In another hall are two enormous Egyptian G.o.ds in yellow granite; two superb sarcophagi in red marble and two immense Sphinxes in granite. In another chamber is an antique car drawn by two horses: the near one is modern, the off one ancient. The wheels of this car are modern; both car and horses are of exquisite workmanship. Several fine statues adorn this chamber, among which the most remarkable are a Phocion, a Paris, an Antinous, and a Triton carrying off a Nereid.

I must not omit to mention that in one of the halls is the famous group of the Nile, represented by an enormous colossal River G.o.d, surrounded by fourteen children playing with young crocodiles. Opposite to this group is another equally celebrated, viz., the colossal statue of the Tiber, with the she-wolf giving suck to Romulus and Remus by his side. The mosaic pavements in this Museum surpa.s.s in richness any in the world. In one of the halls, among the works of modern times, are two beautiful marble tables richly inlaid with all sorts of stones of value, with bas-reliefs on them; the one representing the visit of the Emperor Joseph II, and the other that of Gustavus III of Sweden to Rome, and their reception by the Pope.

One of the halls of sculpture is appropriated to the figures of animals of all kinds, from the lion and eagle down to the rat and crawfish in marbles of all colors, and of all sizes; the best executed among them appeared to me a group representing a greyhound b.i.t.c.h giving suck to her young. As for the valuable cameos, coins, medals, and smaller remnants of antiquity in this Museum, they are innumerable.

With regard to the paintings that belong to this Museum, there is only a small, collection but it is unique. Here is the Transfiguration and some other masterpieces of Rafaello.

In the _Stanze di Rafaello_ (so they are called) are several large fresco paintings, viz., one representing the battle of Maxentius and Constantine; another, the school of Athens and Socrates sitting among the other philosophers; a third representing a fire; besides others.

In one of these _stanze_ is a work in tapestry representing Jesus Christ bursting forth from the sepulchre, but he has a visage far too rubicund and wanting in dignity; he looks like a person flushed with wine issuing from a tavern; in the countenance there is depicted (so it appears to me) a vulgar, not a dignified triumph.

The Palace of the Vatican is of immense size and is said to cover as much ground as the city of Turin; and I am inclined to think that there is not a great deal of exaggeration in this statement, for the vista along the corridors and galleries appears to be endless. The Library of the Vatican is of course very extensive and of immense value; but the books, as well as the ma.n.u.scripts, are kept in presses which are locked, and it is rather awkward to be continually applying to the _custode_ to take out and put back a book.

The Museum of the Vatican is open twice a week to the public, viz.

Thursdays and Sundays; but foreigners, on shewing their pa.s.sports, may obtain admission at any time.

ROME, 17th Sept.

My next visit was to the Capitol in order to inspect the _Museum Capitolinum_. This time I ascended the magnificent _escalier_ of Michel Angelo, having the equestrian statue of Marcus Aurelius in front. On arriving at the courtyard, I entered the building on my left (which is on the right of the facade). Under the colonnaded portico of this wing are the statues of Caesar and Augustus; here too is the naval column of the consul Duilius, in commemoration of the first naval victory gained over the Carthaginians; also a colossal statue of the Rhine called Marforio. In one of the halls two large statues of the Egyptian G.o.ddess Isis and various other Egyptian divinities. In this Museum among other things is an altar representing Claudia drawing to the land the Ship of Cybele; a magnificent sarcophagus with a bas relief on its side representing the progress of life; Amalthea giving suck to Jupiter; the G.o.d Anubis found among the ruins of Adrian's palace at Tivoli. On ascending the staircase, I observed on the right hand fixed in the wall a tablet with a plan of ancient Rome carved on it. In one of the halls above stairs the most remarkable statue is that of the dying gladiator (brought back from Paris); this is certainly a n.o.ble piece of sculpture; the bodily pain and mental anguish are singularly well expressed in the countenance; a superb bronze statue of Hercules; a Centaur in black marble; a Faun in _rosso antico_; a group of Cupid and Psyche; a Venus in Parian marble rather larger than the common size. One of the halls in this museum contains the busts of all the philosophers; another those of all the Roman emperors; there is also a colossal statue of Pyrrhus; a superb Agrippina and the celebrated mosaic of the four pigeons. In enumerating the above I have only to observe that they only const.i.tute a thousandth part of what is to be seen here. After pa.s.sing three hours in this wing of the building, I went over across the courtyard to the other wing. Under the portico of this wing the following are the most remarkable among the statues: a Roman _triumphans_, two Phrygian kings in black marble. In one of the rooms above stairs is a very remarkable piece of antiquity, viz., the bronze wolf giving suck to Romulus and Remus, which was found in the temple of Romulus and which was struck by lightning during the consulate of Julius: the marks made by the lightning are quite distinct. There is in this wing a small but excellent collection of paintings, and a great variety of statues, busts, sarcophagi, candelabra, and antiquities of all sorts.

