Google Scholar; Gusman, ii, pls. xciii, xciv; Photos: Alinari, Roma 26318, 26319, 26320; Anderson, Roma 20325, 20515; Vatican, neg. xv. 2.27.

¹⁰⁵ Gusman, i, pl. xli; Strong, i, 120, fig. 75; von Blanckenhagen, pl. xxxvi, 97.

¹⁰⁶ Contrast Strong, ii, 305: ‘sarebbe tuttavia difficile suggerire una data esatta per questo lavoro. La tecnica sembra infatti accennare al terzo secolo, mentre lo stile e la composizione ci richiamano a fasi più antiche e presentano elementi familiari già all'arte flavia e traianea’. For the plastic treatment of the figures cf. the Hercules capital in the Baths of Caracalla (Gusman, i, pl. xliii, Strong, ii, 307, fig. 185).

¹⁰⁷ Gusman, i, pl. xl.

¹⁰⁸ Brought to our notice by dott. E. Paribeni.

¹⁰⁹ Calza, G., Ostia: nuovi scavi (Itinerari dei Musei e Monumenti d'Italia, no. 1a), Rome, 1947, p. 31Google Scholar; Calza, G., Ostia, Ed. 2 (Itinerari dei Musei e Monumenti d'Italia, no. 1), Rome, 1949, p. 83Google Scholar.

¹¹⁰ M.G.H.: Chron. min. i, 148: Porticus thermarum Antoniniarum arserunt et fabricatum est.

¹¹¹ Kähler, H., ‘Zum Sonnentempel Aurelians’, Röm. Mitt., lii, 1937, 94–105Google Scholar. The ultimate derivation of these fragments, through-Severan intermediaries, from Flavian prototypes is confirmed by the use of such distinctive elements as the pair of rings between the dentils of the cornice (v. supra, p. 13, n. 67).

¹¹² Inv. no. 80101. F. Toebelmann, Römische Gebälke, 1923, 111, fig. 86; Kähler, op. cit., figs. 4, 7, 8, 11. Photos: Former Germ. Arch. Inst. negs. 30.500, 37.260 and 261.

¹¹³ Inv. no. 115751. Kähler, op. cit. fig. 6.

¹¹⁴ Toebelmann, op. cit., 124–5, fig. 97; Kähler, op. cit., fig. 12; H. P. L'Orange and A. von Gerkan, Der spätantik Bildschmuck des Konstantinsbogens, 1939, figs. 50, 51.

^114a The over-loading of ornament on the architrave suggests a late third- or early fourth-century date. For work by Maxentius on the Palatine—‘thermas in Palatio fecit’—see M.G.H.: Chron. Min. i, 148.

¹¹⁵ Amelung, , op. cit., i, 2, 1903, p. 183Google Scholar, no. 23; p. 226, no. 82; i, 3, 1903, p. 510, no. 297a, pl. liii; i, 4, 1903, p. 654. no. 516 Ca, pl. lxix. Photos: Anderson, Roma 23923; Vatican neg. 1.3.23.

¹¹⁶ Peirce and Tyler, i, pl. xi, a and b.

¹¹⁷ Photos: Anderson, Roma 20514, 30516.

^117a An early-Imperial example is to be seen on a painted panel of first-century A.D. date in the Louvre (P 71), which shows two vertical vine-branches interlocking, with vintaging putti perched upon them.

¹¹⁸ A. Adriani, Le gobelet en argent des amours vendangeurs du Musée d'Alexandrie, 1939. Contrast such vintage-scenes as that on the glass ‘Blue Vase’ at Naples (ibid., 14, fig. 7), in which the putti are outside the schematized scrolls; or the many classical vintage-scenes, which show real vines, growing naturalistically, instead of spreading in lattice-work scrolls across the entire field.

¹¹⁹ Rodenwaldt, G. (JDAI, xlv, 1930, 116–189, pls. v–viiGoogle Scholar) refutes the suggestion of Taylor, F. H. (Art Bulletin, x, 1927, 47–59CrossRefGoogle Scholar) that the figured panels are a fifteenth century re-working of a classical strigil-sarcophagus.

