Travels through France and Italy Part 14

Vidimus flavum Tiberim retortis Littore Etrusco violenter undis, Ire dejectum monumenta regis, Templaque Vestae: Iliae dum se nimium querenti, Jactat ultorem; vagus et sinistra Labitur ripa, Jove non probante Uxorius Amnis.

Livy expressly says, "Ita abundavit Tiberis, ut Ludi Apollinares, circo inundato, extra portam Collinam ad aedem Erycinae Veneris parati sint,"

"There was such an inundation of the Tiber that, the Circus being overflowed, the Ludi Appollinares were exhibited without the gate Collina, hard by the temple of Venus Erycina." To this custom of transferring the Ludi Appollinares to another place where the Tyber had overflowed the Circus Maximus, Ovid alludes in his Fasti.

Altera gramineo spectabis equiriacampo Quem Tiberis curvis in latus urget aquis, Qui tamen ejecta si forte tenebitur unda, Coelius accipiet pulverulentus equos.

Another race thy view shall entertain Where bending Tiber skirts the gra.s.sy plain; Or should his vagrant stream that plain o'erflow, The Caelian hill the dusty course will show.

The Porta del Popolo (formerly, Flaminia,) by which we entered Rome, is an elegant piece of architecture, adorned with marble columns and statues, executed after the design of Buonaroti. Within-side you find yourself in a n.o.ble piazza, from whence three of the princ.i.p.al streets of Rome are detached. It is adorned with the famous Aegyptian obelisk, brought hither from the Circus Maximus, and set up by the architect Dominico Fontana in the pontificate of Sixtus V. Here is likewise a beautiful fountain designed by the same artist; and at the beginning of the two princ.i.p.al streets, are two very elegant churches fronting each other. Such an august entrance cannot fail to impress a stranger with a sublime idea of this venerable city.

Having given our names at the gate, we repaired to the dogana, or custom-house, where our trunks and carriage were searched; and here we were surrounded by a number of servitori de piazza, offering their services with the most disagreeable importunity. Though I told them several times I had no occasion for any, three of them took possession of the coach, one mounting before and two of them behind; and thus we proceeded to the Piazza d'Espagna, where the person lived to whose house I was directed. Strangers that come to Rome seldom put up at public inns, but go directly to lodging houses, of which there is great plenty in this quarter. The Piazza d'Espagna is open, airy, and pleasantly situated in a high part of the city immediately under the Colla Pinciana, and adorned with two fine fountains. Here most of the English reside: the apartments are generally commodious and well furnished; and the lodgers are well supplied with provisions and all necessaries of life. But, if I studied oeconomy, I would choose another part of the town than the Piazza d'Espagna, which is, besides, at a great distance from the antiquities. For a decent first floor and two bed-chambers on the second, I payed no more than a scudo (five shillings) per day. Our table was plentifully furnished by the landlord for two and thirty pauls, being equal to sixteen shillings. I hired a town-coach at the rate of fourteen pauls, or seven shillings a day; and a servitore di piazza for three pauls, or eighteen-pence. The coachman has also an allowance of two pauls a day. The provisions at Rome are reasonable and good, the vitella mongana, however, which is the most delicate veal I ever tasted, is very dear, being sold for two pauls, or a shilling, the pound. Here are the rich wines of Montepulciano, Montefiascone, and Monte di Dragone; but what we commonly drink at meals is that of Orvieto, a small white wine, of an agreeable flavour.

Strangers are generally advised to employ an antiquarian to instruct them in all the curiosities of Rome; and this is a necessary expence, when a person wants to become a connoisseur in painting, statuary, and architecture. For my own part I had no such ambition. I longed to view the remains of antiquity by which this metropolis is distinguished; and to contemplate the originals of many pictures and statues, which I had admired in prints and descriptions. I therefore chose a servant, who was recommended to me as a sober, intelligent fellow, acquainted with these matters: at the same time I furnished myself with maps and plans of antient and modern Rome, together with the little manual, called, Itinerario istruttivo per ritrovare con facilita tutte le magnificenze di Roma e di alcune citta', e castelli suburbani. But I found still more satisfaction in perusing the book in three volumes, int.i.tled, Roma antica, e moderna, which contains a description of everything remarkable in and about the city, ill.u.s.trated with a great number of copper-plates, and many curious historical annotations. This directory cost me a zequine; but a hundred zequines will not purchase all the books and prints which have been published at Rome on these subjects.

