Travels through France and Italy Part 15

Near one half of the external circuit still remains, consisting of four tire of arcades, adorned with columns of four orders, Doric, Ionic, Corinthian, and Composite. The height and extent of it may be guessed from the number of spectators it contained, amounting to one hundred thousand; and yet, according to Fontana's mensuration, it could not contain above thirty-four thousand persons sitting, allowing a foot and an half for each person: for the circuit of the whole building did not exceed one thousand five hundred and sixty feet. The amphitheatre at Verona is one thousand two hundred and ninety feet in circ.u.mference; and that of Nismes, one thousand and eighty. The Colossaeum was built by Vespasian, who employed thirty thousand Jewish slaves in the work; but finished and dedicated by his son t.i.tus, who, on the first day of its being opened, produced fifty thousand wild beasts, which were all killed in the arena. The Romans were undoubtedly a barbarous people, who delighted in horrible spectacles. They viewed with pleasure the dead bodies of criminals dragged through the streets, or thrown down the Scalae Gemoniae and Tarpeian rock, for their contemplation. Their rostra were generally adorned with the heads of some remarkable citizens, like Temple-Bar, at London. They even bore the sight of Tully's head fixed upon that very rostrum where he had so often ravished their ears with all the charms of eloquence, in pleading the cause of innocence and public virtue. They took delight in seeing their fellow-creatures torn in pieces by wild beasts, in the amphitheatre.

They shouted with applause when they saw a poor dwarf or slave killed by his adversary; but their transports were altogether extravagant, when the devoted captives were obliged to fight in troops, till one side was entirely butchered by the other. Nero produced four hundred senators, and six hundred of the equestrian order, as gladiators in the public arena: even the women fought with wild beasts, as well as with each other, and drenched the amphitheatres with their blood. Tacitus says, "Sed faeminarum ill.u.s.trium, senatorumque filiorum plures per arenam faedati sunt," "But many sons of Senators, and even Matrons of the first Rank, exposed themselves in this vile exercise." The execrable custom of sacrificing captives or slaves at the tombs of their masters and great men, which is still preserved among the negroes of Africa, obtained also among the antients, Greeks as well as Romans.

I could never, without horror and indignation, read that pa.s.sage in the twenty-third book of the Iliad, which describes twelve valiant Trojan captives sacrificed by the inhuman Achilles at the tomb of his friend Patroclus.

Dodeka men Troon megathumon uias eathlous Tous ama pantas pur eathiei.

Twelve generous Trojans slaughtered in their Bloom, With thy lov'd Corse the Fire shall now consume.

Even Virgil makes his pious Hero sacrifice eight Italian youths to the manes of Pallas. It is not at all clear to me, that a people is the more brave, the more they are accustomed to bloodshed in their public entertainments. True bravery is not savage but humane. Some of this sanguinary spirit is inherited by the inhabitants of a certain island that shall be nameless--but, mum for that. You will naturally suppose that the Coliseo was ruined by the barbarians who sacked the city of Rome: in effect, they robbed it of its ornaments and valuable materials; but it was reserved for the Goths and Vandals of modern Rome, to dismantle the edifice, and reduce it to its present ruinous condition. One part of it was demolished by pope Paul II. that he might employ the stones of it in building the palace of St. Mark. It was afterwards dilapidated for the same purposes, by the cardinals Riarius and Farnese, which last a.s.sumed the tiara under the name of Paul III.

Notwithstanding these injuries, there is enough standing to convey a very sublime idea of ancient magnificence.

The Circi and Naumachia, if considered as buildings and artificial basins, are admirable; but if examined as areae intended for horse and chariot races, and artificial seas for exhibiting naval engagements, they seem to prove that the antient Romans were but indifferently skilled and exercised either in horsemanship or naval armaments. The inclosure of the emperor Caracalla's circus is still standing, and scarce affords breathing room for an English hunter. The Circus Maximus, by far the largest in Rome, was not so long as the Mall; and I will venture to affirm, that St. James's Park would make a much more ample and convenient scene for those diversions. I imagine an old Roman would be very much surprised to see an English race on the course at New-Market. The Circus Maximus was but three hundred yards in breadth.

