THE BLACAS COLLECTION.

Press, Volume XI, Issue 1409, 15 May 1867, Page 3

THE BLACAS COLLECTION.

[From the " Athenaeum."] In speaking of this noble addition to the British Museum, it is well to congratulate the public on the fact that not only is ii a museum of antiquities which has hitherto taken the higheet rank among the principal private collections, but that several of its sections were peculiarly desirable as additions to the national collection precieely in those branches in which it was most deficient. This is especially the case with the coins and the gems. The coins consist of nearly 2000 Greek and Eoman pieces, principally the latter. Of these, the Kouian Consular and Imperial are by far the largest and most valuable, comprising specimens that cannot be surpassed for rarity or beauty. Five hundred of the Eoman coins are gold; among t&em a Marc Antony, another with hie brother Lucius, a' Julius Cjesar with the date LIL, being that of his age at the beginning of the Civil War, a Labienus (unique), and a splendid medallion of Diocletian, in perfect condition. Also of vases we have valuable additions, more than 500 in number, comprising excellent specimens of all the known styles of painting; many new subjects are illustrated; others already displayed in the British Mueeum are enriched and extended. The pural pain tings are extremely important iv themselves, and of greater service to us, because of the smallness of the national collection of sucli articles; they come from Pompeii, Stabine and Herculaneum. No part of our new treasure surpasses the gema in iuterest or desirability. The Blacas collection of these" articles may be said to form the regalia of tbe British Museum. It was certainly the finest private collection iv Paris, if Dot in Europe; of all the late Duke's collection it was best known, and has been formed chiefly by the elder Duke, when ambassador, from a re-union of tue finest specimens from the Strozzi, Earth, aucl De la Turbie cabinets. It contains about 700 Laurenti antique camei and intagli, a few oriental, vinquc-cento, and modern works. Our Acquisition comprises also bronzes, terra-cottiis, armour, vessels of metal, glass and earthenware, toilet-utensils, a few g oo< i veesoU of oriental origin, in inlaid with sold and silver, probably from Damascus, a large collection of weights, of all sizes, ttoetly in stone (basalt r), in shape circular, with the bottoms flattened. ""Oantcian glass, oriental MSS., and a ejjperb head of Esculapius. of admirable Greek sculpture, found at Melos, Bow not unworthily placed in the Elgin room, near the Parthenon marbles. In BJort, it is difficult to over-estimate

the importance of this addition ; it might have occupied half a century of time, and unlimited command of money, to form the like, so rarely do opportunities for so enriching ourselves occur, that they are never to be overlooked. The collection of bronzes, though ! small, contains some very remarkable types. A small bust of Lucius Verus, in good style, and extremely rare for such a material; a figure of Icarus about to fly, the artificial wings being attached to his arms in a very straightforward, manner, showing the mode the sculptor conceived the flier would employ. This is a rare subject ; a small reclining figure, in nearly the same attitude as the so-called Dying Gladiator ; a lamp in the form of the head of Antinous ; an archaic Etruscan Her cules ; a winged man-headed lion, which recalls the Assyrian work, and the recently discovered gold objects from Camirus. Of the seven mural paintings, six were given to the elder Due de Blacas by the King of .Naples, when, many years since, he was ambassador at the Neapolitan Court. Those from Pompeii are as follows: —1. A representation of a temple or building standing in a lake ; a flight of steps leading to it from the water is flanked by statues; boats are seen on the lake, the surface of which is depicted with great freedom. In the distance are mountains, at their feet a fortress or city ; nearer are rocks, upon which are perched what appear to be figures or harpies. Knowledge of perspective is clearly shown in the vanishing lines of the buildings and water surface. 2. A capital representation of Ulysses passing the Sirens, who, bird-footed, wings extended, with lutes, double pipes, and voices raised, sit upon rocks on either side of the strait through which the great galley goes. The hero is tied to the mast; skeletons are seen behind the sirens. 3. A musical performance. Two figures, a male and female, are seated side by side, their heads wreathed; a third stands in front. The second holds a lyre, the third leans on her right elbow, as if listening to the music. The roof of the chamber is supported by a fluted column ; two windows open to the outer air. 4. From Herculaneum we have Ariadne reclining on the shore, the flying Theseus in his galley on the sea. She lies half draped on a red couch, and, having just awoke, leans on one hand, raising the other in adjuration to the hero, who nevertheless urges his rowers to speed ; —this is clearly indicated by the splashing of the oars in the water. 5. From Stabisß we have a female figure reclining on a couch, and holding a rhyton in her left hand with flowers in it; she wears a green robe, and rests one elbow on an urn; her face is drawn with extreme delicacy and spirit. 6. Two figures of poets standing, crowned, and apparently reciting; both figures on white grounds. 7. A small bird, apparently a pheasant, pecking at cherries, and probably once a portion of the mural decoration of a tomb at Home; this is executed with great spirit and freedom of touch ; see the drag of the painter's brush as it was loaded with color or more lightly I passed upon the plaster.