¹²⁰ Lippold, G., Die Sculpturen des vaticanischen Museums, iii, 165, no. 566Google Scholar; Michalowski, K., Röm. Mitt. xliii, 1928, 131–146Google Scholar; R. Delbrueck, Antike Porphyrwerke, 1932, 219, pl. 104; Sjöqvist, E. and Westholm, A., Skrifter utgivna av svenska Institutet i Rom, iv, 1935, 1–46Google Scholar. For a derivative fragment, of Roman workmanship, walled into the former studio of Canova, in via Canova, see Röm. Mitt. xliii, 1928, 143, fig. 3Google Scholar.

¹²¹ Bull. Com. vi, 1878, 199 ff., pl. xviGoogle Scholar; H. Stuart Jones, Catal. of the Sculptures of the Polazzo dei Conservatori, 1926, p. 93, no. 29a (column), p. 117, no. 70 (capital), pl. xli; Gusman iii, pl. 122. For similarly elongated figures on sarcophagi see Strong, ii, 324, fig. 198; K. Lehmann-Hartleben and E. C. Olsen, Dionysiac Sarcophagi in Baltimore, 1942, fig. 9.

^121a Lehmann-Hartleben and Olsen, op. cit. fig. 9.

¹²² See the recent study by K. Lehmann-Hartleben and E. C. Olsen of a group of Dionysiac sarcophagi found near the Port a Pia, now in Baltimore, Dionysiac sarcophagi in Baltimore, 1942.

¹²³ AJA, liii, 1949, 158, pl. xxvii, AGoogle Scholar.

¹²⁴ The easy passage of the theme from the old faith to the new is well illustrated by a late second- or early third-century pagan sarcophagus with a vineyard-scene, converted later to Christian use by the simple addition of a fresh inscription; from the Syrian Tripolis, now at Constantinople (Mendel, iii, pp. 408–412, no. 1169; JDAI xlv, 1930, 177–9, figs. 54–5).

¹²⁵ Most recently with full bibliography, F. Gerke, Der Sarkophag des Iunius Bassus, 1936, figs. 32 and 35.

¹²⁶ J. Wilpert, Die römischen Mosaïken und Malereien der kirchlichen Bauten von IV–XIII Jahrhundert, 1917, 50, pl. lxxv.

¹²⁷ Ibid., 290, pl. vi; Cecchelli, C., Architettura e Arti decorative, ii, 1922, p. 15Google Scholar, fig. (the destroyed floor-mosaic).

¹²⁸ Photos: Zuecca, Milano, nos. 1612 and 1195 respectively, obtained through the kindness of Dr. N. De Grassi.

¹²⁹ Liber Pontificalis, ed. Duchesne, 38 and 194; L'Arte, i, 1898, 377–384Google Scholar.

¹³⁰ Wilpert, G., I sarcofagi cristiani antichi, i, 1929, pl. xiii (Junius Bassus)Google Scholar; pp. 175–6, pl. cxxi, 4 (Lateran 174); pp. 178–9, pl. cxlix (S. Sebastiano); Gerke, op. cit., figs. 4–5, 13, 40–1; F. Gerke, Christus in der spätantiken Plastik, 1940, pl. lxi.

¹³¹ A colonnette in the museum at Ostia is carved in high relief with putti vintaging among the foliage of a spirally wound vine.

¹³² Wilpert, op. cit., pl. cxlv, 1.

¹³³ O. M. Dalton, British Museum, Catal. of Early Christian Antiquities, 1901, pp. 64–7, nos. 305–6, pl. xix. See also two other silver vessels in the British Museum, a late third- or early fourth-century mirror from Bulgaria (H. B. Walters, Catal. of Silver Plate, 1921, p. 28, no. 106, pl. xv) and a fourth-century fluted silver bowl in the Mildenhall treasure; and the sixth-century (?) patera of Bishop Paternus at Leningrad (L. Matzulewitsch, Byzantinische Antike, 1929, pls. 26 and 27).

