User:Ficaia/List of marble sculptures in Naples

This is a list of marble sculptures in the collections of the National Archaeological Museum of Naples and the National Museum of Capodimonte.

Most of the marble statues in the National Museum originally came from Rome, where they had been the properly of the Farnese family, whose large collection of statues was acquired from excavations, especially those of the year 1540, and was placed partly in the Palazzo Farnese, partly in the Farnese Garden on the Palatine. When the family died out in 1731, the possessions of Elizabeth Farnese, including the collection, passed into the hands of her son Charles, King of Naples, and the statues were removed to that town. Those that had ornamented the Villa were also added to the Museum. Others of the statues originate from excavations made at different times in Campanian towns, especially at Pompeii, Herculaneum, Capua, Pozzuoli, Gaeta and so on, while others come from Locri.

A small nucleus is formed by the Borgia collection which Giovanni Paolo Borgia had founded at Velletri in the 18th century and which chiefly contains objects from Oriental Greece, by the collection of the Duke of Noia, and that of Caroline Murat. One part of this collection was not taken to France, but remained in Naples under the name of the Museo Palatino. Other statues have been acquired by purchase.

The collection is placed on the ground floor. The entrance hall contains honorary statues. In the right wing the statues are arranged either from the chronological or from the topographical standpoint. In the left wing are the portrait statues.

