Ancient Sculpture Research Articles

Ancient Sculptures at Chatsworth House

The treasures of modern art preserved in Chatsworth House are well known to writers on the history of art. But of the small and choice collection of works of ancient sculpture contained in this fine mansion, the property of the Duke of Devonshire, information has up to now been almost entirely lacking to archaeologists. I myself have to thank the Duke's librarian, Professor Arthur Strong, for calling my attention to it, and for the opportunity of inspecting the collection in the autumn of 1895.A description of the most important work, the bronze head of Apollo, an original of about B.C. 460, appeared in my book, Intermezzi, kunstgeschichtliche Studien (Leipzig, 1896), Plates 1–4, pp. 3 f. An interesting Roman relief has been published by E. Petersen in the Römische Mittheilungen (1899), Plate 8, pp. 222 f. I have also written a short notice of the whole collection in the treatise Ueber Statuenkopieen im Alterthum, I. (1896), p. 26. That I am now in a position in this paper to enter into more minute details with the help of photographs I owe to the kindness of Prof. Arthur Strong, (who was good enough to supervise the taking of the photographs), as well as of the editors of this Journal, to all of whom I must express my warmest thanks.

Remarkable Ancient Sculptures from North-West America.1

MR. JAMES TERRY has just published descriptions and photographs of some of the most remarkable works of prehistoric man yet discovered on the American continent. The title of his paper is sufficiently startling, but it is fully borne out by the beautiful full-size and half-size photographic prints with which it is illustrated. They represent three rude, yet bold, characteristic, and even life-like sculptures of simian heads, executed in basalt. One of these belongs to the author, one to Mr. T. Condon, and the third to Prof. O. C. Marsh, who referred to it, in his address “On Vertebrate Life in America” in the following terms:—“On the Columbia River I have found evidence of the former existence of inhabitants much superior to the Indians at present there, and of which no tradition remains. Among many stone carvings which I saw, there were a number of heads which so strongly resembled those of apes that the likeness at once suggests itself. Whence came these sculptures and by whom were they made?” Unfortunately we have no detailed information as to the conditions under which these specimens were found, except that “they would be classed as ‘surface finds, ’ from the fact that the shifting sand-dunes, which were largely utilized for burial purposes, are continually bringing them to the surface and exposing them.” This gives no indication of their antiquity, but is quite compatible with any age which their other characteristics may suggest.

The Ancient Sculptures in the South Aisle of the Choir of Chichester Cathedral

The Ancient Sculptures in the South Aisle of the Choir of Chichester Cathedral

Ancient Sculptures in Guatemala

Ancient Sculptures in Guatemala

Private Collections of Ancient Sculpture in Rome. I. The Jerichau Collection (Concluded)

Private Collections of Ancient Sculpture in Rome. I. The Jerichau Collection (Concluded)

Private Collections of Ancient Sculpture in Rome

Private Collections of Ancient Sculpture in Rome

Ancient Sculpture Discovered in Breadsall Church, Near Derby

Ancient Sculpture Discovered in Breadsall Church, Near Derby

Rough Notes on some ancient sculptures on rocks in Komoon, similar to those found on Monoliths and Rock in Europe

Rough Notes on some ancient sculptures on rocks in Komoon, similar to those found on Monoliths and Rock in Europe

Appendix: Notices of some ancient sculptures on the walls of caves in Fife

Notices of some ancient sculptures on the walls of caves in Fife
 Explanations of the Plates
 Errata

2. Notices of some Ancient Sculptures on the Walls of Caves in Fife

The county of Fife abounds in caves or “weems”—a derivative from the Gaelic name for caves—and their existence gives a title to the earldom of Wemyss. Some of the caves in Fife are historical, as St Rule's at St Andrews, St Adrian's near Elie, and St Margaret's at Dunfermline. St Serf of Culross the great patron saint of the west of Fife, is described by one of his biographers as having usually spent the forty days of Lent in a cave named, as such retreats often were, the Desertum. This cave at the Desertum— (or Dysart, to use the modern form of the name)—was used as a church up till near the time of the Reformation. About two miles eastward of Dysart, and near the village of Easter Wemyss, there is a range of large caves, seven or eight of which are at the present time open; but several more probably exist, having their openings covered over with debris. They stand about 15 or 20 feet above the level of high tide. Some of them are 80 to 100 feet in length, and of corresponding height and breadth.

2. On the Origin and Progress of Grecian Sculpture. Part I

“The author adduced arguments to prove, that the Egyptians were the real masters of the Greeks in the arts of Design. The Greek writers admit that, when their ancestors were barbarous, the Egyptian colonists of Argos and Athens imported with them the arts of a more polished people; that they brought into Greece images of the Gods; and that the most ancient sculptures mentioned by Pausanias and Pliny bore the impress of an Egyptian character; especially the wooden statues ascribed by Pausanias to the elder Dædalus and to Attalus, the celebrated colossal statue of the Amyclæan Apollo, and the lions still existing over the gate of Mycenæ.

