Travels Through France And ItalyPart 6 out of 8wonderful fluency and precision. Thus he will, at a minute's warning, recite two or three hundred verses, well turned, and well adapted, and generally mingled with an elegant compliment to the company. The Italians are so fond of poetry, that many of them, have the best part of Ariosto, Tasso, and Petrarch, by heart; and these are the great sources from which the Improvisatori draw their rhimes, cadence, and turns of expression. But, lest you should think there is neither rhime nor reason in protracting this tedious epistle, I shall conclude it with the old burden of my song, that I am always--Your affectionate humble servant. LETTER XXVIII NICE, February 5, 1765. DEAR SIR,--Your entertaining letter of the fifth of last month, was a very charitable and a very agreeable donation: but your suspicion is groundless. I assure you, upon my honour, I have no share whatever in any of the disputes which agitate the public: nor do I know any thing of your political transactions, except what I casually see in one of your newspapers, with the perusal of which I am sometimes favoured by our consul at Villefranche. You insist upon my being more particular in my remarks on what I saw at Florence, and I shall obey the injunction. The famous gallery which contains the antiquities, is the third story of a noble stone-edifice, built in the form of the Greek Pi, the upper part fronting the river Arno, and one of the legs adjoining to the ducal-palace, where the courts of justice are held. As the house of Medici had for some centuries resided in the palace of Pitti, situated on the other side of the river, a full mile from these tribunals, the architect Vasari, who planned the new edifice, at the same time contrived a corridore, or covered passage, extending from the palace of Pitti along one of the bridges, to the gallery of curiosities, through which the grand- duke passed unseen, when he was disposed either to amuse himself with his antiquities, or to assist at his courts of judicature: but there is nothing very extraordinary either in the contrivance or execution of this corridore. If I resided in Florence I would give something extraordinary for permission to walk every day in the gallery, which I should much prefer to the Lycaeum, the groves of Academus, or any porch or philosophical alley in Athens or in Rome. Here by viewing the statues and busts ranged on each side, I should become acquainted with the faces of all the remarkable personages, male and female, of antiquity, and even be able to trace their different characters from the expression of their features. This collection is a most excellent commentary upon the Roman historians, particularly Suetonius and Dion Cassius. There was one circumstance that struck me in viewing the busts of Caracalla, both here and in the Capitol at Rome; there was a certain ferocity in the eyes, which seemed to contradict the sweetness of the other features, and remarkably justified the epithet Caracuyl, by which he was distinguished by the antient inhabitants of North-Britain. In the language of the Highlanders caracuyl signifies cruel eye, as we are given to understand by the ingenious editor of Fingal, who seems to think that Caracalla is no other than the Celtic word, adapted to the pronunciation of the Romans: but the truth is, Caracalla was the name of a Gaulish vestment, which this prince affected to wear; and hence he derived that surname. The Caracuyl of the Britons, is the same as the upodra idon of the Greeks, which Homer has so often applied to his Scolding Heroes. I like the Bacchanalian, chiefly for the fine drapery. The wind, occasioned by her motion, seems to have swelled and raised it from the parts of the body which it covers. There is another gay Bacchanalian, in the attitude of dancing, crowned with ivy, holding in her right hand a bunch of grapes, and in her left the thyrsus. The head of the celebrated Flora is very beautiful: the groupe of Cupid and Psyche, however, did not give me all the pleasure I expected from it. Of all the marbles that appear in the open gallery, the following are those I most admire. Leda with the Swan; as for Jupiter, in this transformation, he has much the appearance of a goose. I have not seen any thing tamer; but the sculptor has admirably shewn his art in representing Leda's hand partly hid among the feathers, which are so lightly touched off, that the very shape of the fingers are seen underneath. The statue of a youth, supposed to be Ganymede, is compared by the connoisseurs to the celebrated Venus, and as far as I can judge, not without reason: it is however, rather agreeable than striking, and will please a connoisseur much more than a common spectator. I know not whether it is my regard to the faculty that inhances the value of the noted Esculapius, who appears with a venerable beard of delicate workmanship. He is larger than the life, cloathed in a magnificent pallium, his left arm resting on a knotted staff, round which the snake is twined according to Ovid. Hunc modo serpentem baculum qui nexibus ambit Perspice-- Behold the snake his mystic Rod intwine. He has in his hand the fascia herbarum, and the crepidae on his feet. There is a wild-boar represented lying on one side, which I admire as a