¹³⁴ Cecchelli, C., La cattedra di Massimiano, Rome, 1935–1944, 68–95, pls. i–xiiiGoogle Scholar, with full bibliography; Peirce and Tyler, ii, pls. 3, 5, and 8. See also the ivory Dionysos-panels of the Aachen pulpit (Peirce and Tyler, ii, pls. 155 and 191; illustrated by Cecchelli, op. cit., pls. xxxviii–xxxix, to be discussed in a projected second volume); and a fourth-century (?) ivory diptych at Trieste (P. Arndt and W. Amelung, Photographische Einzelaufnahmen antiker Skulpturen, 1893, 600).

¹³⁵ A. Patricolo and U. Monneret de Villard, The Church of Sitt Barbara in Old Cairo, 1922; for the date, c. A.D. 500, see Kitzinger, E., Archaeologia, lxxxvii, 1938, 212Google Scholar.

¹³⁶ Kitzinger, op. cit., 210–5.

^136a Among late metal-work examples of the peopled vine-scroll are: (1) a hemi-spherical silver bowl in the Berlin Antiquarium, on which Dionysiac figures stand, each within a loosely-formed medallion (Y. I. Smirnoff, Argenterie Orientale, 1909, pl. cxii); (2) a silver flagon from Persia in the British Museum, showing vintaging putti, a hare, birds etc., in a spreading vine (ibid., pl. li).

¹³⁷ E.g. the lateral lunettes of the so-called tomb of Galla Placidia, and the presbytery vault of S. Vitale.

¹³⁸ E.g. two fourth-century fragments of silver vessels from the Traprain Law treasure, in Edinburgh Museum (A. O. Curle, The Treasure of Traprain, 1923, 44, fig. 22; pl. 23); a wooden panel in the Kaiser Friedrich Museum (Peirce and Tyler, i, pl. 169); fabrics (ibid., i, pl. 168, b; ii, pl. 75).

¹³⁹ Espérandieu, i, 206; L. A. Constans, Aries Antique, 1921, 293–4.

¹⁴⁰ M. Jules Formigé, Inspecteur Général Honoraire des Monuments Historiques, writes: ‘La frise du rinceau est prise dans le même bloc que les triglyphes et placée au dessus. La construction vue en coupe semble intacte et sans remaniment’.

¹⁴¹ Espérandieu, i, 114; Röm. Mitt. lii, 1937, pls. iv–xiiiGoogle Scholar.

¹⁴² E. Pernice and F. Winter, Der Hildesheimer Silberfund, 1901, pls. xxxviii–xl. Photo: Giraudon 8367.

¹⁴³ Ibid., pl. xxix. Photo: Giraudon 8650.

¹⁴⁴ Ibid., pls. xiii–xvi.

¹⁴⁵ Ibid., pl. iii. Photo: Giraudon 8641.

¹⁴⁶ Ibid., pls. xxxii–xxxiii. Photo: Giraudon 8639.

¹⁴⁷ Monuments et Mémoires: Fondation Piot, v, 1897, pls. ix–x. Photo: Giraudon 4913Google Scholar.

¹⁴⁸ Another notable piece of imported metal-work (?Alexandrian) is the silver-inlaid bronze flagon from Gap, now in the museum at Lyon; on four of the vertical panels are formal vine-scrolls with vintaging putti; Gazette Archéologique, iii, 1877, 81, pls. viii–ixGoogle Scholar.

¹⁴⁹ Espérandieu, i, 291; Sautel, J., Vaison dans l'antiquité, iii, 1926, pl. lxiii. 5Google Scholar. Now in the Musée Calvet, Avignon.

¹⁵⁰ Espérandieu, iv, 2856.

¹⁵¹ Ibid., viii, 5961.

¹⁵² Ibid., ii, 1284.

¹⁵³ Ibid., i, 491; iii, p. 422; ix, p. 326.

