the Capitol. A copy of the Cupid of
Praxiteles is in the British Museum. Of the Apollo Sauroctonos there
are two copies, one in the Vatican, and another in bronze in the Villa
Albani. Of the Venus of Cnidos of Praxiteles there are several copies
in the Vatican; one in particular, in the Chiaramonte Gallery, No.
112, though very inferior as a work of art, gives the exact pose of
the original statue as it appears on the coin of Cnidos. The Venus of
the Capitol is a Roman version of the Praxitelean statue; it differs
in attitude. Several copies of the Discobolos of Myron are still in
existence: one in the British Museum, one in the Vatican, and a third,
much finer than either of the others, in the possession of Prince
Massimo. A very fine marble copy of the celebrated bronze of Lysippus
is in the Vatican. A copy of the Pythian Apollo by Scopas is in the
same museum.

The noble statue of Augustus, discovered in 1863, and now in the
Vatican, is a grand example of the portrait statues of this period. It
is full of life and individuality. The pose is simple and majestic, as
befitting the portrait of an Emperor. The bust of the young Augustus
in the Vatican for depth of expression, individuality, truth to
nature, and delicacy of finish and treatment, is a marvel in
portraiture.

Under Tiberius and Claudius a limit was placed to the right of having
statues exposed in public; consequently a lesser number of statues
were made, and less attention was paid to the perfection of the
portrait. However, some excellent works were produced in this period.
The style became purer and more refined under Hadrian, for a partial
revival of Greek art is attributed to this Emperor. The hair was
carefully worked, the eyebrows were raised, the pupils were indicated
by a deep cavity--an essential characteristic of this age, rare before
this period, and frequently introduced afterwards; the heads required
greater strength, without, however, increasing in character. Of the
most remarkable productions of the age of Hadrian are the numerous
repetitions of the statue of Antinous, an ideal portrait of Hadrian's
favorite, exhibiting much artistic perfection. That in the Capitol is
remarkable, not only for its exceeding beauty, but also for its
correct anatomy. Of the Emperor Hadrian there is a fine portrait
statue in the British Museum. Under the Antonines, the decay of the
art was still more manifest, displaying a want of simplicity, and an
attention i