In my study of the group I shall present the individual portraits in the order of certainty of identification, those pieces offering least difficulty in that respect being first considered. They will then be discussed together as probable constituents of a single historic group, the date and occasion for the setting up of which may perhaps be determined. In an additional section I shall consider in its broader aspects the question of the sculpture of the imperial period in Greece, with the more specific problem

of the neo-Attic school in Greece. And finally, an attempt will be made to prove that in imperial Roman portraiture there were ordinarily used standard types or canons which originated in Rome in authoritative works and were sent out in the form of clay or waxen models-"imagines"-to be reproduced in monumental form in the provinces.1

1 I wish to acknowledge my indebtedness for valuable criticism and suggestions in the preparation of this and the following papers to Dr. B. H. Hill, Director of the American School of Classical Studies at Athens, and to Professor G. W. Elderkin of the Department of Art and Archaeology of Princeton University.

I. AUGUSTUS

This statue of Augustus (PLATES V, VI, and VII) was discovered lying apparently as it had fallen,' imbedded in a thick stratum of broken Roman tiles, marble fragments, small stones and debris at a depth of between three and four meters and well within the northwest corner of the Roman basilica mentioned above. The figure rested on its right side with the head slightly lower than the rest of the body, and had apparently been thrown down with great violence. It seems probable that it stood originally on an upper floor of the building, had been shaken from its basis by an earthquake which destroyed the basilica itself, and had fallen through to the basement with the debris of the shattered roof and walls; from the time of its fall and the general destruction of the building it had not been disturbed. Immediately above it was an accumulation of early Byzantine debris, and just over the shoulder of the statue passed the foundations of a small wall of the same period, its base resting on the stratum of Roman tiles and marble fragments in which the figure was imbedded.

The statue itself is considerably larger than life-size and, with the exception of the hands, is preserved from the crown of the head to the middle of the lower leg, its total height being 2.00 m. (cf. PLATE V).3 The left hand and the right hand and forearm were made in separate pieces and attached by means of strong dowels, the cuttings for which still remain. Although the feet and legs are lacking from below the middle of the shin, there were found in the same stratum with the statue itself two marble fragments of a large left ankle which must certainly have belonged to the figure. At the back of the ankle a perpendicular line of breakage indicates that the leg was reënforced by a marble

1 Bernoulli, Römische Ikonographie, II, 1, pp. 53–54, in giving the "Fundorten” of the portraits of Augustus listed by him, mentions none of Greek provenience, and only one-doubtful, from Constantinople-as from the whole eastern half of the Roman Empire. The Corinthian Augustus, then, appears to be a unique work in Greece.

2 Basilicas were often used to receive imperial portraits. Cf. Bernoulli, op. cit. II, 1, p. 22, “. indem man annehmen darf, dass in jeder einigermassen nennenswerten Stadt, in den meisten Basiliken und offiziellen Versammlungslokalen, auf allen ihm geweihten Triumphbögen und in allen seinen Tempeln eines oder mehrere dergleichen (Bildnisse) aufgestellt waren."

3 Further dimensions; greatest width .75 m., length of neck .115 m., length of face .185 m., width of face .165 m., height of forehead .05 m., length of nose .075 m., from nose to chin .065 m., width of mouth .053 m.

"tree trunk," or support of some sort. The rim of the heavy loop of drapery passing down the right side of the body is more or less chipped (cf. PLATE V), as are also the horizontal roll at the waist beneath the right elbow and the edge of the veil over the crown of the head (cf. PLATE VI). Elsewhere, save for minor abrasions, the drapery is well preserved.

The material is a good grade of Pentelic marble in which appear, however, a few veins of silvery schist or mica; a particularly wellmarked vein runs the whole length of the right side passing just in front of the right arm, over the right shoulder, and diagonally through the back of the neck and head from right to left. Along this vein several breaks occur, particularly those about the head and face.

The statue is a draped male figure represented in the guise of a priest, or magistrate engaged in pouring a sacrificial libation, the upper folds of the rich ceremonial toga being drawn over the head to form a sacrificial veil. The weight of the figure is supported on the right leg, while the left is slightly bent at the knee and extended forward. The left arm is bent nearly horizontal at the elbow with the forearm extended supporting the heavy folds of drapery which fall along the thigh and leg. The right forearm, now lacking, was advanced to the right and was bare. Many analogies may be quoted for the pose and the general handling of the drapery.2 The right hand probably held a patera, the usual

1 Cf. Daremberg et Saglio, Dict. des Antiq. Grecques et Romaines, s.v. sacrificium, Rome II,—“In public sacrifices celebrated in the name of the state, the one who sacrificed was a magistrate, consul or proconsul, praetor or propraetor, or sacerdos. The sacrificing priest or magistrate, if he wished strictly to observe the ritus Romanus, had to sacrifice velato capite, i.e., covering with his toga the whole top of the head and back of the neck,-the so-called cinctus Gabinus, for which cf. Servius, Ad Aen. V, 755. The origin of this custom is not known, but cf. Aeneid, III, 11. 403–409. The veiling occurs on numerous monuments, among them: 1. Roman coins. Cf. Daremberg et Saglio, op. cit. figs. 6004, 6005; also Cohen, Med. Imp. Rom., I, pl. IX, No. 18; 2. Ara Pacis. Cf. Daremberg et Saglio, op. cit., fig. 6006; also Petersen, Ara Pacis, plates; 3. The Augustus of Otricoli. Cf. Helbig, Führer, 2nd ed., No. 327; 4. Statue of a priest in the Vatican. Cf. Visconti, Museo Pio-Clem. III, 19; also Clarac, Musée du Louvre, pl. 768 b No. 1909; 5. Several reliefs of the Column of Trajan. Cf. Cichorius, Die Reliefs der Traianssäule, pls. XXXVIII and LXXVI; 6. Relief of Marcus Aurelius sacrificing, Palazzo dei Conservatori. Cf. Helbig, op. cit., No. 561.

The following are the most important: 1. Augustus veiled, in Vatican. Cf. Overbeck, Gesch. der Gr. Plastik, II, fig. 234 g; Duruy, Hist. des Rom. III, p. 725, cut. In this figure the pose of body, position of legs and arms, and pose