A good part of this was taken up by the spina, or middle s.p.a.ce, adorned with temples, statues, and two great obelisks; as well as by the euripus, or ca.n.a.l, made by order of Julius Caesar, to contain crocodiles, and other aquatic animals, which were killed occasionally.

This was so large, that Heliogabalus, having filled it with excellent wine, exhibited naval engagements in it, for the amus.e.m.e.nt of the people. It surrounded three sides of the square, so that the whole extent of the race did not much exceed an English mile; and when Probus was at the expence of filling the plain of it with fir-trees to form a wood for the chace of wild beasts, I question much if this forest was more extensive than the plantation in St. James's Park, on the south side of the ca.n.a.l: now I leave you to judge what ridicule a king of England would incur by converting this part of the park into a chace for any species of animals which are counted game in our country.

The Roman emperors seemed more disposed to elevate and surprize, than to conduct the public diversions according to the rules of reason and propriety. One would imagine, it was with this view they inst.i.tuted their naumachia, or naval engagements, performed by half a dozen small gallies of a side in an artificial basin of fresh water. These gallies I suppose were not so large as common fishing-smacks, for they were moved by two, three, and four oars of a side according to their different rates, biremes, triremes, and quadriremes. I know this is a knotty point not yet determined; and that some antiquarians believe the Roman gallies had different tires or decks of oars; but this is a notion very ill supported, and quite contrary to all the figures of them that are preserved on antient coins and medals. Suetonius in the reign of Domitian, speaking of these naumachia, says, "Edidit navales pugnas, pene justarum cla.s.sium, effosso, et circ.u.mducto juxta Tyberim lacu, atque inter maximas imbres prospectavit," "He exhibited naval engagements of almost intire fleets, in an artificial Lake formed for the purpose hard by the Tyber, and viewed them in the midst of excessive Rains." This artificial lake was not larger than the piece of water in Hyde-Park; and yet the historian says, it was almost large enough for real or intire fleets. How would a British sailor relish an advertis.e.m.e.nt that a mock engagement between two squadrons of men of war would be exhibited on such a day in the Serpentine river? or that the ships of the line taken from the enemy would be carried in procession from Hyde-Park-Corner to Tower-wharf? Certain it is, Lucullus, in one of his triumphs, had one hundred and ten ships of war (naves longas) carried through the streets of Rome. Nothing can give a more contemptible idea of their naval power, than this testimony of their historians, who declare that their seamen or mariners were formed by exercising small row-boats in an inclosed pool of fresh water. Had they not the sea within a few miles of them, and the river Tyber running through their capital! even this would have been much more proper for exercising their watermen, than a pond of still-water, not much larger than a cold-bath. I do believe in my conscience that half a dozen English frigates would have been able to defeat both the contending fleets at the famous battle of Actium, which has been so much celebrated in the annals of antiquity, as an event that decided the fate of empire.

It would employ me a whole month to describe the thermae or baths, the vast ruins of which are still to be seen within the walls of Rome, like the remains of so many separate citadels. The thermae Dioclesianae might be termed an august academy for the use and instruction of the Roman people. The pinacotheca of this building was a complete musaeum of all the curiosities of art and nature; and there were public schools for all the sciences. If I may judge by my eye, however, the thermae Antonianae built by Caracalla, were still more extensive and magnificent; they contained cells sufficient for two thousand three hundred persons to bathe at one time, without being seen by one another. They were adorned with all the charms of painting, architecture, and sculpture. The pipes for convoying the water were of silver. Many of the lavacra were of precious marble, illuminated by lamps of chrystal. Among the statues, were found the famous Toro, and Hercole Farnese.

Bathing was certainly necessary to health and cleanliness in a hot country like Italy, especially before the use of linen was known: but these purposes would have been much better answered by plunging into the Tyber, than by using the warm bath in the thermae, which became altogether a point of luxury borrowed from the effeminate Asiatics, and tended to debilitate the fibres already too much relaxed by the heat of the climate. True it is, they had baths of cool water for the summer: but in general they used it milk-warm, and often perfumed: they likewise indulged in vapour-baths, in order to enjoy a pleasing relaxation, which they likewise improved with odoriferous ointments.