Image	Description	Date	Link
	Statue of a woman in Ionic chiton and himation, the type being derived from Praxiteles. The arms, with the attributes of the muse Euterpe or Thalia, are restored.
	Statue of a woman in chiton and himation. The forearms, with the attributes of the muse Calliope, are restored.
	Two cipollino columns from the Triopeum at Rome, dedicated by Herodes Atticus to the gods of the Underworld.
	Base, with dedication to the Consul L. Burbuleus Optatus by his children's nurse.
	Colossal statue in stage costume, transformed into a Urania by mistaken restoration of the head, and hands. The left hand probably held a cithara, the right a plectrum.
	Cornice from the building of Eumachia in Pompeii.
	Base, with dedication to Aurelius Pylades, the pantomime actor.
	Columns of Spanish Brocatell marble.
	Marble Basin, supported by three winged sphinxes.
	Statue of Viciria, mother of M. Jun. Balbus, the praetor. It resembles the so-called "Herculanensis major", now in Dresden.
	Statue of a daughter of Balbus.
	Equestrian statue of M. Nonius Balbus, the elder. From Herculaneum. The head and right hand are restored.	c. AD 50
	Toga statue. The head is antique, but does not belong to the body.
	Statue of a daughter of Balbus. She is arrayed like the Vienna statue of Kora by Praxiteles. Her head is bent and full of life as though she were about to speak. In the hair are traces of red colour as a ground for gilding. Careful execution.
	Sarcophagus with cover in the middle of which is the tablet for the inscription. On the front of the sarcophagus are the portraits of a man and woman, supported by three putti. Beneath these are garlands.
	Toga statue of a man sacrificing.
	Female statue, restored as Clio, with modern head. It recalls the Praxitelean type of the so-called "Herkulanensis minor" now in Dresden.
	Marble Basin, made like a cylix with double handles.
	Female Statue, restored as Euterpe, perhaps the portrait of an empress in the dress of a priestess. The motive is reminiscent of the Demeter of Praxiteles.
	Columns of black porphyry.
	Base, with dedication to the Emperor Antoninus Pius.
	Colossal statue of a Youth. Found in the Baths of Caracalla. The hands and left leg are restorations. He probably held an attribute in the left hand and is clad in a girded tunic and short mantle. The boots are high and decorated with masks. Probably intended for a Genius, perhaps that of the Roman people.
	Base, with dedication to C. Aelius Quirinus Domitianus Gaurus.
	Colossal statue of a River God, leaning his left elbow on a she-wolf and holding a cornucopia in his right hand. The left hand and the wolf are restorations, so it is uncertain whether it is intended to represent the Tiber.
	Another similar statue. It is difficult to determine which river-god this represents, as the animal's head and the oar are restorations.
	Base with Greek inscription in honour of the pugilist Demetrius of Alexandria.
	Colossal Female Statue, found in the Baths of Caracalla and thought to be an lole, because a Hercules was found with it. It is doubtful whether the head belongs to the body. The motive is derived from Phidias, but it is late work. It is also described as a Flora or Pomona, but a Hora or Proserpine might be a better designation.
	Base, with dedication to the Emperor Marcus Aurelius.
	Columns of Porto Venere marble.
	Basin of Pavonazzetto.
	Female Statue in chiton and mantle, the latter covering the shoulders and left arm. Face and hands are restorations, and the hands are raised in prayer. It is evidently a portrait statue, the diadem indicating an empress. It is generally named Lucilla, but on insufficient grounds.
	Statue of a woman clad in tunic and palla, probably a Roman priestess. Head and hands are restored.
	Statue of a woman, designated as Livia, and found in the Macellum at Pompeii. It resembles the so-called Pudicitia of the Vatican. Head and hands restored.
	Female statue, generally called Calliope, and probably a portrait statue. Head and hands restored.
	Roman Sarcophagus. Selene descending from her chariot to visit the sleeping Endymion. To the left a hunter and dog, to the right a shepherd with his sheep.
	Statue of a woman in stola and palla. Head and hands restored.
	Statue of a Girl, member of the family of Balbus. She is clad in stola and palla, and her attitude resembles that of Eumachia. Traces of colour still visible in the hair.
	Equestrian Statue. The ambling horse is rendered with great fidelity to nature. The rider wears a cloak, cuirass and belt. The inscription informs us that the statue was erected by the people of Herculaneum in honour of Nonius Balbus. The head was shattered by a canon-ball during the insurrection of 1799, and has been replaced by an exact copy, the work of Brunelli.
	Toga statue of M. Nonius Balbus, the elder. The toga hangs down from the left side over the scrinium, in exaggerated parallel folds.
	Statue of a young Roman of the period of Tiberius.
