Paris as It Was and as It Is Part 5

[Greek: ATaeNIOSE]

[Greek: POIaeSEN.]

Whence we learn that it is the production of CLEOMENES, an Athenian artist, mentioned by Pliny, and who flourished towards the end of the Roman republic, about 500 years before Christ. This statue was taken from the Gallery of Versailles, where it had been placed in the reign of Lewis XIV. It formerly belonged to the garden of Sixtus V. at _Villa-Montalto_, in Rome.

97. ANTINOuS, _called the_ ANTINOuS OF THE CAPITOL.

In this monument, Adrian's favourite is represented as having scarcely attained the age of p.u.b.erty. He is naked, and his att.i.tude has some affinity to that of Mercury. However, his countenance seems to be impressed with that cast of melancholy, by which all his portraits are distinguished: Hence has been applied to him that verse of Virgil on Marcellus;

_"Sed frons laeta parum, et dejecto lumina vultu"_

This beautiful figure, of Carrara marble, is sculptured in a masterly manner. It comes from the Museum of the Capitol, and previously belonged to the collection of Cardinal Alessandro Albani. The fore-arm and left leg are modern.

200. ANTINOuS.

In this colossal bust of the Bithynian youth, are some peculiarities which call to mind the images of the Egyptian G.o.d _Harpocrates_. It is finely executed in hard Greek marble, and comes from the Museum of the Vatican. As recently as the year 1790, it was dug from the ruins of the _Villa-Fede_ at Tivoli.

But enough for to-day--to-morrow I will resume my pen, and we will complete our survey of the GALLERY OF ANTIQUES.

LETTER VIII.

_Paris, October 29, 1801._

If the culture of the arts, by promoting industry and increasing commerce, improves civilization, and refines manners, what modern people can boast of such advantages as are now enjoyed by the French nation? While the sciences keep pace with the arts, good taste bids fair to spread, in time, from the capital throughout the country, and to become universal among them. In antiquity, Athens attests the truth of this proposition, by rising, through the same means, above all the cities of Greece; and, in modern times, have we not seen in Florence, become opulent, the darkness of ignorance vanish, like a fog, before the bright rays of knowledge, diffused by the flourishing progress of the arts and sciences?

When I closed my letter yesterday, we had just terminated our examination of the HALL OF THE ROMANS. On the same line with it, the next apartment we reach, taking its name from the celebrated group here placed, is styled the

HALL OF THE LAOc.o.o.n.

Here are to be admired four pillars of _verde antico_, a species of green marble, obtained by the ancients, from the environs of Thessalonica. They were taken from the church of _Montmorency_, where they decorated the tomb of Anne, the constable of that name. The first three apartments are floored with inlaid oak; but this is paved with beautiful marble.

Of the _chefs d'oeuvre_ exhibited in this hall, every person of taste cannot but feel particular gratification in examining the undermentioned;

N 108. LAOc.o.o.n.

The pathetic story which forms the subject of this admirable group is known to every cla.s.sic reader. It is considered as one of the most perfect works that ever came from the chisel; being at once a master-piece of composition, design, and feeling. Any sort of commentary could but weaken the impression which it makes on the beholder.

It was found in 1506, under the pontificate of Julius II, at Rome, on Mount Esquiline, in the ruins of the palace of t.i.tus. The three Rhodian artists, AGESANDER, POLYDORUS, and ATHENOPORUS, mentioned by Pliny, as the sculptors of this _chef d'oeuvre_ flourished during the time of the Emperors, in the first century of the Christian era.

The group is composed of five blocks, but joined in so skilful a manner, that Pliny thought them of one single piece. The right arm of the father and two arms of the children are wanting.

111. AMAZON.

This uncommonly beautiful figure of Parian marble represents a woman, whose feminine features and form seem to have contracted the impression of the masculine habits of warfare. Clad in a very fine tunic, which, leaving the left breast exposed, is tucked up on the hips, she is in the act of bending a large bow. No att.i.tude could be better calculated for exhibiting to advantage the finely-modelled person of this heroine.

For two centuries, this statue was at the _Villa-Mattei_, on Mount Coelius at Rome, whence it was removed to the Museum of the Vatican by Clement XIV.

118. MELEAGER.

The son of OEneus, king of Calydon, with nothing but a _chlamis_ fastened on his shoulders, and winding round his left arm, is here represented resting himself, after having killed the formidable wild boar, which was ravaging his dominions; at his side is the head of the animal, and near him sits his faithful dog.