The thermae consisted of a great variety of parts and conveniences; the natationes, or swimming places; the portici, where people amused themselves in walking, conversing, and disputing together, as Cicero says, In porticibus deambulantes disputabant; the basilicae, where the bathers a.s.sembled, before they entered, and after they came out of the bath; the atria, or ample courts, adorned with n.o.ble colonnades of Numidian marble and oriental granite; the ephibia, where the young men inured themselves to wrestling and other exercises; the frigidaria, or places kept cool by a constant draught of air, promoted by the disposition and number of the windows; the calidaria, where the water was warmed for the baths; the platanones, or delightful groves of sycamore; the stadia, for the performances of the athletae; the exedrae, or resting-places, provided with seats for those that were weary; the palestrae, where every one chose that exercise which pleased him best; the gymnasia, where poets, orators, and philosophers recited their works, and harangued for diversion; the eleotesia, where the fragrant oils and ointments were kept for the use of the bathers; and the conisteria, where the wrestlers were smeared with sand before they engaged. Of the thermae in Rome, some were mercenary, and some opened gratis. Marcus Agrippa, when he was edile, opened one hundred and seventy private baths, for the use of the people. In the public baths, where money was taken, each person paid a quadrans, about the value of our halfpenny, as Juvenal observes,

Caedere Sylvano porc.u.m, quadrante lavari.

The victim Pig to G.o.d Sylva.n.u.s slay, And for the public Bath a farthing pay.

But after the hour of bathing was past, it sometimes cost a great deal more, according to Martial,

Balnea post decimam, la.s.so centumque petuntur Quadrantes--

The bathing hour is past, the waiter tir'd; An hundred Farthings now will be requir'd.

Though there was no distinction in the places between the first patrician and the lowest plebeian, yet the n.o.bility used their own silver and gold plate, for washing, eating, and drinking in the bath, together with towels of the finest linen. They likewise made use of the instrument called strigil, which was a kind of flesh-brush; a custom to which Persius alludes in this line,

I puer, et strigiles Crispini ad balnea defer.

Here, Boy, this Brush to Crispin's Bagnio bear.

The common people contented themselves with sponges. The bathing time was from noon till the evening, when the Romans ate their princ.i.p.al meal. Notice was given by a bell, or some such instrument, when the baths were opened, as we learn from Juvenal,

Redde Pilam, sonat Aes thermarum, ludere pergis?

Virgine vis sola lotus abdire domum.

Leave off; the Bath Bell rings--what, still play on?

Perhaps the maid in private rubs you down.

There were separate places for the two s.e.xes; and indeed there were baths opened for the use of women only, at the expence of Agrippina, the mother of Nero, and some other matrons of the first quality. The use of bathing was become so habitual to the const.i.tutions of the Romans, that Galen, in his book De Sanitate tuenda, mentions a certain philosopher, who, if he intermitted but one day in his bathing, was certainly attacked with a fever. In order to preserve decorum in the baths, a set of laws and regulations were published, and the thermae were put under the inspection of a censor, who was generally one of the first senators in Rome. Agrippa left his gardens and baths, which stood near the pantheon, to the Roman people: among the statues that adorned them was that of a youth naked, as going into the bath, so elegantly formed by the hand of Lysippus, that Tiberius, being struck with the beauty of it, ordered it to be transferred into his own palace: but the populace raised such a clamour against him, that he was fain to have it reconveyed to its former place. These n.o.ble baths were restored by Adrian, as we read in Spartian; but at present no part of them remains.

With respect to the present state of the old aqueducts, I can give you very little satisfaction. I only saw the ruins of that which conveyed the aqua Claudia, near the Porta Maggiore, and the Piazza of the Lateran. You know there were fourteen of those antient aqueducts, some of which brought water to Rome from the distance of forty miles. The channels of them were large enough to admit a man armed on horseback; and therefore when Rome was besieged by the Goths, who had cut off the water, Belisarius fortified them with works to prevent the enemy from entering the city by those conveyances. After that period, I suppose the antient aqueducts continued dry, and were suffered to run to ruins.