	Sarcophagus. The creation and destruction of man are represented with a confusion of Greek and Roman myths. On the front Prometheus is seated and lying at his feet is the lifeless body of a youth that he has made of clay but cannot inspire with life. Clotho, the Fate with the distaff, stands before him and an Eros holds his flaming torch near the head of the recumbent figure towards which he leads Psyche who turns to a second Eros. The life-giving fire comes from Heaven, having been stolen by Prometheus from Hephaestus. Hence to the right the latter is represented forging lightning for Zeus. An Eros in headlong flight carries him the divine fire by a torch. Next to him is Caelus, beneath whom on the ground is Tellus, goddess of the earth, with a cornucopia and a fruit in her hands. The other elements also take part in the creation of man and thus beside Prometheus is shown the personification of Water with his oar and dolphin, and of air in Aura who in floating garments is placed near Tellus, whilst between her and Eros stands Pan. The creation takes place at the moment when all nature awakes, hence the depiction above and to the right of the quadriga of Helios, his head crowned with sunrays, his hand raised as if to greet Life. The consent of the gods being necessary to the creation of man, in the background appear Zeus and Hera near Psyche and between them is the head of Hestia or Magna Mater. Hera gives a bag of money to Hermes, behind whom is a Triton blowing on his horn, while to the left of Hermes stands Poseidon with the trident on which an Eros, probably Zephyrus, is riding. Immediately after his creation, man sinks to the Underworld, therefore Pluto is shown to the left behind the figure of Water, close by is the God of Sleep, brother of Death, and behind these two a figure resembling Aura. Still farther to the left, sitting on a rock, is an Erinys with the three-headed Cerberus. As creation takes place in the morning, so with the evening comes Death, hence the representation of Selene in her chariot drawn by two bulls, while in front of her flies Hesperus. On the sides are less important figures, such as Atropos deciding the hour of death with the aid of a sun-dial and a youth with a horse, perhaps Castor, that one of the Dioscuri who is mortal. The sarcophagus belongs to the period of decadence (third century), but is derived from a good original. There exist four sarcophagi with this same motif and of them the one in the Louvre most nearly resembles that in Naples.
	Basin of rosso antico, transferred to the Museum from the Caroline Murat Collection. Winged Tritons support it and between the handles are two water-spouts in the form of lions' heads.
	Toga statue of an unknown personage. A bundle of papyrus rolls serve as support. Head restored.
	Columns of giallo antico.
	Base, with dedication to L. Licinius Primitivus.
	Colossal statue of a ruler in the pose of a hero. Both forearms and the left foot are restored. It is reminiscent of a Polycletan type. The head resembles that of Alexander Severus, found on coins. The fillet and palm on the support are suitable attributes of such a lover of the circus.
	Base, with dedication to P. Marius Philippus.
	Dacian Captives, from the Forum of Trajan in Rome, like those set up on the Arch of Constantine. The national costume indicated by the chiton with sleeves, the trousers and cloak, is further emphasized by the Phrygian cap and laced boots. Both hang their heads in token of their grief and submission.
	Four Toga statues of unknown municipal oflficers.
	Marble Base, found in a Cellar at Pozzuoli in 1793. On it was a statue of Tiberius erected to him after his re-building of fourteen towns in Asia Minor that had been destroyed by earthquake between 17 and 30 AD. In front is the dedicatory inscription of the priests of Augustus in Puteoli. On either side stand caryatides representing Sardes and Magnesia, the former holding a cornucopia and laying her other hand protectingly on the head of a naked boy, who probably represents a local deity, Tylos. Magnesia (much damaged) who also is dressed as a matron, raises her right arm. On the right side of the base stand Philadelphia , Tmolus and Cyme. The first figure in her priestesslike bearing (the town was held sacred) recalls a fifth century statue of Demeter. Tmolos, with the mural crown, is personified as a type of Dionysus with vine and nebris, because of the vine-clad mountain that he represents. This figure reminds one of a Lysippean statue. Cyme, the sea-city whose patron goddess was thought to have been carried away by Poseidon, holds a trident in her hand. On the left side stand Mostene , Aegae and Hierocaesareia. The first mentioned holds fruit and garlands. At Aegae there was a great cult of Poseidon as god of earthciuakes, hence the figure with trident, dolphin, and helmet in the form of a prow. Hierocaesareia, with the mural crown and in the costume of an Amazon, probably held an axe and a pelta in her hands; these are missing. On the back are six figures, Temnus, Cibyra, Myrina, Ephesus Apollonidea and Hyrcania. Temnus is represented as a male figure, the type being borrowed from a statue of Dionysus, engraved on coins. The left hand holds the thyrsus, while the missing right hand probably held a vase. Cibyra, with helmet, lance and shield, also wears the dress of an Amazon Myrina, entirely enveloped in her garment, stands in the centre and the tripod and laurel indicate the cult of Apollo near Myrina at Gyrneia where there was an oracle. Ephesus is clad as an Amazon and is further indicated by the statue of Artemis. Her left foot is placed on the head of the river-god Caystrus, her right hand holds wheatears and poppy-heads , and the rays of her mural crown remind us of the natural phenomena that accompany earthquakes. Again we have the dress of an Amazon worn by Apollonidea. The last figure of all (hands with attributes are missing) may be intended for the farthermost Parthian town, Hyrcania, founded by Macedonians. In memory of the generosity shown by Tiberius in rebuilding the fourteen towns visited by earthquake, a colossal statue of him was erected in Rome near the Temple of Venus Genetrix and round the base were placed personifications of twelve towns. To these were added Ephesus and Cibyra which were destroyed later. The monument at Pozzuoli is a copy on a smaller scale.
	Marble Base, with dedication to the Fortuna Redux of the Imperial family.
	Statue of M. Holconlus Rufus. Being a military tribune, he is represented in short tunic and cuirass, the latter being adorned with griffins, masks, rams' heads and elephants. The hair was coloured red, the paludamentum purple and the shoes black.
