This Contour reigns in Greek figures, even when covered with drapery, as the chief aim of the artist; the beautiful frame pierces the marble like a transparent _Coan_ cloth. The high-stiled Agrippina, and the three vestals in the royal cabinet at Dresden, deserve to be mentioned as eminent proofs of this. This Agrippina seems not the mother of Nero, but an elder one, the spouse of Germanicus. She much resembles another pretended Agrippina, in the parlour of the library of St. Marc, at Venice[10]. Ours is a sitting figure, above the size of Nature, her head inclined on her right hand; her fine face speaks a soul “pining in thought,” absorbed in pensive sorrow, and senseless to every outward impression. The artist, I suppose, intended to draw his heroine in the mournful moment she received the news of her banishment to Pandataria. The three vestals deserve our esteem from a double title: as being the first important discoveries of Herculaneum, and models of the sublimest drapery. All three, but particularly one above the natural size, would, with regard to that, be worthy companions of the Farnesian _Flora_, and all the other boasts of antiquity. The two others seem, by their resemblance to each other, productions of the same hand, only distinguished by their heads, which are not of equal goodness. On the best the curled hairs, running in furrows from the forehead, are tied on the neck: on the other the hair being smooth on the scalp, and curled on the front, is gathered behind, and tied with a ribband: this head seems of a modern hand, but a good one. There is no veil on these heads; but that makes not against their being vestals: for the priestesses of Vesta (I speak on proof) were not always veiled; or rather, as the drapery seems to betray, the veil, which was of one piece with the garments, being thrown backwards, mingles with the cloaths on the neck. ’Tis to these three inimitable pieces that the world owes the first hints of the ensuing discovery of the subterranean treasures of Herculaneum. Their discovery happened when the same ruins that overwhelmed the town had nearly extinguished the unhappy remembrance of it: when the tremendous fate that spoke its doom was only known by the account which Pliny gives of his uncle’s death. These great master-pieces of the Greek art were transplanted, and worshipped in Germany, long before Naples could boast of one single Herculanean monument. They were discovered in the year 1706 at Portici near Naples, in a ruinous vault, on occasion of digging the foundations of a villa, for the Prince d’Elbeuf, and immediately, with other new discovered marble and metal statues, came into the possession of Prince Eugene, and were transported to Vienna.