| 209. | The TORSO of BELVEDERE. |
This admirable remnant of a figure seated, though the head, arms, and legs are wanting, represents the apotheosis of Hercules. The lion's skin spread on the rock, and the enormous size of the limbs, leave no doubt as to the subject of the statue. Notwithstanding the muscles are strongly marked, the veins in the body of the hero are suppressed, whence antiquaries have inferred, that the intention of the author was to indicate the very moment of his deification. According to this idea, our countryman FLAXMAN has immortalized himself by restoring a copy of the Torso, and placing Hebe on the left of Hercules, in the act of presenting to him the cup of immortality.
On the rock, where the figure is seated, is the following Greek inscription:
ΑΠΟΛΛωΝΙΟΣ
ΝΕΣΤΟΡΟΣ
ΑΘΗΝΑΙΟΣ
ΕΠΟΙΕΙ.
By which we are informed, that it is the production of APOLLONIUS, the Athenian, the son of Nestor, who, probably, flourished in the time of Pompey the Great.
This valuable antique is of Pentelic marble, and sculptured in a most masterly style. It was found at Rome, near Pompey's theatre, now Campo di Fiore. Julius II. placed it in the garden of the Vatican, where it was long the object of the studies of MICHAEL ANGELO, RAPHAEL, &c. those illustrious geniuses, to whom we are indebted for the improvement of the fine arts. Among artists, it has always been distinguished by the appellation of the Torso of Belvedere.
| 94. | A wounded warrior, commonly called the GLADIATOR MORIENS. |
This figure, represents a barbarian soldier, dying on the field of battle, without surrendering. It is remarkable for truth of imitation, of a choice nature, though not sublime, (because the subject would not admit of it,) and for nobleness of expression, which is evident without affectation.
This statue formerly belonged to the Villa-Ludovisi, whence it was removed to the Museum of the Capitol by Clement XII. It is from the chisel of AGASIAS, a sculptor of Ephesus, who lived 450 years before the Christian era.
| 82. | CERES. |