The =Salle du Héros Combatant=, indicate in many cases a later tendency to rapidity of motion and violent action, which is alien to the highest plastic ideal. Among the most successful works of this group is the light and airy Atalanta, under the archway,—a beautiful figure of a young girl, running, caught at the most exquisite statuesque moment. Near it, a fine Venus Genetrix. By the window, admirable figure of a wounded Amazon. Next window, the celebrated Borghese Centaur and Bacchus, a charming realization of this mythological conception. Note the playfulness of developed Greek fancy. The centre of the room is occupied by a powerful and anatomically admirable figure of a Fighting Hero (formerly called a Gladiator), by Agasias of Ephesus,—one of the few statues here on which the sculptor has inscribed his name. It is a triumph of its own “active” type of art (where movement and life are aimed at), but wholly lacking in beauty or ideality. It belongs to the age of Augustus or a little earlier. Behind it, Marsyas flayed alive, a repetition of a frequent but unpleasant subject. Centre again, the Faun of Vienne, a young satyr, retaining traces of colour, vigorous and clever. Then, =**=exquisite ideal statue of a young girl fastening her cloak, commonly but incorrectly known as the Diana of Gabii; for simple domestic grace this dainty work is unrivalled. It is probably of the age of Alexander the Great: and is well worth study. It almost suggests the Italian Renaissance. By the archways, a Hermes known as the Richelieu Mercury, with a closely similar replica. Under the archway leading to the next room, fine portrait statue of the age of Hadrian, representing Antinous, the Emperor’s favourite, in the guise of Aristæus, the mythical hero of agriculture: the features are much less beautiful than in most other instances of this well-known face, several examples of which occur later. Such representations of historical characters in the form of gods or mythical heroes were common at Rome: probably in most cases the sitter’s head and figure were accommodated or adapted to a well-known model.