master-piece. The savageness of his appearance is finely contrasted with the case and indolence of the attitude. Were I to meet with a living boar lying with the same expression, I should be tempted to stroke his bristles. Here is an elegant bust of Antinous, the favourite of Adrian; and a beautiful head of Alexander the Great, turned on one side, with an expression of languishment and anxiety in his countenance. The virtuosi are not agreed about the circumstance in which he is represented; whether fainting with the loss of blood which he suffered in his adventure at Oxydrace; or languishing with the fever contracted by bathing in the Cydnus; or finally complaining to his father Jove, that there were no other worlds for him to conquer. The kneeling Narcissus is a striking figure, and the expression admirable. The two Bacchi are perfectly well executed; but (to my shame be it spoken) I prefer to the antique that which is the work of Michael Angelo Buonaroti, concerning which the story is told which you well know. The artist having been blamed by some pretended connoisseurs, for not imitating the manner of the ancients, is said to have privately finished this Bacchus, and buried it, after having broke off an arm, which he kept as a voucher. The statue, being dug up by accident, was allowed by the best judges, to be a perfect antique; upon which Buonaroti produced the arm, and claimed his own work. Bianchi looks upon this as a fable; but owns that Vasari tells such another of a child cut in marble by the same artist, which being carried to Rome, and kept for some time under ground, was dug up as an antique, and sold for a great deal of money. I was likewise attracted by the Morpheus in touchstone, which is described by Addison, who, by the bye, notwithstanding all his taste, has been convicted by Bianchi of several gross blunders in his account of this gallery. With respect to the famous Venus Pontia, commonly called de Medicis, which was found at Tivoli, and is kept in a separate apartment called the Tribuna, I believe I ought to be intirely silent, or at least conceal my real sentiments, which will otherwise appear equally absurd and presumptuous. It must be want of taste that prevents my feeling that enthusiastic admiration with which others are inspired at sight of this statue: a statue which in reputation equals that of Cupid by Praxiteles, which brought such a concourse of strangers of old to the little town of Thespiae. I cannot help thinking that there is no beauty in the features of Venus; and that the attitude is aukward and out of character. It is a bad plea to urge that the antients and we differ in the ideas of beauty. We know the contrary, from their medals, busts, and historians. Without all doubt, the limbs and proportions of this statue are elegantly formed, and accurately designed, according to the nicest rules of symmetry and proportion; and the back parts especially are executed so happily, as to excite the admiration of the most indifferent spectator. One cannot help thinking it is the very Venus of Cnidos by Praxiteles, which Lucian describes. "Hercle quanta dorsi concinnitas! ut exuberantes lumbi amplexantes manus implent! quam scite circumductae clunium pulpae in se rotundantur, neque tenues nimis ipsis ossibus adstrictae, neque in immensam effusae Pinguedinem!" That the statue thus described was not the Venus de Medicis, would appear from the Greek inscription on the base, KLEOMENIS APPOLLODOROI ATHINAIOS EPOESEI. Cleomenes filius Apollodori fecit; did we not know that this inscription is counted spurious, and that instead of EPOESEI, it should be EPOIESE. This, however, is but a frivolous objection, as we have seen many inscriptions undoubtedly antique, in which the orthography is false, either from the ignorance or carelessness of the sculptor. Others suppose, not without reason, that this statue is a representation of the famous Phryne, the courtesan of Athens, who at the celebration of the Eleusinian games, exhibited herself coming out of the bath, naked, to the eyes of the whole Athenian people. I was much pleased with the dancing faun; and still better with the Lotti, or wrestlers, the attitudes of which are beautifully contrived to shew the different turns of the limbs, and the swelling of the muscles: but, what pleased me best of all the statues in the Tribuna was the Arrotino, commonly called the Whetter, and generally supposed to represent a slave, who in the act of whetting a knife, overhears the conspiracy of Catiline. You know he is represented on one knee; and certain it is, I never saw such an expression of anxious attention, as appears in his countenance. But it is not mingled with any marks of surprise, such as could not fail to lay hold on a man who overhears by accident a conspiracy against the state. The marquis de Maffei has justly observed that Sallust, in his very circumstantial detail of that conspiracy, makes no mention of any such discovery. Neither does it appear that the figure is in the act of whetting, the stone which he holds in one hand being rough and unequal no ways resembling a whetstone. Others alledge it represents Milico, the freedman of Scaevinus, who conspired against the life of Nero, and gave his poignard to be whetted to Milico, who presented it to the emperor, with an