Without all doubt, the Romans were greatly obliged to those benefactors, who raised such stupendous works for the benefit, as well as the embellishment of their city: but it might have been supplied with the same water through pipes at one hundredth part of the expence; and in that case the enemy would not have found it such an easy matter to cut it off. Those popes who have provided the modern city so plentifully with excellent water, are much to be commended for the care and expence, they have bestowed in restoring the streams called acqua Virgine, acqua Felice, and acqua Paolina, which afford such abundance of water as would plentifully supply a much larger city than modern Rome.

It is no wonder that M. Agrippa, the son-in-law, friend, and favourite of Augustus, should at the same time have been the idol of the people, considering how surprisingly he exerted himself for the emolument, convenience, and pleasure of his fellow-citizens. It was he who first conducted this acqua Virgine to Rome: he formed seven hundred reservoirs in the city; erected one hundred and five fountains; one hundred and thirty castella, or conduits, which works he adorned with three hundred statues, and four hundred pillars of marble, in the s.p.a.ce of one year. He also brought into Rome, the aqua Julia, and restored the aqueduct of the aqua Marzia, which had fallen to decay. I have already observed the great number of baths which he opened for the people, and the magnificent thermae, with s.p.a.cious gardens, which he bequeathed to them as a legacy. But these benefactions, great and munificent as they seem to be, were not the most important services he performed for the city of Rome. The common-sewers were first made by order of Tarquinius Priscus, not so much with a view to cleanliness, as by way of subterranean drains to the Velabrum, and in order to carry off the stagnant water, which remained in the lower parts, after heavy rains. The different branches of these channels united at the Forum, from whence by the cloaca Maxima, their contents were conveyed into the Tyber. This great cloaca was the work of Tarquinius Superbus. Other sewers were added by Marcus Cato, and Valerius Flaccus, the censors.

All these drains having been choaked up and ruinous, were cleared and restored by Marcus Agrippa, who likewise undermined the whole city with ca.n.a.ls of the same kind, for carrying of the filth; he strengthened and enlarged the cloaca maxima, so as to make it capable of receiving a large cart loaded with hay; and directed seven streams of water into these subterranean pa.s.sages, in order to keep them always clean and open. If, notwithstanding all these conveniences, Vespasian was put to great expence in removing the ordure from the public streets, we have certainly a right to conclude that the antient Romans were not more cleanly than the modern Italians.

After the mausolea of Augustus, and Adrian, which I have already mentioned, the most remarkable antient sepulchres at Rome, are those of Caius Cestius, and Cecilia Metella. The first, which stands by the Porta di S. Paolo, is a beautiful pyramid, one hundred and twenty feet high, still preserved intire, having a vaulted chamber within-side, adorned with some ancient painting, which is now almost effaced. The building is of brick, but eased with marble. This Caius Cestius had been consul, was very rich, and acted as one of the seven Epulones, who superintended the feasts of the G.o.ds, called Lectisternia, and Pervigilia. He bequeathed his whole fortune to his friend M. Agrippa, who was so generous as to give it up to the relations of the testator.

The monument of Cecilia Metella, commonly called Capo di Bove, is without the walls on the Via Appia. This lady was daughter of Metellus Creticus, and wife to Cra.s.sus, who erected this n.o.ble monument to her memory. It consisted of two orders, or stories, the first of which was a square of hewn stone: the second was a circular tower, having a cornice, adorned with ox heads in ba.s.so relievo, a circ.u.mstance from which it takes the name of Capo di Bove. The ox was supposed to be a most grateful sacrifice to the G.o.ds. Pliny, speaking of bulls and oxen, says,

Hinc victimae optimae et laudatissima deorum placatio.

They were accounted the best Victims and most agreeable to appease the anger of the G.o.ds.

