Park, London. Mr. Smith also describes a Cissbury celt found at Heacham, Norfolk.

OXFORD.-Balliol College Collection of Coins.-The 1500-1600 Greek and Roman coins (nearly 400 Roman) left to Balliol College by the late Master (Dr. Strachan-Davidson) are described briefly by S. W. GROSE in Num. Chron. 1920, pp. 117-121 (fig.). Of the Roman coins 300 range over the imperial period down to Theodosius I, and represent nearly 100 members of imperial families. The Greek collection is especially rich in tetradrachms of Alexander the Great. These have been examined by Mr. Newell.

WHIPSNADE.-In Proc. Soc. Ant. XXXI, 1919, pp. 39-50 (11 figs.) R. A. SMITH reports on a series of flint implements from the palaeolithic "floor" at Whipsnade, Bedfordshire. They belong to the period "when the ovateand pointed core-implements were going out of fashion and the flake-implements of the early Cave-period coming in."

NORTHERN AFRICA

BULLA REGIA.—The Thermae and other Buildings.-In C. R. Acad. Insc. 1919, pp. 374-376 L. CARTON reports on the excavation of the imposing entrance to the Thermae of Bulla Regia. The Baths were approached by a fine paved way, from which three steps led to a wide platform. From the vestibule two flights of stairs descend to a long hall on the south side of the frigidarium. Architectural and sculptural fragments of the building have been found. The building at Bulla Regia which Tissot believed to be a Punic fortress has been further excavated. It has not the corner towers which Tissot imagined, but is of quadrilateral form, and rests on a base which supported a heavy cornice. M. Carton has also excavated at Bulla Regia the presbyterium of an early church and the apse of a funeral chapel, possibly a remodelling of an ancient temple.

CARTHAGE. A Subterranean Building.-In C. R. Acad. Insc. 1919, pp. 372-374 L. CARTON gives a summary account of the excavation of a subterranean building of Carthage, intended, he thinks, as a storehouse for water-jars supplied to ships sailing from the port. Some 2000 amphorae were discovered on the site. The building had a façade of fine finished stones. Forty-nine lamps were discovered on the site; several inscriptions, fragments of Corinthian capitals, a Doric capital, fragments of statuary, glass mosaic, and painted stucco. The study of the port of ancient Carthage has been greatly facilitated by photographs made by the military aviation service in Tunis.

CYRENE. Recent Excavations.-A brief summary of Italian discoveries in the Cyrenaica in 1920 is included in a report of recent Italian archaeological research by Thomas Ashby in the Literary Supplement of the London Times, December 16, 1920. The Tabularium, with inscriptions dedicated by the voμopúλakes was discovered. The Temple of Zeus has been cleared. On the site of the Temple of Apollo excavation has revealed remains of the original temple of the fifth century B.C. Near by were shrines, in one of which was found a seated statue of Apollo Citharoedus. An "Iseum" contained other interesting sculptures, including a brightly colored statuette of an oriental

goddess, perhaps Atargatis. At Ptolemais was found a statue representing Africa.

DJEMILA. Inscriptions.-In R. Et. Anc. XXII, 1920, pp. 97-103, R. CAGNAT publishes six inscriptions in honor of C. Julius Crescens Didius Crescentianus, a provincial raised to the equestrian rank by Antoninus Pius, and honored as the founder of the Basilica Julia at Djemila (Cuicul). The inscriptions supplement C. I. L. VIII, 8313, 8318, and 8319, and permit the construction of a stemma of the family of Crescentianus.

OULED-ABDALLAH.-A Table of Measures.-In C. R. Acad. Insc. 1919, pp. 379-387 J. CARCOPINO discusses an altar found at Ouled-Abdallah near Saint-Arnaud, originally dedicated to the emperor Maximinus, but after his death converted into a table of measures of capacity, with a circular cutting for the semodius and a square one for the urceus. Since the cuttings were intended to receive metal linings, they do not in their present state show the exact capacity of the two measures; but the semodius seems to have been much larger than the official semodius, and the urceus about equal to the official semodius. These facts point to a local system of measures perpetuated under Roman names.

THUBURBO-MAJUS.-An Inscription in honor of C. Vettius Sabinianus.In C. R. Acad. Insc. 1919, pp. 355-372, ALFRED MERLIN discusses in detail an important honorific inscription from Thuburbo-Majus in Tunis, dedicated to C. Vettius Sabinianus, who held many important civil and military offices under the Antonines. The inscription proves that several other inscriptions containing the name Vettius Sabinianus refer to the same person.