XVII. Remarks on certain Sculptures in the Cave Temples of Ellora

It being deemed desirable that some explanation should accompany the interesting drawings, particularized in the preceding article on ancient Hindu sculptures from the Cave Temples of Ellora, made by Captain Grindlay, I hasten to fulfil the wishes of the council.There are two modes by which they might receive illustration: one, supposing them to contain an astronomical allusion, as suggested by Dr. B. G. Babington; the other, from an allegory in the Hindu theogonies. A knowledge of the relative position of these sculptures in the Cave Temple would materially influence my decision on this point, as regards the two plates to which I shall chiefly confine my observations, viz. one, (No. 1) which I designate “The Fable of Dacsha Prajapáti, or Máhádéva, Dacsha, and Nanda;” the other (No. 2) Víra-Bhadra.” If these sculptures are contiguous to each other in the cave, then I have no doubt they represent the fable of the sacrifice of Sati, the consort of Máhádéva, and the formation of the giant Víra-Bhadra, to revenge her death by that of Dacsha: though even this allegory may possibly conceal an astronomical period.

XIV. An Account of the Sculptures and Inscriptions at Mahámalaipur; illustrated by Plates

The remains of ancient sculpture, called by Europeans the Seven Pagodas, on the Coromandel Coast, thirty-five miles south of Madras, have long attracted the attention of those who feel an interest in Hindu Archæology; and, so long ago as the year 1788, formed the subject of a paper in the first volume of the Asiatic Researches. The author, Mr. William Chambers, wrote from memory, after an interval of twelve years from the period at which he had visited the scene which he described, His account, unaccompanied as it was by drawings or fac similes of the inscriptions, could therefore scarcely be expected to be sufficiently minute to answer any further purpose than that avowed by himself, of exciting public attention, and “giving rise to more accurate observations, and more complete discoveries on the same subject.” In the fifth volume of the Asiatic Researches, published in 1798, there is a more descriptive account of these temples and excavations, written by Mr. Goldingham, a gentleman of well-known talent, on whose observations, as they were recorded on the spot, we may with confidence rely. Mrs. Graham is indeed a later writer on the subject: but her remarks are desultory, and her information imperfect, as might be expected from the opportunities presenting themselves to a casual and hasty visitor. In Bishop Heber's narrative three pages are devoted to a notice of Maha-Bali-poor. (Pages 216–218, vol. iii.) But the author merely follows the legends of the place, and evidently aims at nothing more than a record in his journal of his impressions on a cursory visit. The testimony, however, which this lamented prelate bears to the degree of skill displayed in these sculptures must, from his acknowledged taste, be looked upon as peculiarly valuable; and it is gratifying to one who has taken much interest in them to find, that he considered “some of the porticoes, temples and bas-reliefs as very beautifully executed,” and pronounced “the general merit of the work as superior to that of Elephanta.”

XLI. An Account of a curious Carving in Ivory; belonging to Richard Haynes, Esq. in a Letter from Samuel Lysons, Esq. F.R.S. and F.A.S. late Director, to Nicholas Carlisle, Esq. Secretary

At the request of the Rev. Dr. Cooke, Rector of Tortworth, in Gloucestershire, I send you herewith an ancient horn, much resembling the celebrated horn of Ulphus, preserved in the cathedral at York, (an engraving of which is published in the first volume of the Monumenta Vetusta), and a very curious piece of carving in Ivory, in bas-relief, both belonging to Richard Haynes, Esq. of Wick, in the county of Gloucester; begging that you will exhibit them to the Society of Antiquaries, at the first convenient opportunity. I subjoin a note of what immediately occurs to me on the subject of the bas-relief, which appears to bear a near analogy to some of those on the curious ivory casket, which formerly belonged to the Rev. John Bowie, and after-wards to Mr. Brander, and which is now in the possession of Mr. Douce; the bas-reliefs of which have been published by Mr. Carter, in his work on the Remains of Ancient Sculpture and Painting: like those, it seems to have been taken from some allegorical romance. The date of this may be very nearly ascertained, from a peculiarity in the armour of some of the Knights, which, I believe, first occurs in the latter end of the thirteenth century, and did not continue in fashion longer than the fourteenth.

XXVIII. Conjectures respecting the ancient Sculptures and Inscriptions on two Pillars in the Abbey Church of Rumsey. By William Latham, Esq, F.R.S. and F.A.S. in a Letter to the Rev. John Brand, Secretary

It is with great deference I presume to offer any conjectures towards an attempt at explaining the ancient sculptures and inscriptions on the two pillars in the abbey church of Rumsey, which appear in the last volume of theArchaeologia, after those ingenious observations contained in the subsequent paper to that account; but, as the following thoughts occurred to me upon reading it, I take the liberty of communicating them to you, whose judgment is so well able to ascertain how likely they may be to merit the attention of the learned Society of Antiquaries.

VI. A paper of Mr. Flower, containing some unknown ancient characters, with remarks thereon by Francis Aston Esq; S. R. S

These Characters being Two and Twenty in Number, are all that could be distinctly Collected out of the Ancient sculptures, to be found this day extant at the admired Hills of Canary ;