The front part, or _corps de logis_ of the Capitol is called _Il Palazzo del Senato conservatore_, and is the residence of the _Senator Romano_ who is chosen by the Pope. By the bye, I understand this dignity is generally given to a foreigner, the Pontiffs being, rather jealous of the Roman n.o.bility.

This wing of the Capitol employed me two hours; but I must visit this Museum as well as that of the Vatican often again; for it would require months and years to examine them duly.

ROME, 18th Sept.

On this side of the river which is called _Transtevere_, I had an opportunity of observing the inhabitants, who are called _Transteverini_, the most of whom pretend to be the descendants of the ancient Romans, unmixed with any foreign blood. They certainly have very much of that physiognomy that is attributed to the ancient Romans, for they are a tall, very robust race of men having something of a ferocious dignity in their countenance which, however, is full of expression, and the aquiline nose is a prominent feature among them. They are exceedingly jealous of their women, whom they keep within doors as much as they can, and if a stranger on pa.s.sing by their doors should chance to observe their wives or daughters who may be standing there and should stop to admire them (for many of them have an air of antique beauty and majesty of countenance which is remarkably striking), they will instantly order the females to retire, with an air of asperity.

Whether they really be the pure descendants of the ancient Romans is difficult to say: but it is by no means improbable, since even to this day they intermarry solely with one another, and refuse to give their daughters in marriage to foreigners or to those of mixed blood.

Instances have been known of these families, who are for the most part very poor, refusing the most advantageous offers of marriage made to their daughters by rich foreign merchants and artists, on the ground merely that the suitors were not _Romani_ but _Barbari._

As for the _bourgeoisie_ of Rome in general, they _have been_ for some centuries back and _are_ a very mixed race, composed of all the nations of Europe. Most of the foreign artists who come here to study the fine arts, viz., Belgians, Dutch, German, French, English, Swedes, Danes, Poles and Russians, as well as those from other parts of Italy, struck with the beauty of the women, and pleased with the tranquility and agreeable society that prevails in this metropolis, and the total freedom from all _gene_ and etiquette, marry Roman women and fix here for life: so that among this cla.s.s you meet with more foreign names than Roman; and it is this sort of colonisation which keeps up the population of Rome, which would otherwise greatly decrease as well from the celibacy of the number that become priests, as from the malaria that prevails in and about the city in July and August.

ROME, 19th Sept.

I have been employed for the last two days in visiting some of the churches, _palazzi_ and villas of modern Rome; but the number is so prodigious and there are such a variety of things to be seen in each that I shall only make mention of a few; indeed there are many that I have not seen and probably shall not have time to see. As sacred things should precede profane, let us begin with the churches.

The first that claims the attention of the traveller after St Peter's, is the church of St John Lateran which is the oldest church in Christendom, and was the metropolitan of Rome and of the Christian world before the building of St Peter's. It lies very nearly in a right line with the _Piazza di Spagna_, and on a prolonged line, forming an obtuse angle with the church of Santa Maria Maggiore, which, as I first visited, I shall first describe and afterwards resume what I have to remark on the subject of St John Lateran.