Of these the most celebrated are the plates of Piranesi, who is not only an ingenious architect and engraver, but also a learned antiquarian; though he is apt to run riot in his conjectures; and with regard to the arts of antient Rome, has broached some doctrines, which he will find it very difficult to maintain. Our young gentlemen who go to Rome will do well to be upon their guard against a set of sharpers, (some of them of our own country,) who deal in pictures and antiques, and very often impose upon the uninformed stranger, by selling him trash, as the productions of the most celebrated artists. The English are more than any other foreigners exposed to this imposition. They are supposed to have more money to throw away; and therefore a greater number of snares are laid for them. This opinion of their superior wealth they take a pride in confirming, by launching out into all manner of unnecessary expence: but, what is still more dangerous, the moment they set foot in Italy, they are seized with the ambition of becoming connoisseurs in painting, musick, statuary, and architecture; and the adventurers of this country do not fail to flatter this weakness for their own advantage. I have seen in different parts of Italy, a number of raw boys, whom Britain seemed to have poured forth on purpose to bring her national character into contempt, ignorant, petulant, rash, and profligate, without any knowledge or experience of their own, without any director to improve their understanding, or superintend their conduct. One engages in play with an infamous gamester, and is stripped perhaps in the very first partie: another is pillaged by an antiquated cantatrice; a third is bubbled by a knavish antiquarian; and a fourth is laid under contribution by a dealer in pictures. Some turn fiddlers, and pretend to compose: but all of them talk familiarly of the arts, and return finished connoisseurs and c.o.xcombs, to their own country. The most remarkable phaenomenon of this kind, which I have seen, is a boy of seventy-two, now actually travelling through Italy, for improvement, under the auspices of another boy of twenty-two. When you arrive at Rome, you receive cards from all your country-folks in that city: they expect to have the visit returned next day, when they give orders not to be at home; and you never speak to one another in the sequel. This is a refinement in hospitality and politeness, which the English have invented by the strength of their own genius, without any a.s.sistance either from France, Italy, or Lapland. No Englishman above the degree of a painter or cicerone frequents any coffee-house at Rome; and as there are no public diversions, except in carnival-time, the only chance you have of seeing your compatriots is either in visiting the curiosities, or at a conversazione. The Italians are very scrupulous in admitting foreigners, except those who are introduced as people of quality: but if there happens to be any English lady of fashion at Rome, she generally keeps an a.s.sembly, to which the British subjects resort. In my next, I shall communicate, without ceremony or affectation, what further remarks I have made at Rome, without any pretence, however, to the character of a connoisseur, which, without all doubt, would fit very aukwardly upon,--Dear Sir, Your Friend and Servant.

LETTER x.x.x

NICE, February 28, 1765.

DEAR SIR,--Nothing can be more agreeable to the eyes of a stranger, especially in the heats of summer, than the great number of public fountains that appear in every part of Rome, embellished with all the ornaments of sculpture, and pouring forth prodigious quant.i.ties of cool, delicious water, brought in aqueducts from different lakes, rivers, and sources, at a considerable distance from the city. These works are the remains of the munificence and industry of the antient Romans, who were extremely delicate in the article of water: but, however, great applause is also due to those beneficent popes who have been at the expence of restoring and repairing those n.o.ble channels of health, pleasure, and convenience. This great plenty of water, nevertheless, has not induced the Romans to be cleanly. Their streets, and even their palaces, are disgraced with filth. The n.o.ble Piazza Navona, is adorned with three or four fountains, one of which is perhaps the most magnificent in Europe, and all of them discharge vast streams of water: but, notwithstanding this provision, the piazza is almost as dirty, as West Smithfield, where the cattle are sold in London. The corridores, arcades, and even staircases of their most elegant palaces, are depositories of nastiness, and indeed in summer smell as strong as spirit of hartshorn. I have a great notion that their ancestors were not much more cleanly. If we consider that the city and suburbs of Rome, in the reign of Claudius, contained about seven millions of inhabitants, a number equal at least to the sum total of all the souls in England; that great part of antient Rome was allotted to temples, porticos, basilicae, theatres, thermae, circi, public and private walks and gardens, where very few, if any, of this great number lodged; that by far the greater part of those inhabitants were slaves and poor people, who did not enjoy the conveniencies of life; and that the use of linen was scarce known; we must naturally conclude they were strangely crouded together, and that in general they were a very frowzy generation. That they were crouded together appears from the height of their houses, which the poet Rutilius compared to towers made for scaling heaven. In order to remedy this inconvenience, Augustus Caesar published a decree, that for the future no houses should be built above seventy feet high, which, at a moderate computation, might make six stories. But what seems to prove, beyond all dispute, that the antient Romans were dirty creatures, are these two particulars. Vespasian laid a tax upon urine and ordure, on pretence of being at a great expence in clearing the streets from such nuisances; an imposition which amounted to about fourteen pence a year for every individual; and when Heliogabalus ordered all the cobwebs of the city and suburbs to be collected, they were found to weigh ten thousand pounds. This was intended as a demonstration of the great number of inhabitants; but it was a proof of their dirt, rather than of their populosity. I might likewise add, the delicate custom of taking vomits at each other's houses, when they were invited to dinner, or supper, that they might prepare their stomachs for gormandizing; a beastly proof of their nastiness as well as gluttony. Horace, in his description of the banquet of Nasiedenus, says, when the canopy, under which they sat, fell down, it brought along with it as much dirt as is raised by a hard gale of wind in dry weather.