¹⁵⁴ Ibid., x, 7338.

¹⁵⁵ Inventaire des mosaïques de la Gaule, i, I, no. 236; Levi, D., Antioch Mosaic Pavements, i, 1947, 511, fig. 188Google Scholar.

¹⁵⁶ Wilpert, , op. cit., i, 1929, pl. cxlv. iGoogle Scholar; E. Le Blant, Les Sarcophages chrétiens de la Gaule, 1886, pl. liv. i.

¹⁵⁷ Archaeologia, lxxxvii, 1937, 97Google Scholar, note 3, nos. 35, 48, and 77; cf. (birds only) no. 31, pl. xxxi. 6 = E. Le Blant, Les Sarcophages chrétiens de la Gaule, 1886, pl. xxxiii, 1; Peirce and Tyler, ii, pl. xvii (b).

¹⁵⁸ Prof. J. de C. Serra-Ràfols, who has kindly sent photographs of the two examples here cited from Barcelona, confirms that they are, to his knowledge, unique in Catalonia, and that he knows of no other Spanish examples.

¹⁵⁹ Huguet, P. Batlle, Arte Romana (Ars Hispaniae, ii, Madrid, 1947), 35, fig. 17Google Scholar.

¹⁶⁰ Victoria Country History, Somerset, i, fig. 72.

¹⁶¹ T. D. Kendrick, Anglo-Saxon Art to A.D. 900, 1938, pl. xvi. 4.

¹⁶² G. Tocilescu, Das Monument von Adamklissi: Tropaeum Traiani, 1895, 18, fig. 12, pls. ii, iii; Furtwangler, A., Das Tropaion von Adamklissi (Abhandlungen der philosophisch-philologischen Klasse der kön. bayerischen Akademie der Wissenschaften, 22), 1903, pl. iii, 3, 4Google Scholar; F. Studniczka, Tropaeum Traiani, 1904, p. 94, fig. 54.

¹⁶³ S. Ferri, Arte romana sul Danubio, 1933, 371–2, figs. 504 and 505.

¹⁶⁴ C. Texier and R. P. Pullan, The Principal Ruins of Asia Minor illustrated and described, 1865, pl. xxv; Krencker, D. and Schede, M., Der Tempel in Ankyra (Denkmäler antiker Architektur, 3), 1936, pl. xlvii. cGoogle Scholar.

¹⁶⁵ Squarciapino, pl. xxi; Mendel, ii, pp. 185–8; nos. 494–5. For the surviving member of the pair of acanthus-scroll pilasters which carried these capitals, v. infra, p. 34.

¹⁶⁶ Schulz, B. and Winnefeld, H., Baalbek, i, 1921, pl. 96Google Scholar.

¹⁶⁷ K. F. Kinch, L'Arc de Triomphe de Salonique, 1890, pl. vi; Peirce and Tyler, i, pl. i.

¹⁶⁸ Texier and Pullan, op. cit., pl. xxxix; Lanckoronski, K., Städte Pamphyliens und Pisidiens, i, 1890, 113, fig. 89Google Scholar.

¹⁶⁹ Mendel, iii, 547–9, nos. 1341–2.

¹⁷⁰ Ibid., 549–551, nos. 1343–4.

¹⁷¹ Pergamon, v. 2, Das Traianeum, 33–4, pls. xiv, xv.

¹⁷² Revue Archéologique, x, 1937, 246 (fig. 2)Google Scholar; AJA, xli, 1937, 375Google Scholar, figs. 14, 15. Cf. the bust at Istanbul, from the Hadrianic baths at Aphrodisias, of Atargatis in her fishgoddess form; Latomus, ii, 1949, 257 ff.Google Scholar, pl. xvi.

¹⁷³ Lanckoronski, op. cit., 100, fig. 78; JDAI, xliv, 1929, 269, fig. 3Google Scholar.

¹⁷⁴ Quarterly of the Department of Antiquities, Palestine, x, 1944, pl. xxviii, 3Google Scholar.