VOLUBILIS.-Recent Excavations.-In C. R. Acad. Insc. 1919, pp. 439444, LOUIS CHATELAIN reports the discovery of the cardo and decumani of the town of Volubilis, with remains of houses and shops. The finest houses were on the decumanus maximus. Two inscriptions were discovered, both recording dedications by Aurelius Nectorega, a centurion in command of British auxiliaries stationed at this place. One is in honor of Mithra; the other is in honor of Commodus, and must be dated 191-192 A.D.

A Dedication to Probus.-In C. R. Acad. Insc. 1919, pp. 351–354, L. CHATELAIN publishes an inscription from an altar at Volubilis, dedicated to Probus in 277 A.D. by Clementius Valerius Marcellinus in commemoration of a peace which had been negotiated with the African tribe of the Baquates.

UNITED STATES

BOSTON.-The History of the Museum of Fine Arts.-The fiftieth anniversary of the Museum has occasioned the publication of a brochure by B. I. GILMAN, Secretary of the Museum, entitled Museum of Fine Arts, Boston, 1870-1920 (40 pages; 25 figs.). The financial development of the Museum; some of its important accessions; its buildings, installation, and administration are described; and a chronology of some of the chief events in its history. is added.

NEW YORK.-Egyptian Sculptures.-In B. Metr. Mus. XV, 1920, pp. 137-139 (5 figs.), are published a number of recently acquired Egyptian works,

including a splendid representation of King Senusert III as a sphinx, in diorite, a diorite group of King Sahure and a nome figure, a basalt statue of the chief priest Harbas holding a figure of Osiris, a sculptor's model of a ram's head, and a fine Fayum portrait.

NORTHAMPTON.-A Statue of a Satyr.-In the Bulletin of the Hillyer Art Gallery, Smith College, May, 1920, pp. 4-6, S. N. D(EANE) describes a Graeco-Roman statue of a young satyr, recently acquired for the Smith College collection (Fig. 4). It is a replica of a figure in the Glyptothek Ny Carlsberg (Reinach, Répertoire de la statuaire, IV, p. 74) and was possibly originally a fountain figure.

EARLY CHRISTIAN, BYZANTINE, MEDIAEVAL, AND RENAISSANCE ART

GENERAL AND MISCELLANEOUS

HOARDS OF COINS.-The R. Belge Num. LXXI, 1919, pp. 124 ff., reports (1) an important find of coins at Amsterdam, in 1915, of 807 pieces of silver and 33 of gold, including German, Dutch, Belgian coins of the fourteenth and fifteenth centuries; (2) at Stora Sojdebg (island of Gotland), Sweden, in 1910, 2308 coins together with some bits of silver from jewelry, of various dates (details not given) mostly mediaeval, representing Holland, Germany, England, Denmark, Switzerland, Ireland, Bohemia, Italy, Hungary, Byzantine Empire, Belgium, and Arab countries. Ibid. LXXII, 1920, pp. 78 ff., reports several finds of coins: (1) at Luxemburg, 1916, during the building of a moving picture theatre, a pitcher containing over a thousand pieces much oxidized, apparently deniers tournois noirs of Louis IX or Louis X; (2) at Transinne, 1919, about 2000 French deniers of the eleventh century.

ITALY

ANCONA.-Public Art Gallery.-In Cron. B. A. VII, 1920, pp. 1-9 (8 figs.) L. SERRA publishes a catalogue of the rearranged Pinacoteca Civica of Ancona, which gives an idea of the richness of the collection, including such artists as Lotto, Titian, and Carlo Crivelli.

FLORENCE. A Tondo by Signorelli. -A hitherto unknown painting of the Madonna with Sts. Jerome and Bernard, in the Castel di Poggio, Florence, is

published by A. CHIAPPELLI in Rass. d'Arte, VII, 1920, pp. 73–76 (4 figs.). In subject matter, arrangement of composition, and size and quality of canvas and wooden backing the picture is precisely like one in the Corsini Gallery in Florence, which has been assigned to Signorelli. A study of these two pictures side by side proves the correctness of Venturi's conjecture that pupils had a share in the Corsini painting, for the new one clearly shows the first thoughts of the master, while the one in the Corsini is apparently a replica which Luca started to make and then left to pupils to finish.

A Drawing by Pontormo.-In Boll. Arte, XIV, 1920, p. 36 (3 figs.), O. H. GIGLIOLI publishes a hitherto unidentified drawing in the Uffizi. It is a study for two figures in Pontormo's painting of the Madonna and St. John in the Uffizi. On one side is a careful drawing of a nude youth, a study for the Virgin; the pose and expression are in almost every detail retained in the final picture. On the other side is a study for the Christ Child.