--trahentia pulveris atri, Quantum non aquilo Campanis excitat agris.

Such clouds of dust revolving in its train As Boreas whirls along the level plain.

I might observe, that the streets were often enc.u.mbered with the putrefying carca.s.ses of criminals, who had been dragged through them by the heels, and precipitated from the Scalae Gemoniae, or Tarpeian rock, before they were thrown into the Tyber, which was the general receptacle of the cloaca maxima and all the filth of Rome: besides, the bodies of all those who made away with themselves, without sufficient cause; of such as were condemned for sacrilege, or killed by thunder, were left unburned and unburied, to rot above ground.

I believe the moderns retain more of the customs of antient Romans, than is generally imagined. When I first saw the infants at the enfans trouves in Paris, so swathed with bandages, that the very sight of them made my eyes water, I little dreamed, that the prescription of the antients could be pleaded for this custom, equally shocking and absurd: but in the Capitol at Rome, I met with the antique statue of a child swaddled exactly in the same manner; rolled up like an Aegyptian mummy from the feet. The circulation of the blood, in such a case, must be obstructed on the whole surface of the body; and nothing be at liberty but the head, which is the only part of the child that ought to be confined. Is it not surprising that common sense should not point out, even to the most ignorant, that those accursed bandages must heat the tender infant into a fever; must hinder the action of the muscles, and the play of the joints, so necessary to health and nutrition; and that while the refluent blood is obstructed in the veins, which run on the surface of the body, the arteries, which lie deep, without the reach of compression, are continually pouring their contents into the head, where the blood meets with no resistance? The vessels of the brain are naturally lax, and the very sutures of the skull are yet unclosed. What are the consequences of this cruel swaddling? the limbs are wasted; the joints grow rickety; the brain is compressed, and a hydrocephalus, with a great head and sore eyes, ensues. I take this abominable practice to be one great cause of the bandy legs, diminutive bodies, and large heads, so frequent in the south of France, and in Italy.

I was no less surprised to find the modern fashion of curling the hair, borrowed in a great measure from the c.o.xcombs and coquettes of antiquity. I saw a bust of Nero in the gallery at Florence, the hair represented in rows of buckles, like that of a French pet.i.t-maitre, conformable to the picture drawn of him by Suetonius. Circa cultum adeo pudendum, ut coman semper in gradus formatam peregrinatione achaica, etiam pene verticem sumpserit, So very finical in his dress, that he wore his hair in the Greek fashion, curled in rows almost to the crown of his head. I was very sorry however to find that this foppery came from Greece. As for Otho, he wore a galericulum, or tour, on account of thin hair, propter raritatem capillorum. He had no right to imitate the example of Julius Caesar, who concealed his bald head with a wreath of laurel. But there is a bust in the Capitol of Julia Pia, the second wife of Septimius Severus, with a moveable peruke, dressed exactly in the fashionable mode, with this difference, that there is no part of it frizzled; nor is there any appearance of pomatum and powder. These improvements the beau-monde have borrowed from the natives of the Cape of Good Hope.