This tower was surmounted by a n.o.ble cupola or dome, enriched with all the ornaments of architecture. The door of the building was of bra.s.s; and within-side the ashes of Cecilia were deposited in a fluted marble urn, of curious workmanship, which is still kept in the Palazzo Farnese. At present the surface of the ground is raised so much as to cover the first order of the edifice: what we see is no more than the round tower, without the dome and its ornaments; and the following inscription still remains near the top, facing the Via Appia.

CAECILLAE Q. CRETICI F.

METELLAE CRa.s.sI.

To Caecilia Metella, Daughter of Q. Criticus: wife of Cra.s.sus.

Now we are talking of sepulchral inscriptions, I shall conclude this letter with the copy of a very singular will, made by Favonius Jocundus, who died in Portugal, by which will the precise situation of the famous temple of Sylva.n.u.s is ascertained.

"Jocundi. Ego gallus Favonius Jocundus P. Favoni F. qui bello contra Viriatum Succubui, Jocundum et Prudentem filios, e me et Quintia Fabia conjuge mea ortos, et Bonorum Jocundi Patris mei, et eorum, quae mihi ipsi acquisivi haeredes relinquo; hac tamen conditione, ut ab urbe Romana huc veniant, et ossa hic mea, intra quinquennium exportent, et via latina condant in sepulchro, jussu meo condito, et mea voluntate; in quo velim neminem mec.u.m, neque servum, neque libertum inseri; et velim ossa quorumcunque sepulchro statim meo eruantur, et jura Romanorum serventur, in sepulchris ritu majorum retinendis, juxta volantatem testatoris; et si secus fecerint, nisi legittimae oriantur causae, velim ea omnia, quae filijs meis relinquo, pro reparando templo dei Sylvani, quod sub viminali monte est, attribui; manesque mei a Pont. max; a flaminibus dialibus, qui in capitolio sunt, opem implorent, ad liberorum meorum impietatem ulciscendam; teneanturque sacerdotes dei Silvani, me in urbem referre, et sepulchro me meo condere. Volo quoque vernas qui domi meae sunt, omnes a praetore urbano liberos, c.u.m matribus dimitti, singulisque libram argenti puri, et vestem unam dori. In Lusitania. In agro VIII. Cal Quintilis, bello viriatino."

I, Gallus Favonius Jocundus, son of P. Favonius, dying in the war against Viriatus, declare my sons Jocundus and Prudens, by my wife Quintia Fabia, joint Heirs of my Estate, real and personal; on condition, however, that they come hither within a time of five years from this my last will, and transport my remains to Rome to be deposited in my Sepulchre built in the via latina by my own order and Direction: and it is my will that neither slave nor freedman shall be interred with me in the said tomb; that if any such there be, they shall be removed, and the Roman law obeyed, in preserving in the antient Form the sepulchre according to the will of the Testator. If they act otherwise without just cause, it is my will that the whole estate, which I now bequeathe to my children, shall be applied to the Reparation of the Temple of the G.o.d Sylva.n.u.s, at the foot of Mount Viminalis; and that my Manes [The Manes were an order of G.o.ds supposed to take cognisance of such injuries.] I shall implore the a.s.sistance of the Pontifex maximus, and the Flaminisdiales in the Capitol, to avenge the Impiety of my children; and the priests of Sylva.n.u.s shall engage to bring my remains to Rome and see them decently deposited in my own Sepulchre. It is also my will that all my domestic slaves shall be declared free by the city Praetor, and dismissed with their mothers, after having received each, a suit of cloaths, and a pound weight of pure silver from my heirs and Executors.--At my farm in Lusitania, July 25. During the Viriatin war.

My paper scarce affords room to a.s.sure you that I am ever,--Dear Sir, Your faithful, etc.

LETTER x.x.xIII

NICE, March 30, 1765.