¹⁷⁵ D. Krencker and W. Zschietzschmann, Römische Tempel in Syrien, 1938, 237 and 239, figs. 362 and 364.

¹⁷⁶ Wilberg, W., Jahreshefte des österreichischen archäologischen Institutes, xi, 1908, 122–3, figs. 24–6Google Scholar.

¹⁷⁷ Schulz, B. and Winnefeld, H., Baalbek, i, 1921, pls. xxiii, lx (great temple, first century A.D.)Google Scholar; D. Krencker, Th. von Lüpke, H. Winnefeld, ibid., ii, 8, fig. 12; 10, fig. 16 = Syria, xxiii, 1942–1943, 49Google Scholar, fig. 8 (small, or ‘Bacchus-’, temple, second century A. D.).

¹⁷⁷ For information concerning peopled scrolls in Syria, and for the photos illustrated we are indebted to M. Henri Seyrig, Director of the Institut français d'archéologie, Beirut.

¹⁷⁸ Robert, C., Antike Sarkophagreliefs, ii, 1890, 129, pl. xlv, fig. 110Google Scholar; Catal. of Sculpture in the British Museum, iii, 1904, 311 ff., no. 2303Google Scholar.

¹⁷⁹ Robert, , op. cit., ii, 26–9Google Scholar, no. 21, pl. viii and ix (Kertsch); ibid., iii, 175–6, no. 147, pl. xlv = Suppl. pl. vii (near Sparta, now destroyed); ibid., iii, 178–181, no. 152 b, pl. xlvii = Arch. Anz., 1940, 603–4, fig. 3 (one end of the well-known Hippolytus sarcophagus at Agrigento).

^179a Y. I. Smirnoff, Argenterie Orientale, 1909, pl. xiv.

¹⁸⁰ Krencker, D. and Schede, M., Der Tempel in Ankyra (Denkmäler antiker Architektur, 3), 1936, pls. xiv, xxviGoogle Scholar.

¹⁸¹ Bulletin de Correspondance Hellénique, xlv, 1921, 436 ff.Google Scholar; Squarciapino, pl. M.

¹⁸² Mendel, iii, 424–7, no. 1179 (fig.); E. Mamboury and Th. Wiegand, Die Kaiserpaläste von Konstantinopel, 1934, pl. xxxix. Istanbul Museum photos, nos. 2058–2060. Mamboury and Wiegand suggest a Severan date, with which the flat treatment of the plant accords; but the wide spacing of the designs is more reminiscent of Antonine work.

¹⁸³ Baalbek, ii, 1923, pls. li–liiGoogle Scholar.

¹⁸⁴ M. Dunand, Le Musée de Soueïda, 1934, 14–15, no. 3, pl. v. Cf. Syria, vii, 1926, pl lxiii, 2Google Scholar; xxiii, 1942–3, 66, fig. 15, 1. There is part of what appears to be a companion piece, also from Kanawât, now in the Louvre (A.O. 11.078).

¹⁸⁵ Th. Wiegand, Palmyra, 1932, pl. liv.

¹⁸⁶ Ibid., pl. liii.

^186a Seyrig, H., ‘Antiquités Syriennes, 32: Ornamenta Palmyrena antiquiora’, Syria, xxi, 1940, 279–328Google Scholar.

^186b Syria, xv, 1934Google Scholar, pls. xix, xx (two pairs of symmetrical vine-scrolls, with birds, forming the lower borders of the figured panels decorating two of the transverse beams spanning die peristyle; on one there is male bust at the junction of the two scrolls); xxiii (the border of a figured soffit, vine-scroll with birds).

¹⁸⁷ Mendel, ii, 179–184, no. 493 (figs.); Schede, M., Meisterwerke der türkischen Museen, iGoogle Scholar: griech. und röm. Skulpturen des Antikenmuseums, 1028, pls. xxxv, xxxvi; Squarciapino, pls. xix, xx. Istanbul Museum photos, nos. 1617–1622. For the capitals belonging to these pilasters, v. supra, p. 31. For the date of die baths, see CRAcad. 1906, 167.