Modern Rome does not cover more than one-third of the s.p.a.ce within the walls; and those parts that were most frequented of old are now intirely abandoned. From the Capitol to the Coliseo, including the Forum Romanum and Boarium, there is nothing intire but one or two churches, built with the fragments of ancient edifices. You descend from the Capitol between the remaining pillars of two temples, the pedestals and part of the shafts sunk in the rubbish: then pa.s.sing through the triumphal arch of Septimius Severus, you proceed along the foot of Mons Palatinus, which stands on your right hand, quite covered with the ruins of the antient palace belonging to the Roman emperors, and at the foot of it, there are some beautiful detached pillars still standing. On the left you see the remains of the Templum Pacis, which seems to have been the largest and most magnificent of all the temples in Rome. It was built and dedicated by the emperor Vespasian, who brought into it all the treasure and precious vessels which he found in the temple of Jerusalem. The columns of the portico he removed from Nero's golden house, which he levelled with the ground. This temple was likewise famous for its library, mentioned by Aulus Gellius, Further on, is the arch of Constantine on the right, a most n.o.ble piece of architecture, almost entire; with the remains of the Meta Sudans before it; and fronting you, the n.o.ble ruins of that vast amphitheatre, called the Colossaeum, now Coliseo, which has been dismantled and dilapidated by the Gothic popes and princes of modern Rome, to build and adorn their paultry palaces. Behind the amphitheatre were the thermae of the same emperor t.i.tus Vespasian. In the same quarter was the Circus Maximus; and the whole s.p.a.ce from hence on both sides, to the walls of Rome, comprehending above twice as much ground as the modern city, is almost covered with the monuments of antiquity. I suppose there is more concealed below ground than appears above. The miserable houses, and even garden-walls of the peasants in this district, are built with these precious materials. I mean shafts and capitals of marble columns, heads, arms, legs, and mutilated trunks of statues. What pity it is that among all the remains of antiquity, at Rome, there is not one lodging-house remaining. I should be glad to know how the senators of Rome were lodged. I want to be better informed touching the cava aedium, the focus, the ara deorum penatum, the conclavia, triclinia, and caenationes; the atria where the women resided, and employed themselves in the woolen manufacture; the praetoria, which were so s.p.a.cious as to become a nuisance in the reign of Augustus; and the Xysta, which were shady walks between two porticos, where the men exercised themselves in the winter. I am disgusted by the modern taste of architecture, though I am no judge of the art. The churches and palaces of these days are crowded with pretty ornaments, which distract the eye, and by breaking the design into a variety of little parts, destroy the effect of the whole. Every door and window has its separate ornaments, its moulding, frize, cornice, and tympanum; then there is such an a.s.semblage of useless festoons, pillars, pilasters, with their architraves, entablatures, and I know not what, that nothing great or uniform remains to fill the view; and we in vain look for that simplicity of grandeur, those large ma.s.ses of light and shadow, and the inexpressible EUSUINOPTON, which characterise the edifices of the antients. A great edifice, to have its full effect, ought to be isole, or detached from all others, with a large s.p.a.ce around it: but the palaces of Rome, and indeed of all the other cities of Italy, which I have seen, are so engaged among other mean houses, that their beauty and magnificence are in a great measure concealed. Even those which face open streets and piazzas are only clear in front. The other apartments are darkened by the vicinity of ordinary houses; and their views are confined by dirty and disagreeable objects. Within the court there is generally a n.o.ble colonnade all round, and an open corridore above, but the stairs are usually narrow, steep, and high, the want of sash-windows, the dullness of their small gla.s.s lozenges, the dusty brick floors, and the crimson hangings laced with gold, contribute to give a gloomy air to their apartments; I might add to these causes, a number of Pictures executed on melancholy subjects, antique mutilated statues, busts, ba.s.so relieves, urns, and sepulchral stones, with which their rooms are adorned. It must be owned, however, there are some exceptions to this general rule. The villa of cardinal Alexander Albani is light, gay, and airy; yet the rooms are too small, and too much decorated with carving and gilding, which is a kind of gingerbread work. The apartments of one of the princes Borghese are furnished in the English taste; and in the palazzo di colonna connestabile, there is a saloon, or gallery, which, for the proportions, lights, furniture, and ornaments, is the most n.o.ble, elegant, and agreeable apartment I ever saw.

It is diverting to hear all Italian expatiate upon the greatness of modern Rome. He will tell you there are above three hundred palaces in the city; that there is scarce a Roman prince, whose revenue does not exceed two hundred thousand crowns; and that Rome produces not only the most learned men, but also the most refined politicians in the universe. To one of them talking in this strain, I replied, that instead of three hundred palaces, the number did not exceed fourscore; that I had been informed, on good authority, there were not six individuals in Rome who had so much as forty thousand crowns a year, about ten thousand pounds sterling; and that to say their princes were so rich, and their politicians so refined, was, in effect, a severe satire upon them, for not employing their wealth and their talents for the advantage of their country. I asked why their cardinals and princes did not invite and encourage industrious people to settle and cultivate the Campania of Rome, which is a desert? why they did not raise a subscription to drain the marshes in the neighbourhood of the city, and thus meliorate the air, which is rendered extremely unwholsome in the summer, by putrid exhalations from those mora.s.ses? I demanded of him, why they did not contribute their wealth, and exert their political refinements, in augmenting their forces by sea and land, for the defence of their country, introducing commerce and manufactures, and in giving some consequence to their state, which was no more than a mite in the political scale of Europe? I expressed a desire to know what became of all those sums of money, inasmuch as there was hardly any circulation of gold and silver in Rome, and the very bankers, on whom strangers have their credit, make interest to pay their tradesmen's bills with paper notes of the bank of Spirito Santo? And now I am upon this subject, it may not be amiss to observe that I was strangely misled by all the books consulted about the current coin of Italy. In Tuscany, and the Ecclesiastical State, one sees nothing but zequines in gold, and pieces of two paoli, one paolo, and half a paolo, in silver.