	Statue of Eumachia from Pompeii. This statue was erected by the fullers. Being a priestess, she has drawn her garment over her head. The movement is full of grace but the execution is mediocre. The attitude is similar to that of the "Herkulanensis major". Traces of red colour in the hair.
	Statue of Suedius Clemens, less than life size. The statue was erected in gratitude for the fact that he had given back to the town of Pompeii the domains which had been taken into possession by private persons.
	Toga statue of an official, from Pompeii.
	Marble Base, commemorating a victory won by the Emperor Vespasian.
	Marble Base, with dedication to the eternal peace of the house of Vespasian and his descendants.
	Four Toga Statues of unknown municipal officers.
	Aedicula of shell-limestone with an enthroned goddess.
	Head, more than life size. Found at Sorrento in 1902 in I he workshop of a sculptor. Archaic work.
	Female Head, type of the so called Spes.
	Grave relief from the Museo Borgia at Velletri. In his hair the deceased wears a fillet, decorated with a feather (?). The chlamys is held fast in the left arm-pit by the staff on which he leans. The left leg is crossed over the right, and on the left wrist hangs a small round vase. The shoes were coloured, only the soles are plastically treated. In front of the man sits a dog, who turns his head towards his master. The relief is undoubtedly an original work of the beginning of the fifth century. The stiffness of the whole figure and the faulty bodily forms are owing to lack of skill on the part of the artist. The same motive occurs in the Stele of Alxenor of Naxos, now in the Museum at Athens, in which however we find more freshness of invention and more freedom in execution, while the action is better expressed inasmuch as the figure holds a grasshopper towards the dog. To avoid difficulties of perspective, the sculptor of the Neapolitan relief has put the right leg in profile.
	Head of a Youth. The type is early but badly executed.
	Head of a Youth. Archaistic Roman work.
	Statue of Athena Promachos. Both forearms, part of the Aegis and the Gorgoneion are restored. The head can hardly belong to this body. The goddess wears the Ionic chiton and peplos, using the latter as a shield, and brandishes a spear in her right hand. The head with its Attic helmet is a later type and seems rather small in proportion to the body. The statue is a Roman imitation of a sixth century type.
	Head of a Youth. Copy of an archaic bronze statue.
	Harmodius and Aristogeiton. Found at Hadrian's Villa near Tivoli and brought to Naples in 1790. The arms and right leg of Harmodius, the left hand and right arm of Aristogeiton had already been restored. The head of the latter is antique and in the style of Scopas, but does not belong to the body. Two young men of athletic build are rushing forward to attack a common foe. The younger, whose beard is just beginning to grow, has thrust forward his right foot and is about to deal his adversary a terrific blow with the long sword held in his raised right hand. Across his chest was a belt, still recognisable by traces of colouring, and he may possibly have held a scabbard in his left hand. His older and bearded companion stretches out his left arm using his cloak as a shield to protect his comrade and draws back his right arm so that he may, in case of necessity, be able to follow up his friend's attack by a sword-thrust. This master-piece, in its clear but simple grouping, the dry execution of the bodily forms, the mannerism of the hair, the development of the lower part of the face, plainly indicates the influence of archaic art. At first the two figures were placed opposite one another as opponents and were thought to be gladiators or heroes in combat, till in 1853 Friedrichs recognised them to be a copy of the famous group of the Tyrannicides which was erected in Athens in memory of the slaying of Hipparchus, and of which various copies have been preserved. Thucydides, VI. 54 , tells us that in 514 BC the two friends avenged private wrongs by killing Hipparchus, who with Hippias had succeeded Pisistratus in the government of Athens. The tyrants being universally hated, this act acquired political significance and after the expulsion of Hippias in 510 the democratic party promptly erected statues of the two friends who had been put to death by Hippias, immortalising them as their deliverers from the Tyrants. When the city was taken by the Persians, this group was carried off to Susa, but afterwards restored to Athens by Alexander or one of his successors. Meanwhile when the city had freed itself from the Persians, a copy of the original group was made by Critius and Nesiotes, and erected in 477. The question whether we have before us in the Naples group the work of Antenor or that of Critius and Nesiotes has now been decided in favour of the last mentioned. It was produced in the first half of the fifth century. The two sculptors belong to a period of transition. The existing copies were made in Imperial times and in rendering the bronze originals into marble, supports have been added to the feet. Close by is a plaster cast of a bust now in Madrid, generally called Pherekydes, which was found in 1799 at the same spot where the Tyrannicides were discovered. The head exactly fits the body of Aristogeiton and should be placed on the statue instead of the existing one of the school of Scopas.

Sources

• Ruesch, Arnold, ed. (1909). Illustrated Guide to the National Museum in Naples. Naples: Richter & Co. pp. 6–59. This article incorporates text from this source, which is in the public domain.
• Ruesch, Arnold, ed. (1911). Guida Illustrata del Museo Nazionale di Napoli (in Italian) (2nd ed.). Naples: Richter & Co. pp. 8–106.