account of the conspiracy: but the attitude and expression will by no means admit of this interpretation. Bianchi, [This antiquarian is now imprisoned for Life, for having robbed the Gallery and then set it on fire.] who shows the gallery, thinks the statue represents the augur Attius Navius, who cut a stone with a knife, at the command of Tarquinius Priscus. This conjecture seems to be confirmed by a medallion of Antoninus Pius, inserted by Vaillant among his Numismata Prestantiora, on which is delineated nearly such a figure as this in question, with the following legend. "Attius Navius genuflexus ante Tarquinium Priscum cotem cultro discidit." He owns indeed that in the statue, the augur is not distinguished either by his habit or emblems; and he might have added, neither is the stone a cotes. For my own part, I think neither of these three opinions is satisfactory, though the last is very ingenious. Perhaps the figure allude to a private incident, which never was recorded in any history. Among the great number of pictures in this Tribuna, I was most charmed with the Venus by Titian, which has a sweetness of expression and tenderness of colouring, not to be described. In this apartment, they reckon three hundred pieces, the greatest part by the best masters, particularly by Raphael, in the three manners by which he distinguished himself at different periods of his life. As for the celebrated statue of the hermaphrodite, which we find in another room, I give the sculptor credit for his ingenuity in mingling the sexes in the composition; but it is, at best, no other than a monster in nature, which I never had any pleasure in viewing: nor, indeed, do I think there was much talent required in representing a figure with the head and breasts of a woman, and all the other parts of the body masculine. There is such a profusion of curiosities in this celebrated musaeum; statues, busts, pictures, medals, tables inlaid in the way of marquetry, cabinets adorned with precious stones, jewels of all sorts, mathematical instruments, antient arms and military machines, that the imagination is bewildered, and a stranger of a visionary turn, would be apt to fancy himself in a palace of the fairies, raised and adorned by the power of inchantment. In one of the detached apartments, I saw the antependium of the altar, designed for the famous chapel of St. Lorenzo. It is a curious piece of architecture, inlaid with coloured marble and precious stones, so as to represent an infinite variety of natural objects. It is adorned with some crystal pillars, with capitals of beaten gold. The second story of the building is occupied by a great number of artists employed in this very curious work of marquetry, representing figures with gems and different kinds of coloured marble, for the use of the emperor. The Italians call it pietre commesse, a sort of inlaying with stones, analogous to the fineering of cabinets in wood. It is peculiar to Florence, and seems to be still more curious than the Mosaic work, which the Romans have brought to great perfection. The cathedral of Florence is a great Gothic building, encrusted on the outside with marble; it is remarkable for nothing but its cupola, which is said to have been copied by the architect of St. Peter's at Rome, and for its size, which is much greater than that of any other church in Christendom. [In this cathedral is the Tomb of Johannes Acutus Anglus, which a man would naturally interpret as John Sharp; but his name was really Hawkwood, which the Italians have corrupted into Acut. He was a celebrated General or Condottiere who arrived in Italy at the head of four thousand soldiers of fortune, mostly Englishmen who had served with him in the army of King Edward III., and were dismissed at the Peace of Bontigny. Hawkwood greatly distinguished himself in Italy by his valour and conduct, and died a very old man in the Florentine service. He was the son of a Tanner in Essex, and had been put apprentice to a Taylor.] The baptistery, which stands by it, was an antient temple, said to be dedicated to Mars. There are some good statues of marble within; and one or two of bronze on the outside of the doors; but it is chiefly celebrated for the embossed work of its brass gates, by Lorenzo Ghiberti, which Buonaroti used to say, deserved to be made the gates of Paradise. I viewed them with pleasure: but still I retained a greater veneration for those of Pisa, which I had first admired: a preference which either arises from want of taste, or from the charm of novelty, by which the former were recommended to my attention. Those who would have a particular detail of every thing worth seeing at Florence, comprehending churches, libraries, palaces, tombs, statues, pictures, fountains, bridge, etc. may consult Keysler, who is so laboriously circumstantial in his descriptions, that I never could peruse them, without suffering the headache, and recollecting the old observation, that the German genius lies more in the back than in the brain. I was much disappointed in the chapel of St. Lorenzo. Notwithstanding the great profusion of granite, porphyry, jasper, verde antico, lapis-lazuli, and other precious stones, representing figures in the way of marquetry, I think the whole has a gloomy effect. These pietre commesse are better