. Pompeii : its life and art . tatues; thesanctuary of the City Lares contained eight, while the porticoof the Eumachia building furnished places for twenty-one. Butonly one of the hundreds of statues erected in honor of worthycitizens has been preserved, that of Holconius Rufus, the re-builder of the Large Theatre; the figure was dressed in the uni-form of a military tribune, and stood on Abbondanza Streetnear the entrance to the Stabian Baths. With this, perhaps,the unknown portrait statues in the temple of Fortuna Augustashould be classed, as well as that of the priestess Eumachia. The stat
. Pompeii : its life and art . tatues; thesanctuary of the City Lares contained eight, while the porticoof the Eumachia building furnished places for twenty-one. Butonly one of the hundreds of statues erected in honor of worthycitizens has been preserved, that of Holconius Rufus, the re-builder of the Large Theatre; the figure was dressed in the uni-form of a military tribune, and stood on Abbondanza Streetnear the entrance to the Stabian Baths. With this, perhaps,the unknown portrait statues in the temple of Fortuna Augustashould be classed, as well as that of the priestess Eumachia. The statue of Eumachia is an interesting example of theordinary portrait sculpture of the Early Empire (Fig. 245).The pose is by no means ungraceful, the treatment of thedrapery is modest and effective. The tranquil and thoughtful 437 43« POMPEII face is presented realistically, yet without offensive emphasis ofdetails. The statue is not a masterpiece; nevertheless, it givesus a pleasant impression of the lady whose generosity placed. the fullers under obliga-tion, sight and affords an in-into the artisticresources of the city. A number of portraitstatues belonging to se-pulchral monuments werefound when the tombseast of the Amphitheatrewereexcavated().Most of them are .of tufacovered with stucco ; therest are of fine-grainedlimestone. From the aes-thetic point of view theyare valueless. Sculptured portraits ofa different type were setup in private houses. Rel-atives, f reedmen, and evenslaves sometimes placedat the rear of the atrium,near the entrance of thetablinum, a herm of themaster of the house. Ateach side of the squarepillar supporting the bust,there was usually an arm-like projection (seen onthe herm of Cornelius Rufus, Fig. 116), on which garlands werehung upon birthdays and other anniversary occasions. Both theherm of Rufus and that of Vesonius Primus previously mentioned(p. 388) are of marble; the bust belonging to the herm of Sorex(p. 170) is of bronze. The most st
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