¹⁸⁸ Inv. no. 1921, 12–10, 1237; CRAcad. 1904, 703; 1906, 155 and 158.

¹⁸⁹ A. Aziz, Guide du Musée de Smyrna, 1933, no. 162, pl. i. See also the acroteria of the propyleion to the sanctuary of Aphrodite at Aphrodisias (Monumenti Antichi, xxxviii, 1939, ii, 125–6Google Scholar, pl. xl, 5) with three-quarter-length figures of deer leaping through the whorls of a complex scroll.

¹⁹⁰ Mendel, ii, 447–8, no. 665; Peirce and Tyler, i, pl. 18; R. Delbrueck, Antike Porphyrwerke, 1932, pl. 107, 2; Early Christian and Byzantine Art: an exhibition held at the Baltimore Museum of Art, 1947, no. 34, pl. ix.

¹⁹¹ Archaeologia, lxxxvii, 1938, 212, pl. lxxvii, iGoogle Scholar.

¹⁹² Ibid., 212, pls. lxxv, 3 and lxxvi, i; A. Patricolo and U. Monneret de Villard, The Church ofSitt Barbara in Old Cairo, 1922.

¹⁹³ Archaeologia, lxxxvii, 1938, pl. lxxi, 2–5Google Scholar; U. Monneret de Villard, La Scultura ad Ahnâs, 1923, figs. 86–7, cf. figs. 85, 88, and 89. from the Fayûm.

¹⁹⁴ Byzantinische Zeitschrift, i, 1892, 576–88Google Scholar, pl. i and ii; Peirce and Tyler, i, pl. 127; Mendel, ii, 435–42, nos. 658–9 (figs.); Early Christian and Byzantine Art: an exhibition held at the Baltimore Museum of Art, 1947, 32, no. 54, pl. iv.

¹⁹⁵ Cf. the much disputed Antioch chalice, Peirce and Tyler, i, pls. xcix, c; for bibliography, see Orientalia Christiana, 1926–7, 8–10; A. Adriani, Le gobelet en argent des amours vendangeurs du Musée d'Alexandrie, 1939, 37–8.

¹⁹⁶ D. Levi, Antioch Mosaic Pavements, 1947, pls. i, b and cxlvi, b.

¹⁹⁷ Ibid., pls. xxiii, c and cxlii, b.

¹⁹⁸ Ibid., pls. xxxv, b, and cliii, b.

¹⁹⁹ Ibid., pls. liv–lvii.

²⁰⁰ Ibid., pl. cxliii, b—e.

²⁰¹ The Great Palace of the Byzantine Emperors, 1947, pls. xxviii, xxix, xxxi, xl, xliii, xlix, and 1.

²⁰² Levi, op. cit., pl. lxxxii, d.

²⁰³ Ibid., pl. cxliv, b—c.

^203a Ed. C. H. Kraeling, Gerasa, City of the Decapolis, 1938, pls. lviii, c, lxix, b; Peirce and Tyler, ii, pl. cxxiii.

²⁰⁴ Levi, op. cit., pl. clxxxi, c.

²⁰⁵ Ibid., pls. xci, xcii, b and clxxxi, d.

²⁰⁶ Πρακτικὰ, 1915, 76 ff., figs. 10, 12–19.

²⁰⁷ Peirce and Tyler, ii, pl. cxcv.

²⁰⁸ Orientalia Christiana, 1926–7, pl. xxiii; Cecchelli, C., La cattedra di Massimiano, Rome, 1935–1944, p. 86 (fig.)Google Scholar.

²⁰⁹ Africa Italiana, iv, 1931, 56–60Google Scholar; Squarciapino, pls. xxx b and xxxi; JRS, xxxviii, 1948, pl. vii, 1 and 3–5Google Scholar.

²¹⁰ Africa Italiana, iv, 1931, 69–70, figs. 49–1Google Scholar.

