* It derives its name from the Duke of Portland, who bought it in Rome. It is now in the British Museum.

* This mosaic, and the Achilles and Briseis, are in the Naples Museum.

* The Statue of Liberty is one hundred and fifty-one feet high from base to torch.

* It remained where it fell till A.D. 653, when the Saracens sold the materials. Nine hundred camels were required to remove them.¹⁷

† The restored arm in the Vatican is the work of Bernini, well done in detail, but ruinous to the centripetal unity of the composition. Winckelmann nevertheless liked the group so well that Lessing was aroused, by reading him, to write a book of esthetic criticism around it. and occasionally about it.

‡ In the Demeter of the British Museum.

* The original is lost. A Roman marble copy of the third century A.D. was found in the sixteenth century in the Baths of Caracalla, was repaired by Michelangelo, was housed for a time in the Palazzo Farnese, and is now in the Naples Museum.

† In the Museo delle Terme at Rome.

‡ In the Naples Museum.

* So called from the pavilion in the Vatican where the statue was formerly placed.

† In the Capitoline Museum at Rome, and the Uffizi at Florence.

‡ In the Naples Museum.

§ It was formerly described as a dedication set up by Demetrius Poliorcetes in 305 to commemorate his defeat of Ptolemy I off Cyprian Salamis in 306; but recent discussion tends to connect it with the battle of Cos (ca. 258), in which the fleets of Macedonia, Seleucia, and Rhodes defeated Ptolemy II.²²

* Both in the Vatican.

† In the State Museum, Berlin.

* “There is no personal character in Greek art—abstract ideas of youth and age, strength and swiftness, virtue and vice—yes; but there is no individuality.”²³ Ruskin thought only of fifth-and fourth-century Greek art, just as Winckelmann and Lessing knew chiefly the art of the Hellenistic age.