A Portrait of Baccio Valori.-In L'Arte, XXIII, 1920, pp. 134–135 (2 figs.), O. H. GIGLIOLI offers further proof for his previous identification of a portrait by Sebastiano del Piombo in the Pitti Gallery (See Boll. Arte, 1909). A detail of Battista Franco's representation of the battle of Montemurlo shows a portrait of Baccio Valori which is so closely similar to the Pitti portrait as to prove conclusively not only that the latter represents the same man but also that it served as the basis for the portrait in Battista Franco's painting.

GAGLIANO ATERNO.-Castle and Church.-In Rass. d'Arte, VII, 1920, pp. 70-72 (5 figs.), P. PICCIRILLI describes the principal monuments in this little town in the province of Aquila a short distance from Sulmona. The buildings are on a little hill, on the summit of which rises the vast castle, erected in 1328. It contains frescoes of the sixteenth century. The parochial church belongs partly to the fifteenth century, partly to the succeeding centuries; the lower part of the wall and the rather rudely carved portal belong to the early date, the upper part of the wall, with its beautiful rosette, to the seventeenth, and the vault to the eighteenth century. There are sixteenth century frescoes in the apse and later paintings and sculptures of interest in the church. GENOA.-Leonardo's St. Anne.-In Rass. d'Arte, VII, 1920, pp. 197-199 (2 figs), A. PETTORELLI publishes a hitherto unknown painting owned by a Genoese gentleman which is of interest in connection with Leonardo's cartoon of St. Anne, the Virgin, Christ Child, and St. John in London. The painting is by an unknown Lombard artist and has little artistic value in itself, but in the general composition it is closer to Leonardo's cartoon than is Luini's painting in the Ambrosiana.

LUCCA.-Jacopo della Quercia.—In L'Arte, XXIII, 1920, p. 160 (pl.), A. VENTURI publishes a sculptural representation of a sainted knight in the cathedral at Lucca, which he attributes to the earliest period of Jacopo della Quercia. There is more of Gothic Sienese heritage in this than in the artist's later work. RAVENNA.-New Portraits of Dante.-Two frescoes brought to light in January, 1920, in the church of San Francesco at Ravenna have given rise to much discussion in various publications, not only because they are beautiful --if somewhat mutilated-examples of trecento Giottesque painting, but more especially because in each it seems possible to recognize a portrait of Dante. The more important of the two represents a seated figure in meditation (Fig. 5). While lacking the crown of laurels and other obvious accessories of a poet, the

features are not unlike those to be seen in other portraits believed to be of Dante; they are particularly similar to those of the later portrait on the poet's tomb. The location of the portrait, over a door that led from the church into the Francescan convent, suggests the hypothesis that the original tomb of the poet was near this door; such a hypothesis seems to give a satisfactory interpretation of various literary references to the tomb. The second fresco is a fragment of a Crucifixion (Fig. 6); the suggestion that the prominent figure in profile who gazes longingly toward the now lost cross is likewise a portrait of Dante is more evasive of proof but nevertheless fascinating.

Pomponio Allegri.-Two recently found paintings by the son of Correggio are published by C. RICCI in Rass. d'Arte, VII, 1920, pp. 12-14 (3 figs.). They do not give the artist a high rank but have some interesting and original features. The more important of the two paintings is a representation of Charity, now in the museum at Ravenna. Charity is not the usual classical half-draped type, holding two children, but a real woman dressed in contemporary costume, in the room of a real home. She stands with her back to us, her face in profile, and nude children (very badly drawn) play all about her. The other painting is a Madonna, now in the Brera. Its most interesting characteristic is the very modern treatment of the landscape.

ROME. Three Christian Tombs.-F. CUMONT, in a note communicated to the Académie des Inscriptions (C. R. Acad. Insc. 1919, pp. 447-449) reports the discovery near the church of S. Sebastiano on the Via Appia of three Christian tombs of various dates, decorated with frescoes. The excavations have shown that this whole site is rich in antiquities.

The Menotti Donation.-From the gift of sixteenth and early seventeenth century furniture and paintings recently made to the state by Mario Menotti to fit up one of the rooms in the apartment of Paul III in the Castel S. Angelo, R. PAPINI publishes in Rass. d'Arte, VII, 1920, pp. 61-66 (6 figs.), the most important paintings. Most of them are by artists who were Venetian either by birth or by adoption. A Madonna and Child is a splendid example