Besides these, there is a copper coin at Rome, called bajocco and mezzo bajocco. Ten bajocchi make a paolo: ten paoli make a scudo, which is an imaginary piece: two scudi make a zequine; and a French loui'dore is worth two zequines and two paoli.

Rome has nothing to fear from the catholic powers, who respect it with a superst.i.tious veneration as the metropolitan seat of their religion: but the popes will do well to avoid misunderstandings with the maritime protestant states, especially the English, who being masters of the Mediterranean, and in possession of Minorca, have it in their power at all times, to land a body of troops within four leagues of Rome, and to take the city, without opposition. Rome is surrounded with an old wall, but altogether incapable of defence. Or if it was, the circuit of the walls is so extensive, that it would require a garrison of twenty thousand men. The only appearance of a fortification in this city, is the castle of St. Angelo, situated on the further bank of the Tyber, to which there is access by a handsome bridge: but this castle, which was formerly the moles Adriani, could not hold out half a day against a battery of ten pieces of cannon properly directed. It was an expedient left to the invention of the modern Romans, to convert an ancient tomb into a citadel. It could only serve as a temporary retreat for the pope in times of popular commotion, and on other sudden emergencies; as it happened in the case of pope Clement VII. when the troops of the emperor took the city by a.s.sault; and this only, while he resided at the Vatican, from whence there is a covered gallery continued to the castle: it can never serve this purpose again, while the pontiff lives on Monte Cavallo, which is at the other end of the city. The castle of St. Angelo, howsoever ridiculous as a fortress, appears respectable as a n.o.ble monument of antiquity, and though standing in a low situation, is one of the first objects that strike the eye of a stranger approaching Rome. On the opposite side of the river, are the wretched remains of the Mausoleum Augusti, which was still more magnificent.

Part of the walls is standing, and the terraces are converted into garden-ground. In viewing these ruins, I remembered Virgil's pathetic description of Marcellus, who was here intombed.

Quantos ille virum, magnum mavortis ad urbem.

Campus aget gemitus, vel que Tyberine, videbis Funera, c.u.m tumulum, preter labere recentem.

Along his Banks what Groans shall Tyber hear, When the fresh tomb and funeral pomp appear!

The beautiful poem of Ovid de Consolatione ad Liviam, written after the ashes of Augustus and his nephew Marcellus, of Germanicus, Agrippa, and Drusus, were deposited in this mausoleum, concludes with these lines, which are extremely tender:

Claudite jam Parcae nimium reserata sepulchra; Claudite, plus justo, jam domus ista patet!

Ah! shut these yawning Tombs, ye sister Fates!

Too long unclos'd have stood those dreary Gates!

What the author said of the monument, you will be tempted to say of this letter, which I shall therefore close in the old stile, a.s.suring you that I ever am,--Yours most affectionately.

LETTER x.x.xI

NICE, March 5, 1765

DEAR SIR,--In my last I gave you my opinion freely of the modern palaces of Italy. I shall now hazard my thoughts upon the gardens of this country, which the inhabitants extol with all the hyperboles of admiration and applause. I must acknowledge however, I have not seen the famous villas at Frascati and Tivoli, which are celebrated for their gardens and waterworks. I intended to visit these places; but was prevented by an unexpected change of weather, which deterred me from going to the country. On the last day of September the mountains of Palestrina were covered with snow; and the air became so cold at Rome, that I was forced to put on my winter cloaths. This objection continued, till I found it necessary to set out on my return to Florence. But I have seen the gardens of the Poggio Imperiale, and the Palazzo de Pitti at Florence, and those of the Vatican, of the pope's palace on Monte Cavallo, of the Villa Ludovisia, Medicea, and Pinciana, at Rome; so that I think I have some right to judge of the Italian taste in gardening. Among those I have mentioned, that of the Villa Pinciana, is the most remarkable, and the most extensive, including a s.p.a.ce of three miles in circuit, hard by the walls of Rome, containing a variety of situations high and low, which favour all the natural embellishments one would expect to meet with in a garden, and exhibit a diversity of n.o.ble views of the city and adjacent country.