The beauty of this group is sublime, and yet it is of a different cast, from either that of the _Apollo of Belvedere_, or that of the _Mercury_, called Antinous, of which we shall presently have occasion to speak.

This group is of Greek marble of a cinereous colour: there are two different traditions respecting the place where it was found; but the preference is given to that of Aldroandi, who affirms that it was discovered in a vineyard bordering on the Tiber. It belonged to Fusconi, physician to Paul III, and was for a long time in the _Pighini_ palace at Rome, whence Clement XIV had it conveyed to the Vatican.

103 and 104. _Two busts, called_ TRAGEDY and COMEDY.

These colossal heads of Bacchantes adorned the entrance of the theatre of the _Villa-Adriana_ at Tivoli. Though the execution of them is highly finished, it is no detriment to the grandeur of the style.

The one is of Pentelic marble; and the other, of Parian. Having been purchased of Count Fede by Pius VI, they were placed in the Museum of the Vatican.

105. ANTINOuS.

This bust is particularly deserving of attention, on account of its beauty, its excellent preservation, and perfect resemblance to the medals which remain of Adrian's favourite.

It is of Parian marble of the finest quality, and had been in France long before the revolution.

112. ARIADNE, _called_ (in the catalogue) BACCHUS.

Some sculptors have determined to call this beautiful head that of BACCHUS; while the celebrated VISCONTI, and other distinguished antiquaries, persist in preserving to it its ancient name of ARIADNE, by which it was known in the Museum of the Capitol.

Whichever it may be, it is of Pentelic marble, and unquestionably one of the most sublime productions of the chisel, in point of _ideal_ beauty.

From the HALL OF THE LAOc.o.o.n, we pa.s.s into the apartment, which, from the famous statue, here erected, and embellished in the most splendid manner, takes the appellation of the

HALL OF THE APOLLO.

This hall is ornamented with four pillars of red oriental granite of the finest quality: those which decorate the niche of the Apollo were taken from the church that contained the tomb of Charlemagne at _Aix-la-Chapelle_. The floor is paved with different species of scarce and valuable marble, in large compartments, and, in its centre, is placed a large octagonal table of the same substance.

In proportion to the dimensions of this apartment, which is considerably larger than any of the others, a greater number of antiques are here placed, of which the following are the most pre-eminent.

N 145. APOLLO PYTHIUS, _commonly called the_ APOLLO OF BELVEDERE.

The name alone of this _chef d'oeuvre_ might be said to contain its eulogium. But as you may, probably, expect from me some remarks on it, I shall candidly acknowledge that I can do no better than communicate to you the able and interesting description given of it by the Administration of the Museum, of which the following is a fair abridgment.

"Apollo has just discharged the mortal arrow which has struck the serpent Python, while ravaging Delphi. In his left hand is held his formidable bow; his right has but an instant quitted it: all his members still preserve the impression given them by this action.

Indignation is seated on his lips; but in his looks is the a.s.surance of success. His hair, slightly curled, floats in long ringlets round his neck, or is gracefully turned up on the crown of his head, which is encircled by the _strophium_, or fillet, characteristic of kings and G.o.ds. His quiver is suspended by a belt to the right shoulder: his feet are adorned with rich sandals. His _chlamis_ fastened on the shoulder, and tucked up only on the left arm, is thrown back, as if to display the majesty of his divine form to greater advantage.

"An eternal youth is spread over all his beautiful figure, a sublime mixture of n.o.bleness and agility, of vigour and elegance, and which holds a happy medium between the delicate form of Bacchus, and the more manly one of Mercury."

This inimitable master-piece is of Carrara marble, and, consequently, was executed by some Greek artist who lived in the time of the Romans; but the name of its author is entirely unknown. The fore-arm and the left hand, which were wanting, were restored by GIOVANNI ANGELO DE MONTORSOLI, a sculptor, who was a pupil of Michael Angelo.

Towards the end of the fifteenth century, it was discovered at _Capo d'Anzo_, twelve leagues from Rome, on the sea-sh.o.r.e, near the ruins of the ancient _Antium_. Julius II, when cardinal, purchased this statue, and placed it in his palace; but shortly after, having arrived at the pontificate, he had it conveyed to the Belvedere of the Vatican, where, for three centuries, it was the admiration of the world.

On the 16th of Brumaire, year IX, (7th of November, 1801) BONAPARTE, as First Consul, celebrated, in great pomp, the inauguration of the Apollo; on which occasion he placed between the plinth of the statue, and its pedestal, a bra.s.s tablet bearing a suitable inscription.