DEAR SIR,--YOU must not imagine I saw one half of the valuable pictures and statues of Rome; there is such a vast number of both in this capital, that I might have spent a whole year in taking even a transient view of them; and, after all, some of them would have been overlooked. The most celebrated pieces, however, I have seen; and therefore my curiosity is satisfied. Perhaps, if I had the nice discernment and delicate sensibility of a true connoisseur, this superficial glimpse would have served only to whet my appet.i.te, and to detain me the whole winter at Rome. In my progress through the Vatican, I was much pleased with the School of Athens, by Raphael, a piece which hath suffered from the dampness of the air. The four boys attending to the demonstration of the mathematician are admirably varied in the expression. Mr. Webb's criticism on this artist is certainly just. He was perhaps the best ethic painter that ever the world produced. No man ever expressed the sentiments so happily, in visage, att.i.tude, and gesture: but he seems to have had too much phlegm to strike off the grand pa.s.sions, or reach the sublime parts of painting. He has the serenity of Virgil, but wants the fire of Homer. There is nothing in his Parna.s.sus which struck me, but the ludicrous impropriety of Apollo's playing upon a fiddle, for the entertainment of the nine muses. [Upon better information I must retract this censure; in as much, as I find there was really a Musical Instrument among the antients of this Figure, as appears by a small statue in Bronze, to be still seen in the Florentine Collection.]

The Last Judgment, by Buonaroti, in the chapel of Sixtus IV. produced to my eye the same sort of confusion, that perplexes my ear at a grand concert, consisting of a great variety of instruments: or rather, when a number of people are talking all at once. I was pleased with the strength of expression, exhibited in single figures, and separate groupes: but, the whole together is a mere mob, without subordination, keeping, or repose. A painter ought to avoid all subjects that require a multiplicity of groupes and figures; because it is not in the power of that art to unite a great number in one point of view, so as to maintain that dependence which they ought to have upon one another.

Michael Angelo, with all his skill in anatomy, his correctness of design, his grand composition, his fire, and force of expression, seems to have had very little idea of grace. One would imagine he had chosen his kings, heroes, cardinals, and prelates, from among the facchini of Rome: that he really drew his Jesus on the Cross, from the agonies of some vulgar a.s.sa.s.sin expiring on the wheel; and that the originals of his Bambini, with their mothers, were literally found in a stable. In the Sala Regia, from whence the Sistian chapel is detached, we see, among other exploits of catholic heroes, a representation of the ma.s.sacre of the protestants in Paris, Tholouse, and other parts of France, on the eve of St. Bartholomew, thus described in the Descrizione di Roma, "Nella prima pittura, esprime Georgio Vasari l'istoria del Coligni, grand' amiraglio, di Francia, che come capo de ribelli, e degl'ugonotti, fu ucciso; e nell'altra vicina, la strage fatta in Parigi, e nel regno, de rebelli, e degl'Ugonotti." "In the first picture, George Vasari represents the history of Coligni, high admiral of France, who was slain as head of the rebels and huegonots; and in another near it, the slaughter that was made of the rebels and huegonots in Paris and other parts of the kingdom." Thus the court of Rome hath employed their artists to celebrate and perpetuate, as a meritorious action, the most perfidious, cruel, and infamous ma.s.sacre, that ever disgraced the annals of any nation.

