diator" or _Heros Combattant_, actually, a warrior
attacking a mounted Amazon. An inscription states that it is the work
of Agasias of Ephesus. To the R. is a fine Marsyas, doomed to be
flayed alive by order of Apollo; to L. 562, the Borghese Centaur, and
near the exit, 529, the charming Diana of Gabii, a Greek girl
fastening her mantle. We pass to the Salle du Tibre, in the centre of
which stands the famous Diana and the Stag, acquired for Francis I.,
much admired and over-rated by the sculptors of the renaissance: at
the end is a colossal group, symbolising the Tiber and Rome. We turn
R. and again enter the Corridor de Pan, pass through the Salle Grecque
and reach the Rotonde with the Borghese Mars in its centre. We turn
L., continue direct through Rooms XIV. to XVIII. the old Petite
Galerie[197] and the apartments of the queen mothers of France still
retaining their ceiling decorations by Romanelli. We then turn R. to
the spacious Salle d'Auguste, (XIX), at the end of which, in a recess,
stands a majestic draped statue of Augustus. In the centre are a bust,
1204, said to be the head of Antiochus III., king of Syria 223-187
B.C., and 1207 the stately Roman Orator as Mercury, which an
inscription on the tortoise states to be the work of Cleomanes, an
Athenian. In this and the subsequent halls are placed many imperial
busts[198] of much historical and some artistic interest.

[Footnote 196: Unfortunately the numeration of the sculpture in the
Louvre is in a most chaotic state. Some of the objects are unnumbered;
others retain their old numbers, yet others have both old and new
numbers.]

[Footnote 197: There was originally a fosse between it and the garden
which Marie de' Medici bridged by a wooden structure, known as the
Pont d'Amour, to facilitate interviews with her favourite Concini.]

[Footnote 198: It may not be inopportune to summarise here,
Bienkowski's criterion for dating Roman busts, which is as follows:
Augustan and Julio-Claudian epoch, head only rendered; Flavian,
shoulders rendered but juncture of arms not indicated; the sculptors
of Trajan's time included the juncture of the arms, and of Hadrian's
and the Antonines, part of the upper arm. Later, the bust developed to
a half-length figure. It is necessary of course to exclude decapitated
busts subsequently restored or fitted with heads of another epoch.]

We return to Room XVIII. where we find, 1205, the colossal bust of
Antinous, the beautiful young