In a fine extensive garden or park, an Englishman expects to see a number of groves and glades, intermixed with an agreeable negligence, which seems to be the effect of nature and accident. He looks for shady walks encrusted with gravel; for open lawns covered with verdure as smooth as velvet, but much more lively and agreeable; for ponds, ca.n.a.ls, basins, cascades, and running streams of water; for clumps of trees, woods, and wildernesses, cut into delightful alleys, perfumed with honeysuckle and sweet-briar, and resounding with the mingled melody of all the singing birds of heaven: he looks for plats of flowers in different parts to refresh the sense, and please the fancy; for arbours, grottos, hermitages, temples, and alcoves, to shelter him from the sun, and afford him means of contemplation and repose; and he expects to find the hedges, groves, and walks, and lawns kept with the utmost order and propriety. He who loves the beauties of simple nature, and the charms of neatness will seek for them in vain amidst the groves of Italy. In the garden of the Villa Pinciana, there is a plantation of four hundred pines, which the Italians view with rapture and admiration: there is likewise a long walk, of trees extending from the garden-gate to the palace; and plenty of shade, with alleys and hedges in different parts of the ground: but the groves are neglected; the walks are laid with nothing but common mould or sand, black and dusty; the hedges are tall, thin and shabby; the trees stunted; the open ground, brown and parched, has scarce any appearance of verdure. The flat, regular alleys of evergreens are cut into fantastic figures; the flower gardens embellished with thin cyphers and flourished figures in box, while the flowers grow in rows of earthen-pots, and the ground appears as dusky as if it was covered with the cinders of a blacksmith's forge. The water, of which there is great plenty, instead of being collected in large pieces, or conveyed in little rivulets and streams to refresh the thirsty soil, or managed so as to form agreeable cascades, is squirted from fountains in different parts of the garden, through tubes little bigger than common glyster-pipes. It must be owned indeed that the fountains have their merit in the way of sculpture and architecture; and that here is a great number of statues which merit attention: but they serve only to enc.u.mber the ground, and destroy that effect of rural simplicity, which our gardens are designed to produce.

In a word, here we see a variety of walks and groves and fountains, a wood of four hundred pines, a paddock with a few meagre deer, a flower-garden, an aviary, a grotto, and a fish-pond; and in spite of all these particulars, it is, in my opinion, a very contemptible garden, when compared to that of Stowe in Buckinghamshire, or even to those of Kensington and Richmond. The Italians understand, because they study, the excellencies of art; but they have no idea of the beauties of nature. This Villa Pinciana, which belongs to the Borghese family, would make a complete academy for painting and sculpture, especially for the study of antient marbles; for, exclusive of the statues and busts in the garden, and the vast collection in the different apartments, almost the whole outside of the house is covered with curious pieces in ba.s.so and alto relievo. The most masterly is that of Curtius on horseback, leaping into the gulph or opening of the earth, which is said to have closed on receiving this sacrifice. Among the exhibitions of art within the house, I was much struck with a Bacchus, and the death of Meleager, represented on an antient sepulchre. There is also an admirable statue of Silenus, with the infant Bacchus in his arms; a most beautiful gladiator; a curious Moor of black marble, with a shirt of white alabaster; a finely proportioned bull of black marble also, standing upon a table of alabaster; a black gipsey with a head, hands, and feet of bra.s.s; and the famous hermaphrodite, which vies with that of Florence: though the most curious circ.u.mstance of this article, is the mattra.s.s executed and placed by Bernini, with such art and dexterity, that to the view, it rivals the softness of wool, and seems to retain the marks of pressure, according to the figure of the superinc.u.mbent statue. Let us likewise own, for the honour of the moderns, that the same artist has produced two fine statues, which we find among the ornaments of this villa, namely, a David with his sling in the att.i.tude of throwing the stone at the giant Goliah; and a Daphne changing into laurel at the approach of Apollo. On the base of this figure, are the two following elegant lines, written by pope Urban VIII. in his younger years.

Quisquis amans sequitur fugitivae gaudia formae, Fronde ma.n.u.s implet, baccas vel carpit amaras.

Who pants for fleeting Beauty, vain pursuit!

Shall barren Leaves obtain, or bitter fruit.

I ought not to forget two exquisite antique statues of Venus, the weeping slave, and the youth pulling a thorn out of his foot.

I do not pretend to give a methodical detail of the curiosities of Rome: they have been already described by different authors, who were much better qualified than I am for the talk: but you shall have what observations I made on the most remarkable objects, without method, just as they occur to my remembrance; and I protest the remarks are all my own: so that if they deserve any commendation, I claim all the merit; and if they are impertinent, I must be contented to bear all the blame.