calculated for cabinets, than for ornaments to great buildings, which ought to be large masses proportioned to the greatness of the edifice. The compartments are so small, that they produce no effect in giving the first impression when one enters the place; except to give an air of littleness to the whole, just as if a grand saloon was covered with pictures painted in miniature. If they have as little regard to proportion and perspective, when they paint the dome, which is not yet finished, this chapel will, in my opinion, remain a monument of ill taste and extravagance. The court of the palace of Pitti is formed by three sides of an elegant square, with arcades all round, like the palace of Holyrood house at Edinburgh; and the rustic work, which constitutes the lower part of the building, gives it an air of strength and magnificence. In this court, there is a fine fountain, in which the water trickles down from above; and here is also an admirable antique statue of Hercules, inscribed LUSIPPOI ERGON, the work of Lysippus. The apartments of this palace are generally small, and many of them dark. Among the paintings the most remarkable is the Madonna de la Seggiola, by Raphael, counted one of the best coloured pieces of that great master. If I was allowed to find fault with the performance, I should pronounce it defective in dignity and sentiment. It is the expression of a peasant rather than of the mother of God. She exhibits the fondness and joy of a young woman towards her firstborn son, without that rapture of admiration which we expect to find in the Virgin Mary, while she contemplates, in the fruit of her own womb, the Saviour of mankind. In other respects, it is a fine figure, gay, agreeable, and very expressive of maternal tenderness; and the bambino is extremely beautiful. There was an English painter employed in copying this picture, and what he had done was executed with great success. I am one of those who think it very possible to imitate the best pieces in such a manner, that even the connoisseurs shall not be able to distinguish the original from the copy. After all, I do not set up for a judge in these matters, and very likely I may incur the ridicule of the virtuosi for the remarks I have made: but I am used to speak my mind freely on all subjects that fall under the cognizance of my senses; though I must as freely own, there is something more than common sense required to discover and distinguish the more delicate beauties of painting. I can safely say, however, that without any daubing at all, I am, very sincerely--Your affectionate humble servant. LETTER XXIX NICE, February 20, 1765. DEAR SIR,--Having seen all the curiosities of Florence, and hired a good travelling coach for seven weeks, at the price of seven zequines, something less than three guineas and a half, we set out post for Rome, by the way of Sienna, where we lay the first night. The country through which we passed is mountainous but agreeable. Of Sienna I can say nothing from my own observation, but that we were indifferently lodged in a house that stunk like a privy, and fared wretchedly at supper. The city is large and well built: the inhabitants pique themselves upon their politeness, and the purity of their dialect. Certain it is, some strangers reside in this place on purpose to learn the best pronunciation of the Italian tongue. The Mosaic pavement of their duomo, or cathedral, has been much admired; as well as the history of Aeneas Sylvius, afterwards pope Pius II., painted on the walls of the library, partly by Pietro Perugino, and partly by his pupil Raphael D'Urbino. Next day, at Buon Convento, where the emperor Henry VII. was poisoned by a friar with the sacramental wafer, I refused to give money to the hostler, who in revenge put two young unbroke stone-horses in the traces next to the coach, which became so unruly, that before we had gone a quarter of a mile, they and the postilion were rolling in the dust. In this situation they made such efforts to disengage themselves, and kicked with such violence, that I imagined the carriage and all our trunks would have been beaten in pieces. We leaped out of the coach, however, without sustaining any personal damage, except the fright; nor was any hurt done to the vehicle. But the horses were terribly bruised, and almost strangled, before they could be disengaged. Exasperated at the villany of the hostler, I resolved to make a complaint to the uffiziale or magistrate of the place. I found him wrapped in an old, greasy, ragged, great-coat, sitting in a wretched apartment, without either glass, paper, or boards in the windows; and there was no sort of furniture but a couple of broken chairs and a miserable truckle-bed. He looked pale, and meagre, and had more the air of a half-starved prisoner than of a magistrate. Having heard my complaint, he came forth into a kind of outward room or bellfrey, and rung a great bell with his own hand. In consequence of this signal, the postmaster came up stairs, and I suppose he was the first man in the place, for the uffiziale stood before him cap-in-hand, and with great marks of humble respect repeated the complaint I had made. This man assured me, with an air of conscious importance, that he himself had ordered the hostler to supply me with those very