I need not mention the two equestrian statues of Constantine the Great, and Charlemagne, which stand at opposite ends of the great portico of St. Peter's church; because there is nothing in them which particularly engaged my attention. The sleeping Cleopatra, as you enter the court of the Belvedere, in the Vatican, is much admired; but I was better pleased with the Apollo, which I take to be the most beautiful statue that ever was formed. The Nile, which lies in the open court, surmounted with the little children, has infinite merit; but is much damaged, and altogether neglected. Whether it is the same described in Pliny, as having been placed by Vespasian in the Temple of Peace, I do not know. The sixteen children playing about it, denoted the swelling of the Nile, which never rose above sixteen cubits. As for the famous groupe of Laoc.o.o.n, it surpa.s.sed my expectation. It was not without reason that Buonaroti called it a portentous work; and Pliny has done it no more than justice in saying it is the most excellent piece that ever was cut in marble; and yet the famous Fulvius Ursini is of opinion that this is not the same statue which Pliny described. His reasons, mentioned by Montfaucon, are these. The statues described by Pliny were of one stone; but these are not. Antonioli, the antiquary, has in his Possession, pieces of Laoc.o.o.n's snakes, which were found in the ground, where the baths of t.i.tus actually stood, agreeable to Pliny, who says these statues were placed in the buildings of t.i.tus. Be that as it may, the work which we now see does honour to antiquity. As you have seen innumerable copies and casts of it, in marble, plaister, copper, lead, drawings, and prints, and read the description of it in Keysler, and twenty other books of travels, I shall say nothing more on the subject; but that neither they nor I, nor any other person, could say too much in its praise. It is not of one piece indeed. In that particular Pliny himself might be mistaken. "Opus omnibus et picturae, et statuariae artis praeponendum. Ex uno lapide eum et Liberos draconumque mirabiles nexus de consilii sententia fecere succubi artifices." "A work preferable to all the other Efforts of Painting and Statuary. The most excellent artists joined their Talents in making the Father and his Sons, together with the admirable Twinings of the Serpents, of one Block." Buonaroti discovered the joinings, though they were so artfully concealed as to be before invisible. This amazing groupe is the work of three Rhodian sculptors, called Agesander, Polydore, and Athenodorus, and was found in the thermae of t.i.tus Vespasian, still supposing it to be the true antique. As for the torso, or mutilated trunk of a statue, which is called the school of Michael Angelo, I had not time to consider it attentively; nor taste enough to perceive its beauties at first sight. The famous horses on Monte Cavallo, before the pope's palace, which are said to have been made in emulation, by Phidias and Praxiteles, I have seen, and likewise those in the front of the Capitol, with the statues of Castor and Pollux; but what pleased me infinitely more than all of them together, is the equestrian statue of Corinthian bra.s.s, standing in the middle of this Piazza (I mean at the Capitol) said to represent the emperor Marcus Aurelius. Others suppose it was intended for Lucius Verus; a third set of antiquaries contend for Lucius Septimius Severus; and a fourth, for Constantine, because it stood in the Piazza of the Lateran palace, built by that emperor, from whence pope Paul III. caused it to be removed to the Capitol. I considered the trophy of Marius as a very curious piece of sculpture, and admired the two sphinxes at the bottom of the stairs leading to this Piazza, as the only good specimens of design I have ever seen from Aegypt: for the two idols of that country, which stand in the ground floor of the Musaeum of the Capitol, and indeed all the Aegyptian statues in the Camera Aegyptiaca of this very building, are such monstrous misrepresentations of nature, that they never could have obtained a place among the statues of Rome, except as curiosities of foreign superst.i.tion, or on account of the materials, as they are generally of basaltes, porphyry, or oriental granite.

At the farther end of the court of this Musaeum, fronting the entrance, is a handsome fountain, with the statue of a river-G.o.d reclining on his urn; this is no other than the famous Marforio, so called from its having been found in Martis Fore. It is remarkable only as being the conveyance of the answers to the satires which are found pasted upon Pasquin, another mutilated statue, standing at the corner of a street.

The marble coffin, supposed to have contained the ashes of Alexander Severus, which we find in one of these apartments, is a curious antique, valuable for its sculpture in ba.s.so relievo, especially for the figures on the cover, representilig that emperor and his mother Julia Mammea.

I was sorry I had not time to consider the antient plan of Rome, disposed in six cla.s.ses, on the stair-case of this Musaeum, which was brought hither from a temple that stood in the Forum Boarium, now called Campo vaccine.