²¹¹ JRS, xxxviii, 1948, 72–3Google Scholar. Several sections of the frieze are executed in a hard, dry manner which is in striking contrast with that of the published fragments.

²¹² Africa Italiana, i, 1927, 64–72, figs. 10–18Google Scholar; Squarciapino, pls. xxviii, xxix, and xxx a; JRS, xxxviii, 1948, 73–4Google Scholar, pls. vii, 2 and viii, 1–3.

²¹³ JRS, xxxviii, 1948, pl. vii, 4Google Scholar.

²¹⁴ Squarciapino, p. 88.

²¹⁵ Boll. d'Arte, 1915–6, 554–70; for angle pilaster, see fig. 6.

²¹⁶ For the Commodan restoration see R. Bartoccini, Le Terme di Lepcis, 1929, 79.

²¹⁷ Photo: Soprintendenza ai Monumenti e Scavi, Tripoli.

²¹⁸ Archeologia Classica, i, 1949, 86 ff.Google Scholar, based mainly on the physiognomic and psychological aspects of the Medusa and Victory reliefs found in association with the frieze fragments; see also JRS, xxxviii, 1948, pl. ix, 2–3Google Scholar. The heads are, as Caputo remarks, closer to those of the Tiberian agora at Aphrodisias (Monumenti Antichi, xxxviii, 1939, p. 160 ff.Google Scholar, pls. i–xl) than to the monster-like heads from the Hadrianic baths in that city or in the Severan forum at Lepcis (Squarciapino, pl. N). The fragments of two Flavian inscriptions found near the west gate do not belong to the arch, but come from some outlying monument demolished to provide material for the fourth-century walls.

²¹⁹ Photos: Soprintendenza ai Monumenti e Scavi, Tripoli, B 1284.

²²⁰ Corò, F., Vestigia di colonie agricole romane: Gebel Nefusa (Collezione di opere e monografie a cura del Ministero delle Colonie, no. 9) Rome, 1928, 12–13Google Scholar (mausoleum of Gsur el-Berber, 20 km. SE of Cabao); 30 (mausoleum of Tuil en-Nahla, near Cabao); 64 (mausoleum of Resciadet el-Tual, territory of Haraba).

²²¹ Revue archéologique³ xxvi, 1895, 80–1, figs. 4–6Google Scholar; Bullettino del Museo dell'Impero Romano, xii, 1941, 68Google Scholar.

²²² A. Ballu, Les Ruines de Timgad, 1897, 204, fig. 31; Ballu, A. and Cagnat, R., Musée de Timgad (Musées et collections archéologiques de l'Algérie et de la Tunisie, xii), 1903, 25, pl. vii, 1Google Scholar.

²²³ Ballu and Cagnat, op. cit., 24, pl. ix, 3.

²²⁴ S. Aurigemma, I mosaici di Zliten, 1925, pl. E (p. 211), figs. 131–145.

²²⁵ P. Wuilleumier, Musée d'Alger: supplement, 1928, 78, pl. xii, 3.

²²⁶ Inventaire des mosaïques de l'Afrique, ii, 1, no. 744 (pl.)Google Scholar.

²²⁷ Bardo Museum, Tunis. Africa Italiana, vi, 1935, 147, fig. 34Google Scholar.

²²⁸ Africa Italiana, v, 1933, 34Google Scholar, fig. 20; vi, 1935, 148, fig. 35.

²²⁹ Bardo Museum, Tunis. Gauckler, P., Monuments et Mémoires: Fondation Piot, iii, 1896, pl. xxiGoogle Scholar; Inventaire etc., ii, 1, no. 376 (pl.)Google Scholar.

²³⁰ Monuments et Mémoires: Fondation Piot, iii, 1896, 207, pl. xxGoogle Scholar.

²³¹ Inventaire etc., iii, no. 435 (pl.).

²³² Peirce and Tyler, ii, pls. cxv, cxvia, and cxviia. A detailed publication by R. Bartoccini is in preparation.