Santa Maria Maggiore is the third church in importance, but the second in magnificence in Rome. Before its facade stands a single column of granite of the Corinthian order. The facade of this church is beautiful but it would be far better without the _campanile_, which I think always disfigures a church of Grecian architecture; besides it is not in the centre of the building. The church is richly adorned with mosaics and its several chapels are admirable from the execution of their architecture and sculpture and the value of the different rich marbles and precious stones with which the monuments therein are made and incrusted. Among these Chapels are those of Sixtus V, Paul V. The grand altar is of porphyry. But the most striking beauty of this church and which eclipses all its other ornaments, are the forty columns of beautiful Grecian marble on each side of the nave. The ceiling, too, is superb and richly gilt; the gilding must have cost an immense sum and was done, it is said, with the first gold that was brought from America. Nothing can be more rich than this plafond. The above forty columns belonged formerly to the temple of Juno Lucina. It is singular that the ceremony of the _accouchement_ of the Virgin and the birth of Christ should be performed here. On the 24th December this pantomime is regularly acted, and crowds of all sorts of people attend, particularly women. At the moment that the Virgin is supposed to be delivered a salve of artillery announces the good tidings. This is singular, I say, when one recollects the peculiar attributes of Juno Lucina and the a.s.sistance she was supposed to give to persons in the same situation.

You cannot expect me to detail to you all the riches in precious stones and gifts of pious princes that adorn the several chapels of this and other churches; but they appear to contain every stone and jewel mentioned in the Arabian Nights as being to be found in the cave where Aladdin was left by the magician; and it must be allowed that the Popes have been remarkably adroit inchanters in conjuring to Rome all the riches of the Earth.

The church of St John Lateran is larger and more striking as to its exterior and as to its architecture than that of Santa Maria Maggiore, but it is not so charged with ornament and there is scarce any gilding. There is a simple elegance about it that I think far more pleasing than the magnificence of Santa Maria.

St John Lateran contains several beautiful pieces of sculpture in white marble, rather larger than the usual size of man, of the twelve Apostles, six on one side of the nave and six on the other; and above them are bas-reliefs, also in marble, representing the various scenes from the history of the Old and New Testament. These twelve statues are admirably well executed and they give to this temple an air of simple grandeur. In this church are very few paintings on mosaics, but little gilding and no superfluous ornaments. Sculpture is, in my opinion, far more appropriate to a place of worship than paintings or dazzling ornaments. Another very striking beauty of this n.o.ble and venerable temple are the columns it contains some of which are in granite and others of the most beautiful _verd-antique_. There are besides two superb Corinthian columns of bronze which adorn one of the altars. Among the chapels of this Cathedral is one belonging to the Corsini family, which is probably the richest in Europe, and contains more precious stones and marbles than any other. Yet as this and the other chapels are in recesses and separated from the aisles of the church by large bronze gates, you cannot see their contents till you enter the said chapels; and thus your attention is not diverted by them from the contemplation of the simple grandeur of the columns and statues which adorn the body of the temple.

The bronze columns above mentioned were taken from the temple of Jupiter Capitolinus. On one side in front of the church of St John Lateran stands an immense Egyptian Obelisk 115 feet in height, brought from Egypt to Rome in the time of Constantine.

I think the placing of these Obelisks in front of the facade of the most remarkable edifices is an excellent arrangement, as they are never-failing landmarks to distinguish from afar off the edifices to which they belong.