It would be ridiculous in me to enter into a detail of the vast collection of marbles, ba.s.so relievos, inscriptions, urns, busts, and statues, which are placed in the upper apartments of this edifice. I saw them but once, and then I was struck with the following particulars. A baccha.n.a.lian drunk; a Jupiter and Leda, at least equal to that in the gallery at Florence; an old praesica, or hired mourner, very much resembling those wrinkled hags still employed in Ireland, and in the Highlands of Scotland, to sing the coronach at funerals, in praise of the deceased; the famous Antinous, an elegant figure, which Pousin studied as canon or rule of symmetry; the two fauns; and above all the mirmillone, or dying gladiator; the att.i.tude of the body, the expression of the countenance, the elegance of the limbs, and the swelling of the muscles, in this statue, are universally admired; but the execution of the back is incredibly delicate. The course of the muscles called longissimi dorsi, are so naturally marked and tenderly executed, that the marble actually emulates the softness of the flesh; and you may count all the spines of the vertebrae, raising up the skin as in the living body; yet this statue, with all its merit, seems inferior to the celebrated dying gladiator of Ctesilas, as described by Pliny, who says the expression of it was such, as appears altogether incredible. In the court, on the opposite side of the Capitol, there is an admirable statue of a lion devouring an horse, which was found by the gate of Ostia, near the pyramid of Caius Cestius; and here on the left hand, under a colonade, is what they call the Columna Rostrata, erected in honour of Caius Duilius, who first triumphed over the Carthaginians by sea. But this is a modern pillar, with the old inscription, which is so defaced as not to be legible. Among the pictures in the gallery and saloon above, what pleased me most was the Bacchus and Ariadne of Guido Rheni; and the wolf suckling Romulus and Remus, by Rubens. The court of the Palazzo Farnese is surrounded with antique statues, among which the most celebrated are, the Flora, with a most delicate drapery; the gladiator, with a dead boy over his shoulder; the Hercules, with the spoils of the Nemean lion, but that which the connoisseurs justly esteem above all the rest is Hercules, by Glycon, which you know as well as I do, by the great reputation it has acquired. This admirable statue having been found without the legs, these were supplied by Gulielmo de la Porta so happily, that when afterwards the original limbs were discovered, Michael Angelo preferred those of the modern artist, both in grace and proportion; and they have been retained accordingly. In a little house, or shed, behind the court, is preserved the wonderful group of Dirce, commonly called the Toro Farnese, which was brought hither from the thermae Caracallae.

There is such spirit, ferocity, and indignant resistance expressed in the bull, to whose horns Dirce is tied by the hair, that I have never seen anything like it, either upon canva.s.s, or in stone. The statues of the two brothers endeavouring to throw him into the sea are beautiful figures, finely contrasted; and the rope, which one of them holds in a sort of loose coil, is so surprisingly chizzelled, that one can hardly believe it is of stone. As for Dirce herself, she seems to be but a subaltern character; there is a dog upon his hind legs barking at the bull, which is much admired. This amazing groupe was cut out of one stone, by Appollonius and Tauriscus, two sculptors of Rhodes; and is mentioned by Pliny in the thirty-sixth book of his Natural History. All the precious monuments of art, which have come down to us from antiquity, are the productions of Greek artists. The Romans had taste enough to admire the arts of Greece, as plainly appears by the great collections they made of their statues and pictures, as well as by adopting their architecture and musick: but I do not remember to have read of any Roman who made a great figure either as a painter or a statuary. It is not enough to say those professions were not honourable in Rome, because painting, sculpture, and musick, even rhetoric, physic, and philosophy were practised and taught by slaves. The arts were always honoured and revered at Rome, even when the professors of them happened to be slaves by the accidents and iniquity of fortune.

The business of painting and statuary was so profitable, that in a free republic, like that of Rome, they must have been greedily embraced by a great number of individuals: but, in all probability, the Roman soil produced no extraordinary genius for those arts. Like the English of this day, they made a figure in poetry, history, and ethics; but the excellence of painting, sculpture, architecture, and music, they never could attain. In the Palazzo Picchini I saw three beautiful figures, the celebrated statues of Meleager, the boar, and dog; together with a wolf, of excellent workmanship. The celebrated statue of Moses, by Michael Angelo, in the church of St. Peter in Vincula, I beheld with pleasure; as well as that of Christ, by the same hand, in the Church of S. Maria sopra Minerva. The right foot, covered with bronze, gilt, is much kissed by the devotees. I suppose it is looked upon as a specific for the toothache; for, I saw a cavalier, in years, and an old woman successively rub their gums upon it, with the appearance of the most painful perseverance.