The piazza of St. Peter's church is altogether sublime. The double colonnade on each side extending in a semi-circular sweep, the stupendous Aegyptian obelisk, the two fountains, the portico, and the admirable facade of the church, form such an a.s.semblage of magnificent objects, as cannot fail to impress the mind with awe and admiration: but the church would have produced a still greater effect, had it been detached entirely from the buildings of the Vatican, It would then have been a master-piece of architecture, complete in all its parts, intire and perfect: whereas, at present, it is no more than a beautiful member attached to a vast undigested and irregular pile of building. As to the architecture of this famous temple, I shall say nothing; neither do I pretend to describe the internal ornaments. The great picture of Mosaic work, and that of St. Peter's bark tossed by the tempest, which appear over the gate of the church, though rude in comparison with modern pieces, are nevertheless great curiosities, when considered as the work of Giotto, who flourished in the beginning of the fourteenth century.

His master was Cimabue, who learned painting and architecture of the Grecian artists, who came from Constantinople, and first revived these arts in Italy. But, to return to St. Peter's, I was not at all pleased with the famous statue of the dead Christ in his mother's lap, by Michael Angelo. The figure of Christ is as much emaciated, as if he had died of a consumption: besides, there is something indelicate, not to say indecent, in the att.i.tude and design of a man's body, stark naked, lying upon the knees of a woman. Here are some good pictures, I should rather say copies of good pictures, done in Mosaic to great perfection; particularly a St. Sebastian by Domenichino, and Michael the Archangel, from a painting of Guido Rheni. I am extremely fond of all this artist's pieces. There is a tenderness and delicacy in his manner; and his figures are all exquisitely beautiful, though his expression is often erroneous, and his att.i.tudes are always affected and unnatural.

In this very piece the archangel has all the air of a French dancing-master; and I have seen a Madonna by the same hand, I think it is in the Palazzo di Barberini, in which, though the figures are enchanting, the Virgin is represented holding up the drapery of the infant, with the ridiculous affectation of a singer on the stage of our Italian opera. The Mosaic work, though brought to a wonderful degree of improvement, and admirably calculated for churches, the dampness of which is pernicious to the colours of the pallet, I will not yet compare to the productions of the pencil. The gla.s.syness (if I may be allowed the expression) of the surface, throws, in my opinion, a false light on some parts of the picture; and when you approach it, the joinings of the pieces look like so many cracks on painted canvas.

Besides, this method is extremely tedious and expensive. I went to see the artists at work, in a house that stands near the church, where I was much pleased with the ingenuity of the process; and not a little surprized at the great number of different colours and tints, which are kept in separate drawers, marked with numbers as far as seventeen thousand. For a single head done in Mosaic, they asked me fifty zequines. But to return to the church. The altar of St. Peter's choir, notwithstanding all the ornaments which have been lavished upon it, is no more than a heap of puerile finery, better adapted to an Indian paG.o.d, than to a temple built upon the principles of the Greek architecture. The four colossal figures that support the chair, are both clumsy and disproportioned. The drapery of statues, whether in bra.s.s or stone, when thrown into large ma.s.ses, appears hard and unpleasant to the eye and for that reason the antients always imitated wet linen, which exhibiting the shape of the limbs underneath, and hanging in a multiplicity of wet folds, gives an air of lightness, softness, and ductility to the whole.

These two statues weigh 116,257 pounds, and as they sustain nothing but a chair, are out of all proportion, inasmuch as the supporters ought to be suitable to the things supported. Here are four giants holding up the old wooden chair of the apostle Peter, if we may believe the book De Ident.i.tate Cathedrae Romanae, Of the Ident.i.ty of the Roman Chair.

The implements of popish superst.i.tion; such as relicks of pretended saints, ill-proportioned spires and bellfreys, and the nauseous repet.i.tion of the figure of the cross, which is in itself a very mean and disagreeable object, only fit for the prisons of condemned criminals, have contributed to introduce a vitious taste into the external architecture, as well as in the internal ornaments of our temples. All churches are built in the figure of a cross, which effectually prevents the eye from taking in the scope of the building, either without side or within; consequently robs the edifice of its proper effect. The palace of the Escurial in Spain is laid out in the shape of a gridiron, because the convent was built in consequence of a vow to St. Laurence, who was broiled like a barbecued pig. What pity it is, that the labours of painting should have been so much employed on the shocking subjects of the martyrology. Besides numberless pictures of the flagellation, crucifixion, and descent from the cross, we have Judith with the head of Holofernes, Herodias with the head of John the Baptist, Jael a.s.sa.s.sinating Sisera in his sleep, Peter writhing on the cross, Stephen battered with stones, Sebastian stuck full of arrows, Laurence frying upon the coals, Bartholomew flaed alive, and a hundred other pictures equally frightful, which can only serve to fill the mind with gloomy ideas, and encourage a spirit of religious fanaticism, which has always been attended with mischievous consequences to the community where it reigned.