horses, which were the best in his stable; and that the misfortune which happened was owing to the misconduct of the fore-postilion, who did not keep the fore-horses to a proper speed proportioned to the mettle of the other two. As he took the affair upon himself, and I perceived had an ascendancy over the magistrate, I contented myself with saying, I was certain the two horses had been put to the coach on purpose, either to hurt or frighten us; and that since I could not have justice here I would make a formal complaint to the British minister at Florence. In passing through the street to the coach, which was by this time furnished with fresh horses, I met the hostler, and would have caned him heartily; but perceiving my intention, he took to his heels and vanished. Of all the people I have ever seen, the hostlers, postilions, and other fellows hanging about the post-houses in Italy, are the most greedy, impertinent, and provoking. Happy are those travellers who have phlegm enough to disregard their insolence and importunity: for this is not so disagreeable as their revenge is dangerous. An English gentleman at Florence told me, that one of those fellows, whom he had struck for his impertinence, flew at him with a long knife, and he could hardly keep him at sword's point. All of them wear such knives, and are very apt to use them on the slightest provocation. But their open attacks are not so formidable as their premeditated schemes of revenge; in the prosecution of which the Italians are equally treacherous and cruel. This night we passed at a place called Radicofani, a village and fort, situated on the top of a very high mountain. The inn stands still lower than the town. It was built at the expence of the last grand-duke of Tuscany; is very large, very cold, and uncomfortable. One would imagine it was contrived for coolness, though situated so high, that even in the midst of summer, a traveller would be glad to have a fire in his chamber. But few, or none of them have fireplaces, and there is not a bed with curtains or tester in the house. All the adjacent country is naked and barren. On the third day we entered the pope's territories, some parts of which are delightful. Having passed Aqua-Pendente, a beggarly town, situated on the top of a rock, from whence there is a romantic cascade of water, which gives it the name, we travelled along the side of the lake Bolsena, a beautiful piece of water about thirty miles in circuit, with two islands in the middle, the banks covered with noble plantations of oak and cypress. The town of Bolsena standing near the ruins of the antient Volsinium, which was the birth-place of Sejanus, is a paultry village; and Montefiascone, famous for its wine, is a poor, decayed town in this neighbourhood, situated on the side of a hill, which, according to the author of the Grand Tour, the only directory I had along with me, is supposed to be the Soracte of the ancients. If we may believe Horace, Soracte was visible from Rome: for, in his ninth ode, addressed to Thaliarchus, he says, Vides, ut alta stet nive candidum Soracte-- You see how deeply wreathed with snow Soracte lifts his hoary head, but, in order to see Montefiascone, his eyesight must have penetrated through the Mons Cyminus, at the foot of which now stands the city of Viterbo. Pliny tells us, that Soracte was not far from Rome, haud procul ab urbe Roma; but Montefiascone is fifty miles from this city. And Desprez, in his notes upon Horace, says it is now called Monte S. Oreste. Addison tells us he passed by it in the Campania. I could not without indignation reflect upon the bigotry of Mathilda, who gave this fine country to the see of Rome, under the dominion of which no country was ever known to prosper. About half way between Montefiascone and Viterbo, one of our fore-wheels flew off, together with a large splinter of the axle-tree; and if one of the postilions had not by great accident been a remarkably ingenious fellow, we should have been put to the greatest inconvenience, as there was no town, or even house, within several miles. I mention this circumstance, by way of warning to other travellers, that they may provide themselves with a hammer and nails, a spare iron-pin or two, a large knife, and bladder of grease, to be used occasionally in case of such misfortune. The mountain of Viterbo is covered with beautiful plantations and villas belonging to the Roman nobility, who come hither to make the villegiatura in summer. Of the city of Viterbo I shall say nothing, but that it is the capital of that country which Mathilda gave to the Roman see. The place is well built, adorned with public fountains, and a great number of churches and convents; yet far from being populous, the whole number of inhabitants, not exceeding fifteen thousand. The post-house is one of the worst inns I ever entered. After having passed this mountain, the Cyminus of the antients, we skirted part of the lake, which is now called de Vico, and whose banks afford the most agreeable rural prospects of hill and vale, wood, glade and water, shade and sun-shine. A few other very inconsiderable places we passed, and descended into the Campania of Rome, which is almost a desert. The view of this country in its present situation, cannot but produce emotions of pity and