di Montalto, which the very young Cardinal's uncle Pope Sixtus V, had recently built; it was recorded there in 1655, when the villa was inherited from the Peretti di Montalto heirs by prince Savelli; it was bought for Louis XIV in 1685 and kept at the Château of Versailles until 1792, when it passed to the recently established museum in the Louvre. It was formerly restored with a plowshare in order to illustrate Cincinnatus receiving the delegation from the Roman Senate, an impossible subject for a heroic sculpture; as Winckelmann pointed out, its heroic nudity would have been incongruous. It has been divested of its accretion. The sculpture is of Pentelic marble, the antique head of Parian marble. The Lansdowne Sandal Binder (marble, 1.54m.), found in Gavin Hamilton's excavations in 1769 at the site of Hadrian's Villa at Tivoli, was offered to Pope Clement XIV who refused it, and sold in 1772 to the Earl of Shelburne; it was sold in 1930 and is now at the Ny Carlsberg Glyptotek, Copenhagen, where Poulsen described it as probably Hermes, leaving open the possibility that it simply portrays an athlete. This is the only surviving model that has retained its head, though the head has been broken. The Munich Sandal-Fastener in the Glyptothek, Munich, was found in the late 1780s by conte G. Campagnoli Marefoschi, in his own grounds on the site of part of Hadrian's Villa; Thomas Jenkins, the English dealer established at Rome, sold it to duca Luigi Braschi Onesti, who had it further restored by Francesco Antonio Franzoni, before selling it to Maximilian I Joseph of Bavaria. This version shows the second sandal on the ground; other sculptures have been restored with this detail (Ridgway 1964:114 and note 11). It has been restored with an unrelated head and has been thoroughly resurfaced. A plaster cast incorporating the features that are original in each of these versions is conserved in the Glytothek, Munich; a bronze casting of it is in the Stadtmuseum, Stettin (Ridgway 1964:117). Three surviving torsos have also been identified, including one in unfinished state, which has retained its head and has escaped the eighteenth-century Roman restorers; it is now conserved at the Acropolis Museum, Athens. Other variants include sculptures in similar, but reversed mirror-image poses, probably intended as pendants to the Hermes Fastening his Sandal. The theme was taken up by Jean-Baptiste Pigalle in 1744, and by