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Author(s): W. C. F. Anderson
Source: The Classical Review, Vol. 3, No. 7 (Jul., 1889), pp. 322-324
Published by: Cambridge University Press on behalf of The Classical Association
Stable URL: https://www.jstor.org/stable/691893
Accessed: 17-09-2018 18:25 UTC
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322 THE CLASSICAL REVIEW.
ARCHAEOLOGY.
THE MEANING OF ' FULCRUM' They all represent the head and sho
AND 'FULCRI GENIUS.' of a mule or ass, turning sideways
backwards, with ears put down and a v
IN the British Museum there is a groupwhich is rendered in a pecu
expression,
of bronze ornaments which, thoughnaturalhitherto
manner. The head is in almost
unnoticed, are highly interesting, from
every case a
decorated with a garland of vin
leaves entwined
philological no less than an artistic point of with tendrils and bunches
view. of grapes, while the shoulders are covered
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THE CLASSICAL REVIEW. 323
to which these
with a curious leather ornaments were
collar, attachedtop
the so of
which is turned down
accuratelyjust
that itswhere
identificationit withjoins
the
the shaggy skin of fulcrum
some wild certain.
is absolutely animal, which
is thrown over it. This collar seems to be In the eleventh Satire Juvenal says,
almost unique in its kind, and well deserves
speaking of the good old times:-
investigation, for it is evidently borrowed
Nemo
from actual life and is of a fixed type in inter
all curas et seria duxit habendum
these bronzes. The workmanship in all in Oceanofluctu testudo nataret
Qualis
cases is very careful, and in one specimen
Clarum Trojugenisfactura et nobile fulcrum
from France rises to a high artisticSed level.
nudo latere et parvisfrons aerea lectis
As for the purpose of these ornaments, Vile coronati caput ostendebat aselli.
there can be no doubt whatever, for they [903-8.]
have been found in situ, surmounting a
characteristic part of many Roman couches
and chairs. This part, or more properly
parts, for they are always found in pairs,
has been generally regarded as ornamenting
the space between the seat and the crossbar
below which joined the legs. They are to
be seen restored in this fashion in the two
Pompeian chairs in the Museo Borbonico,
ii. 31 (Smith's Dictionary of Antiquities,
illustration to art. Sella, and in many other
places), and in the chair from the Hamilton
Collection in the British Museum. Measure-
ment has shown that such a restoration is
quite incorrect, and the true position of
these ornaments has been proved by the
bed discovered at Pompeii in 1868 (Bliimner
":.:
Kunstgewerbe, ii. Fig. 20, and Baumeister,
Denkmdiler, p. 314), which shows beyond a
doubt that they formed the ends of the frame-
work on which the pillows of a couch or the
cushions of a chair were placed, purpose
for which their shape fits them admirably,
for they are in fact not unlike the head of
a modern sofa. They are invariably orna-
mented with inlaid bronze, which is some-
times of the richest kind, as in the case of
the bisellium described by Castellani in the
Bulletino della Commissione Archaeol. Muni-
cipale, 1874, p. 22, from which the following
cut is taken, and are always surmounted by
bronze ornaments of the type described
above, the ass's head being supplanted by
a boy's head or a goose's head and neck in
only a few stray instances. The lower part
is decorated with a round boss of some
size, from which springs a bust of a Genius
in full relief or of some jovial young deity,
like Bacchus or Hercules. Such bosses are
undoubtedly prophylactic and bear a Here
close the aerea frons is
with the fulcrum, and tha
resemblance to phalerae of the Lauersfort
type, but are larger. They have been work
found we have been describ
in situ, but are much more common alone,
by no one who compares t
aselli with the specimen
and indeed form one of the best represented
Museum.
classes of bronze busts springing from a By a very curi
vertical base. By a fortunate chance, a
Juvenal supplies us also w
the other ornament of th
passage in Juvenal describes the framework
NO. XXVI. VOL. III. Y
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324 THE CLASSICAL REVIEW.
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