indignation in the mind of every person who retains any idea of its antient cultivation and fertility. It is nothing but a naked withered down, desolate and dreary, almost without inclosure, corn-field, hedge, tree, shrub, house, hut, or habitation; exhibiting here and there the ruins of an antient castellum, tomb, or temple, and in some places the remains of a Roman via. I had heard much of these antient pavements, and was greatly disappointed when I saw them. The Via Cassia or Cymina is paved with broad, solid, flint-stones, which must have greatly incommoded the feet of horses that travelled upon it as well as endangered the lives of the riders from the slipperiness of the pavement: besides, it is so narrow that two modern carriages could not pass one another upon it, without the most imminent hazard of being overturned. I am still of opinion that we excel the ancient Romans in understanding the conveniences of life. The Grand Tour says, that within four miles of Rome you see a tomb on the roadside, said to be that of Nero, with sculpture in basso-relievo at both ends. I did see such a thing more like a common grave-stone, than the tomb of an emperor. But we are informed by Suetonius, that the dead body of Nero, who slew himself at the villa of his freedman, was by the care of his two nurses and his concubine Atta, removed to the sepulchre of the Gens Domitia, immediately within the Porta del Popolo, on your left hand as you enter Rome, precisely on the spot where now stands the church of S. Maria del Popolo. His tomb was even distinguished by an epitaph, which has been preserved by Gruterus. Giacomo Alberici tells us very gravely in his History of the Church, that a great number of devils, who guarded the bones of this wicked emperor, took possession, in the shape of black ravens, of a walnut-tree, which grew upon the spot; from whence they insulted every passenger, until pope Paschal II., in consequence of a solemn fast and a revelation, went thither in procession with his court and cardinals, cut down the tree, and burned it to ashes, which, with the bones of Nero, were thrown into the Tyber: then he consecrated an altar on the place, where afterwards the church was built. You may guess what I felt at first sight of the city of Rome, which, notwithstanding all the calamities it has undergone, still maintains an august and imperial appearance. It stands on the farther side of the Tyber, which we crossed at the Ponte Molle, formerly called Pons Milvius, about two miles from the gate by which we entered. This bridge was built by Aemilius Censor, whose name it originally bore. It was the road by which so many heroes returned with conquest to their country; by which so many kings were led captive to Rome; and by which the ambassadors of so many kingdoms and states approached the seat of empire, to deprecate the wrath, to sollicit the friendship, or sue for the protection of the Roman people. It is likewise famous for the defeat and death of Maxentius, who was here overcome by Constantine the Great. The space between the bridge and Porta del Popolo, on the right-hand, which is now taken up with gardens and villas, was part of the antient Campus Martius, where the comitiae were held; and where the Roman people inured themselves to all manner of exercises: it was adorned with porticos, temples, theatres, baths, circi, basilicae, obelisks, columns, statues, and groves. Authors differ in their opinions about the extent of it; but as they all agree that it contained the Pantheon, the Circus Agonis, now the Piazza Navona, the Bustum and Mausoleum Augusti, great part of the modern city must be built upon the ancient Campus Martius. The highway that leads from the bridge to the city, is part of the Via Flaminia, which extended as far as Rimini; and is well paved, like a modern street. Nothing of the antient bridge remains but the piles; nor is there any thing in the structure of this, or of the other five Roman bridges over the Tyber, that deserves attention. I have not seen any bridge in France or Italy, comparable to that of Westminster either in beauty, magnificence, or solidity; and when the bridge at Black-Friars is finished, it will be such a monument of architecture as all the world cannot parallel. As for the Tyber, it is, in comparison with the Thames, no more than an inconsiderable stream, foul, deep, and rapid. It is navigable by small boats, barks, and lighters; and, for the conveniency of loading and unloading them, there is a handsome quay by the new custom-house, at the Porto di Ripetta, provided with stairs of each side, and adorned with an elegant fountain, that yields abundance of excellent water. We are told that the bed of this river has been considerably raised by the rubbish of old Rome, and this is the reason usually given for its being so apt to overflow its banks. A citizen of Rome told me, that a friend of his lately digging to lay the foundation of a new house in the lower part of the city, near the bank of the river, discovered the pavement of an antient street, at the depth of thirty-nine feet from the present surface of the earth. He therefore concluded that modern Rome is near forty feet higher in this place, than the site of the antient city, and that the bed of the river is raised in proportion; but