This Obelisk was found in the _Circus Maximus_, from which it was removed and placed on this spot by Sixtus V. A large Orphan establishment is close to this church; and close to it also the _Battisterio_ of Constantine, which rests on forty-eight columns of porphyry, said to be the finest in Europe. Another church in the vicinity contains _La Scala Santa_ or holy staircase of marble which, according to the tradition, adorned Pontius Pilate's palace at Jerusalem, and on which identical staircase Jesus Christ ascended to be interrogated by Pilate. The tradition further says that it was transported to Rome by Angels. This staircase has twenty-eight steps, and no one is allowed to mount it except on his knees. n.o.body ever descends it, but there are two other _escaliers_ parallel to it, one on the right hand, the other on the left, by which you descend in the usual manner. Not being aware of this ceremony, I, on entering the edifice, began to ascend the _escalier_ which was nearest to me, which proved to be the _Scala Santa_, for no sooner had I begun to ascend it as I would any other flight of steps than two or three voices screamed out: "_Signore! O signore! a ginocchia; o'e la scala santa_!" I asked what was meant and was then told the whole story, and that it was necessary to mount this staircase on one's knees or not at all. This I did not think worth the trouble, being quite contented with beholding it. The marble of this staircase is much worn by the number of devout people who ascend it in this manner, and this ceremony, aided by a _quantum suff_ of faith is no doubt of great efficacy.

The fourth church in estimation, and I believe the next ancient in Rome to St John Lateran, is the church of _San Paolo fuor della mura_, so called from its being situated outside the gates of the city. It is of immense size, but out of repair and neglected. The most striking object of its architectural contents are the 120 columns of Parian marble which support its nave.

_St Pietro in Vincoli_ is chiefly remarkable for its being built near the dungeon where, according to the tradition, St Peter was confined and from whence he was released by Angels; its chief ornament is the colossal statue of Moses. Somewhere close to this place are shewn the ruins of the Mamertine prison where Jugurtha was incarcerated and died.

There are in Rome about three hundred other churches, all of which can boast of very interesting and valuable contents. One in particular called the Portuguese Church is uncommonly beautiful tho' small; another, that of St Ign.a.z.io, or the Jesuits' church, is vast and imposing, and very fine singing is occasionally to be heard there.

ROME, 21st Sept.

The Palace occupied by the Pope is that of the Quirinal, standing on the Quirinal Hill, which is commonly called _Monte Cavallo_ from the statues of the two _Hippodamoi_ or tamers of horses, thought to be meant for Castor and Pollux which stand on this hill; this group is surmounted by an Egyptian obelisk. These statues are said to be the work of Phidias; but there is a terrible disproportion between the men and the horses they are leading; they give you the idea of Brobdignagians leading Shetland ponies.

The Quirinal palace is every way magnificent and worthy of the Sovereign Pontiff; there are large grounds annexed to it; it stands nearly in the centre of Rome and from this palace are dated the Papal edicts. The Pope resides here during the whole year, with the exception of three or four months in the hot season, when he repairs to Castel Gandolfo near la Riccia.

Of the fountains the grandest and most striking is that of Trevi, which lies at the foot of Quirinal Hill. Here is a magnificent group in marble of Neptune, in his car in the shape of a mussel-sh.e.l.l drawn by Sea-horses and surrounded by Nymphs and Tritons. An immense basin of white marble, as large as a moderate sized pond, receives the water which gushes from the nostrils of the Sea-horses and from the mouths of the Tritons. There is a very good and just remark made on the subject of this group by s...o...b..rg, viz. the attention of Neptune seems too much directed towards one of his horses, a piece of minutiae more worthy of a charioteer endeavouring to turn a difficult corner, than of the G.o.d who at a word could control the winds and tranquillize the Ocean.

The fountain Termina, so called from its vicinity to the Thermes of Diocletian, is the next remarkable fountain. Here is a colossal statue of Moses striking the rock and causing the water to gush forth. The grandeur and majesty of this statue would be more striking but for the incongruity of the arcades on each side of the rock, and the two lions in black basalt who spout water. Moses and the rock would have been sufficient. Simplicity is, in my opinion, the soul of architecture, and where is there in all history a subject more peculiarly adapted to a fountain than this part of the history of Moses?