The tribune of the great altar, consisting of four wreathed bra.s.s pillars, gilt, supporting a canopy, is doubtless very magnificent, if not over-charged with sculpture, fluting, foliage, festoons, and figures of boys and angels, which, with the hundred and twenty-two lamps of silver, continually burning below, serve rather to dazzle the eyes, and kindle the devotion of the ignorant vulgar, than to excite the admiration of a judicious observer.

There is nothing, I believe, in this famous structure, so worthy of applause, as the admirable symmetry and proportion of its parts.

Notwithstanding all the carving, gilding, ba.s.so relievos, medallions, urns, statues, columns, and pictures with which it abounds, it does not, on the whole, appear over-crouded with ornaments. When you first enter, your eye is filled so equally and regularly, that nothing appears stupendous; and the church seems considerably smaller than it really is. The statues of children, that support the founts of holy water when observed from the door, seem to be of the natural size; but as you draw near, you perceive they are gigantic. In the same manner, the figures of the doves, with olive branches in their beaks, which are represented on the wall, appear to be within your reach; but as you approach them, they recede to a considerable height, as if they had flown upwards to avoid being taken.

I was much disappointed at sight of the Pantheon, which, after all that has been said of it, looks like a huge c.o.c.kpit, open at top. The portico which Agrippa added to the building, is undoubtedly very n.o.ble, though, in my opinion, it corresponds but ill with the simplicity of the edifice. With all my veneration for the antients, I cannot see in what the beauty of the rotunda consists. It is no more than a plain unpierced cylinder, or circular wall, with two fillets and a cornice, having a vaulted roof or cupola, open in the centre. I mean the original building, without considering the vestibule of Agrippa. Within side it has much the air of a mausoleum. It was this appearance which, in all probability, suggested the thought to Boniface IV. to transport hither eight and twenty cart-loads of old rotten bones, dug from different burying-places, and then dedicate it as a church to the blessed Virgin and all the holy martyrs. I am not one of those who think it is well lighted by the hole at the top, which is about nine and twenty feet in diameter, although the author of the Grand Tour calls it but nine. The same author says, there is a descent of eleven steps to go into it; that it is a hundred and forty-four feet in heighth, and as many in breadth; that it was covered with copper, which, with the bra.s.s nails of the portico, pope Urban VIII. took away, and converted into the four wreathed pillars that support the canopy of the high altar in the church of St. Peter, &c. The truth is, before the time of pope Alexander VII. the earth was so raised as to cover part of the temple, and there was a descent of some steps into the porch: but that pontiff ordered the ground to be pared away to the very pedestal or base of the portico, which is now even with the street, so that there is no descent whatsoever. The height is two hundred palmi, and the breadth two hundred and eighteen; which, reckoning fife palmi at nine inches, will bring the height to one hundred and fifty, and the breadth to one hundred and sixty-three feet six inches. It was not any covering of copper which pope Urban VIII. removed, but large bra.s.s beams, which supported the roof of the portico. They weighed 186,392 pounds; and afforded metal enough not only for the pillars in St.

Peter's church, but also for several pieces of artillery that are now in the castle of St. Angelo. What is more extraordinary, the gilding of those columns is said to have cost forty thousand golden crowns: sure money was never worse laid out. Urban VIII. likewise added two bellfrey towers to the rotunda; and I wonder he did not cover the central hole with gla.s.s, as it must be very inconvenient and disagreeable to those who go to church below, to be exposed to the rain in wet weather, which must also render it very damp and unwholesome. I visited it several times, and each time it looked more and more gloomy and sepulchral.

The magnificence of the Romans was not so conspicuous in their temples, as in their theatres, amphitheatres, circusses, naumachia, aqueducts, triumphal arches, porticoes, basilicae, but especially their thermae, or bathing-places. A great number of their temples were small and inconsiderable; not one of them was comparable either for size or magnificence, to the modern church of St. Peter of the Vatican. The famous temple of Jupiter Capitolinus was neither half so long, nor half so broad: it was but two hundred feet in length, and one hundred and eighty-five in breadth; whereas the length of St. Peter's extends to six hundred and thirty-eight feet, and the breadth to above five hundred. It is very near twice as large as the temple of Jupiter Olympius in Greece, which was counted one of the seven wonders of the world. But I shall take another opportunity to explain myself further on the antiquities of this city; a subject, upon which I am disposed to be (perhaps impertinently) circ.u.mstantial. When I begin to run riot, you should cheek me with the freedom of a friend. The most distant hint will be sufficient to,--Dear Sir, Yours a.s.suredly.

LETTER x.x.xII

NICE, March 10, 1765.

DEAR SIR,--The Colossaeum or amphitheatre built by Flavius Vespasian, is the most stupendous work of the kind which antiquity can produce.