this is altogether incredible. Had the bed of the Tyber been antiently forty feet lower at Rome, than it is at present, there must have been a fall or cataract in it immediately above this tract, as it is not pretended that the bed of it is raised in any part above the city; otherwise such an elevation would have obstructed its course, and then it would have overflowed the whole Campania. There is nothing extraordinary in its present overflowings: they frequently happened of old, and did great mischief to the antient city. Appian, Dio, and other historians, describe an inundation of the Tiber immediately after the death of Julius Caesar, which inundation was occasioned by the sudden melting of a great quantity of snow upon the Apennines. This calamity is recorded by Horace in his ode to Augustus. 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 grassy 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 noble piazza, from whence three of the principal 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 principal 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, intitled, Roma antica, e moderna, which contains a description of everything remarkable in and about the city, illustrated 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 coxcombs, 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 assistance 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 assembly, 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 XXX 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 quantities 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 noble 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 noble 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 encumbered with the putrefying carcasses 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 coxcombs 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 petit-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 space 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 passing 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 noble piece of architecture, almost entire; with the remains of the Meta Sudans before it; and fronting you, the noble 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 Titus Vespasian. In the same quarter was the Circus Maximus; and the whole space 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 spacious 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 assemblage 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 masses 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 space 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 noble 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 glass 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, basso 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 noble, 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 morasses? 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 superstitious 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 assault; 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 noble 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, cum 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, assuring you that I ever am,--Yours most affectionately. LETTER XXXI 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 space 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 noble 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, canals, 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 encumber 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 basso 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 brass; and the famous hermaphrodite, which vies with that of Florence: though the most curious circumstance of this article, is the mattrass 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 superincumbent 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 attitude 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 manus 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 assemblage 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 attitude 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 attitudes 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 glassyness (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 pagod, 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 brass or stone, when thrown into large masses, 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 Identitate Cathedrae Romanae, Of the Identity of the Roman Chair. The implements of popish superstition; such as relicks of pretended saints, ill-proportioned spires and bellfreys, and the nauseous repetition 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 assassinating 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 brass 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, basso 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 cockpit, open at top. The portico which Agrippa added to the building, is undoubtedly very noble, 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 tile 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 brass 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 brass 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 glass, 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) circumstantial. 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 assuredly. LETTER XXXII 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. 