The Fountain Paolina is a fountain that springs from under a beautiful arcade, but there are no statues nor bas-reliefs. It is a plain neat fountain and the water is esteemed the best in Rome. This fountain is situated on the Janicule Hill, from which you have perhaps the best view of Rome; as it re-unites more than any other position, at one _coup d'oeil_, both the modern and debris of the ancient city, without the view of the one interfering with or being intercepted by the other. From here you can distinguish rums of triumphal arches, broken columns, aqueducts, etc., as far as the eye can reach. It demonstrates what an immense extent of ground ancient Rome must have covered. Near the fountain is the church where St Peter is said to have suffered martyrdom with his head downwards.

The Column of Trajan is near the fountain Trevi, and it stands in an inclosure, the pavement of which is seven feet lower than the _piazza_ on which it stands. The inclosure is walled round. Had not this excavation been made, one third of the column (lower part) would not be seen. The _Piazza_, on which this column stands is called _Il foro Trajano_. The column represents Trajan's triumphs over the Daci, Quadi and Marcomanni, and is the model from whence Napoleon's column of the Grand Army in the _Place Vendome_ at Paris is taken. A statue of St Peter stands on this column.

The Column of Antoninus stands on the _Piazza Colonna_; on it are sculptured the victories gained by that Emperor. Round this column it has not been necessary to make excavations. On this column stands the statue of St Paul.

Amongst the immense variety of edifices and ruins of edifices which most interest the antiquarian are the Thermes of Diocletian. Here are four different semi-circular halls, two of which were destined for philosophers, one for poets and one for orators; baths; a building for tennis or rackets; three open courts, one for the exercise of the discus, one for athletes and one for hurling the javelin. Of this vast building part is now a manufactory, and the hall of the wrestlers is a Carthusian church.

I have now, I believe, visited most, if not all that is to be seen in Rome.

I have visited the Pyramid of Cestius, the tomb of Metella, I have consulted, the nymph Egeria, smelled at the _Cloaca Maxima_; in fine, I have given in to all the _singeries_ of _pedantry_ and _virtu_ with as much ardour as Martinus Scriblerus himself would have done. But it yet remains for me to speak of the most interesting exhibition that modern Rome can boast, and of the most interesting person in it and in all Italy, and that is the atelier of Canova and Canova himself, the greatest sculptor, perhaps, either of ancient or modern times, except the mighty unknown who conceived and executed the Apollo of the Vatican.

In the atelier of Canova the most remarkable statues I observed are: a group of Hector and Ajax of colossal size, not quite finished; a Centaur, also colossal; a Hebe; two Ballerine or dancing girls, one of which rivetted my attention most particularly. She is reclining against a tree with her cheek _appuyed_ on one hand; one of her feet is uplifted and laid along the other leg as if she were reposing from a dance. The extreme beauty of the leg and foot, the pulpiness of the arms, the expressive sweetness of the face, and the resemblance of the marble to wax in point of mellowness, gives to this beautiful statue the appearance of a living female _brunette_. It was a long time before I could withdraw my eyes from that lovely statue.

The next object that engaged my attention was a group representing a Nymph reclining on a couch _semi-supine_, and a Cupid at her feet. The luxurious contour of the form of this Nymph is beyond expression and reminded me of the description of Olympia:

Le parti che solea coprir la stola Fur di tanta eccellenza, ch'anteporse A quante n'avea il mondo potean forse.[91]

Parts which are wont to be concealed by gown Are such, as haply should be placed before Whate'er this ample world contains in store.

--Trans. W.S. ROSE

This group is destined for the Prince Regent of England. Another beautiful group represents the three Graces; this is intended for the Duke of Bedford. Were it given to me to chuse for myself among all the statues in the atelier of Canova, I should chuse these three, viz., the Ballerina, the Nymph reclining, and this group of the Graces.

Canova certainly is inimitable in depicting feminine beauty, grace and delicacy. Among the other statues in this atelier the most prominent are: a statue of the Princess Leopoldina Esterhazy in the att.i.tude of drawing on a tablet with this inscription:

_Anch'io voglio tentar l'arte del bello._