THE SECOND GREEK ROOM
We find ourselves in the midst of a group of statues, most of them of the Praxitelean type and making too sharp a contrast by their grace and sensuous refinement to the hardness and severity of the contents of the room just left. It must be remembered, however, that owing to the small space at the command of the Museum authorities it has not been possible to follow a strict chronological order, and we must therefore be content for the present to follow the arrangement of the separate rooms. We have, therefore, here, the casts from the Parthenon frieze, the Theseus and the Fates from the eastern and the Ilissus from the western Pediment of the same building, with the Torso of the Victory, also from the eastern Pediment, together with several figures from the temple of the Wingless Victory (Nikè Apteros) on the acropolis. But space fails us to enumerate all the casts contained in the rooms devoted to antique sculpture; and why attempt a mere catalogue? The Venus of Milo is here, and the lately discovered Hermes with the infant Dionysus, the Niobe and her daughter, the Ludovisi Mars, the Diana of the Louvre, the Apollo Belvidere, the Eirene and Plutus, the Faun of Praxiteles, and the glorious mask of the Ludovisi Juno. Indeed, we miss few works of prime importance, and there are many casts here that can not be found elsewhere in America, and which are yet essential to even a superficial study of the rise and progress of Greek sculpture. Passing on, we come to the other rooms where are the Laocoön, the Dying Gladiator, the younger Agrippina, the Sophocles, the Demosthenes, the Menander, the Æsculapius, the Discobulus, the Silenus and the infant Bacchus, and the Boy taking a Thorn from his Foot (the Spinario), with many another famous and less famous work, enabling us to carry on the study until the stream dies away to rise again in new beauty in the art of the early Italian Renaissance. While no capital piece can be said to be wanting to this collection there remain many pieces to be added which are needed for fullness of knowledge, but every year sees important acquisitions, and there can be no doubt, judging from the past history of the Museum, that if the wished for addition to the building could be made, the missing gaps in the sculpture would speedily be filled up by gift. But before leaving the antique rooms we must mention the two sarcophagi from Vulci, now deposited in the Museum, and which, it is earnestly to be hoped, will become its property, since they are not only deeply interesting in themselves, but have an added value from their great rarity. They represent the bodies of two married pair reposing upon the lids of the two sarcophagi, as on the marriage-bed. The finer of the two groups is carved in alabaster, the other is in travertine; the one in alabaster has a monumental beauty and sweet dignity that is surpassed by nothing of the kind that exists, and considering its great beauty and rarity it is said there is only one other example of this treatment of the subject, and that is in the Vatican.
Crossing the Hall of Entrance, to which we have returned, we find ourselves in the last of the antique sculpture rooms, where are placed some of the most interesting of the Roman works just enumerated. Nothing would be gained by an attempt to catalogue the rooms at present, as their contents are likely to be changed at any time when the projected enlargement of the Museum is carried out. The space in this portion of the building, the addition built in 1879, answering to that occupied in the older portion by the first and second Greek Rooms, is here thrown into one large apartment filled with the