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 circumference; 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 Titus, 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 illustrium, 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 passage 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 assumed 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 space, adorned with temples, statues, and two great obelisks; as well as by the euripus, or canal, 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 amusement 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 canal: 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 instituted 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 classium, effosso, et circumducto 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 advertisement 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 assembled, before they entered, and after they came out of the bath; the atria, or ample courts, adorned with noble 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 porcum, quadrante lavari. The victim Pig to God Sylvanus 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, lasso 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 nobility 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 principal 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 sexes; 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 constitutions 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 noble 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 space 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 spacious 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 canals 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 passages, 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 gods, 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 Crassus, who erected this noble 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 basso relievo, a circumstance from which it takes the name of Capo di Bove. The ox was supposed to be a most grateful sacrifice to the gods. 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 Gods. This tower was surmounted by a noble cupola or dome, enriched with all the ornaments of architecture. The door of the building was of brass; 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 CRASSI. To Caecilia Metella, Daughter of Q. Criticus: wife of Crassus. 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 Sylvanus 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 mecum, 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, cum 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 God Sylvanus, at the foot of Mount Viminalis; and that my Manes [The Manes were an order of Gods supposed to take cognisance of such injuries.] I shall implore the assistance of the Pontifex maximus, and the Flaminisdiales in the Capitol, to avenge the Impiety of my children; and the priests of Sylvanus 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 assure you that I am ever,--Dear Sir, Your faithful, etc. LETTER XXXIII 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 appetite, 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, attitude, and gesture: but he seems to have had too much phlegm to strike off the grand passions, or reach the sublime parts of painting. He has the serenity of Virgil, but wants the fire of Homer. There is nothing in his Parnassus 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 assassin 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 massacre 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 massacre, 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 Laocoon, it surpassed 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 Laocoon's snakes, which were found in the ground, where the baths of Titus actually stood, agreeable to Pliny, who says these statues were placed in the buildings of Titus. 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 Titus 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 brass, 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 superstition, 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-god 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 basso 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 classes, 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, basso 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 bacchanalian 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 attitude 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 canvass, 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. You need not doubt but that I went to the church of St. Peter in Montorio, to view the celebrated Transfiguration, by Raphael, which, if it was mine, I would cut in two parts. The three figures in the air attract the eye so strongly, that little or no attention is payed to those below on the mountain. I apprehend that the nature of the subject does not admit of that keeping and dependence, which ought to be maintained in the disposition of the lights and shadows in a picture. The groupes seem to be intirely independent of each other. The extraordinary merit of this piece, I imagine, consists, not only in the expression of
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