Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: CONCLUSION The foregoing discussion may serve to prove that there is a definite " camillus "-type in sculpture. This type is well illustrated in the Conservatori bronze for in its essential form it represents a boy, usually with long, carefully arranged hair, who wears a short tunic with a girdle. This tunic is a garment with seams at the sides and on the shoulders: it is, therefore, essentially unlike the Greek chiton. In Greek reliefs which represent scenes of sacrifice, there is no instance of a youthful altar-attendant in a costume like that of the Roman camillus. The Greek lad wears a mantle knotted about his waist or is altogether nude. Not only does the dress of the Greek altar-attendant fail to resemble that of our type; neither Greek vase-paintings nor Greek sculpture shows a youthful figure similarly clad. The " camillus "-type, then, would seem to be a characteristic of Roman art and the extant examples do not afford any proof of its existence before the Imperial period. Another point of difference between Greek and Roman sacrificial reliefs appears. The Greeks ordinarily represented a divinity directly approached by worshippers without any mediator except an infrequent attendant at the altar. In Roman scenes of sacrifice, the deity does not usually appear; instead, a priest officiates at the altar attended by a group of ministers. Those of this group most frequently represented and most closely associated with the priest and the act of sacrifice are the pueri patrimi et matrimi nobiles,— the Roman camilli. BIBLIOGRAPHY (In the following works may be found illustrations of those Roman reliefs and statues herein discussed which have been adequately published.) Ajnelung, W. Di Alcime Sculture Antiche e di un Rito del Culto delle Divinita Sotterranee. ...