62. *Demosthenes, found near Frescati.

"Both hands were wanting, and the restorer has replaced them holding a roll.... They were originally placed with the fingers clasped together, and the proofs are these. An anecdote is related of an Athenian soldier, who had hidden some stolen money in the clasped hands of a statue of Demosthenes; and if you observe the lines formed by the fore-arms, from the elbows to half-way down the wrists, where the restoration commences, you will find that, continued on, they would bring the wrists very much nearer to each other than they now are in the restoration. It is possible that this is the identical statue spoken of."--_Shakspere Wood._

67. *Apoxyomenos. An Athlete scraping his arm with a strigil; found 1849 in the Vicolo delle Palure in the Trastevere.

This is a replica of the celebrated bronze statue of Lysippus, and is described by Pliny, who narrates that it was brought from Greece by Agrippa to adorn the baths which he built for the people, and that Tiberius so admired it, that he carried it off to his palace, but was forced to restore it by the outcries of the populace, the next time he appeared in public.

_Left._--

71. Amazon. (Arms and feet restorations by Thorwaldsen.)

77. Antonia, from Tusculum.

81. Bust of Hadrian.

83. Juno? (head, a restoration) from Hadrian's villa.

86. Fortune with a cornucopia, from Ostia.

92. Venus Anadyomena.

"La gracieuse Venus Anadyomene, que chacun connait, a le merite de nous rendre une peinture perdue d'Apelles; elle en a un autre encore, c'est de nous conserver dans ce portrait--qui n'est point en buste--quelques traits de la beaute de Campaspe, d'apres laquelle Apelles, dit-on, peignit sa Venus Anadyomene."--_Ampere_, iii. 324.

96. Bust of Marc Antony, from the Tor Sapienza.

109. *Colossal group of the Nile, found, temp. Leo X., near Sta.

Maria sopra Minerva.

A Greek statue. The sixteen children clambering over it are restorations, and allude to the sixteen cubits' depth with which the river annually irrigates the country. On the plinth, the accompaniments of the river,--the ibis, crocodile, hippopotamus, &c., are represented.

111. Julia, daughter of Titus, found near the Lateran.

"Cette princesse, de la nouvelle et bourgeoise race des Flaviens, n'offre rien du noble profil et de la fiere beaute des Agrippines: elle a un nez ecrase et l'air commun. La coiffure de Julie acheve de la rendre disgracieuse: c'est une maniere de pouf assez semblable a une eponge. Compare aux coiffures du siecle d'Auguste, le tour de cheveux ridicule de Julie montre la decadence du gout, plus rapide dans la toilette que dans l'art."--_Ampere, Emp._ ii.

120.

112. Bust of Juno, called the Juno Pentini.

114. *Minerva Medica, found in the temple so called; formerly in the Giustiniani collection.

A most beautiful Greek statue, much injured by restoration.

"In the Giustiniani palace is a statue of Minerva which fills me with admiration. Winckelmann scarcely thinks anything of it, or at any rate does not give it its proper position; but I cannot praise it sufficiently. While we were gazing upon the statue, and standing a long time beside it, the wife of the custode told us that it was once a sacred image, and that the English, who are of that religion, still held it in veneration, being in the habit of kissing one of its hands, which was certainly quite white, while the rest of the statue was of a brownish colour. She added, that a lady of this religion had been there a short time before, had thrown herself on her knees, and worshipped the statue. Such a wonderful action she, as a Christian, could not behold without laughter, and fled from the room, for fear of exploding."--_Goethe._

117. Claudius.

120. A replica of the Faun of Praxiteles, inferior to that at the Capitol.

"Le jeune Satyre qui tient une flute est trop semblable a celui du Capitole pour n'etre pas de meme une reproduction de l'un des deux Satyres isoles de Praxitele, son Satyre d'Athenes ou son Satyre de Megare; on pourrait croire aussi que le Satyre a la flute a eu pour original le Satyre de Protogene qui, bien que peint dans Rhodes assiegee, exprimait le calme le plus profond et qu'on appelait _celui qui se repose_ (_anapauomenos_); on pourrait le croire, car la statue a toujours une jambe croisee sur l'autre, attitude qui, dans le langage de la sculpture antique, designe le repos. Il ne serait pas impossible non plus que Protogene se fut inspire de Praxitele; mais en ce cas il n'en avait pas reproduit completement le charme, car Apelles, tout en admirant une autre figure de Protogene, lui reprochait de manquer de grace. Or, le Satyre a la flute est tres-gracieux; ce qui me porte a croire qu'il vient directement de Praxitele plutot que de Praxitele par Protogene."--_Ampere, Hist. Rom._ iii. 308.

123. L. Verus. Naked statue.

126. Athlete; the discus a restoration.

129. Domitian, from the Giustiniani collection.

132. Mercury (the head a restoration by Canova), from the Villa Negroni.

Here we re-enter the _Museo Chiaramonti_, lined with sculptures, chiefly of inferior interest. They are arranged in thirty compartments. We may notice:

I. 6, 13. Autumn and Winter, two sarcophagi from Ostia, the latter bearing the name of Publius Elius Verus.

VIII. r. 176. A beautiful mutilated fragment, supposed to be one of the daughters of Niobe.

r. 197. Head of Roma, from Laurentum.

XIV. r. 352. Venus Anadyomena.

XVI. r. 400. Tiberius, seated, found at Veii in 1811.

r. 401. Augustus, from Veii.

XVII. r. 417. *Bust of the young Augustus, found at Ostia, 1808.

XX. r. 494. Seated statue of Tiberius, from Piperno.

r. 495. Cupid bending his bow, a copy of a statue by Lysippus.

XXI. r. 550, 512. Two busts of Cato.

XXIV. r. 589. Mercury, found near the Monte di Pieta.

XXV. r. 606. Head of Neptune, from Ostia.

XXX. r. 732. Recumbent Hercules, from Hadrian's Villa.

At the end of this gallery is the entrance to the Giardino della Pigna (described under the Vatican Gardens). Admittance may probably be obtained from hence for a fee of 50 c. At the top of the short staircase, on the left, is the entrance of the Egyptian Museum. Here we enter the _Museo Pio-Clementino_, founded under Clement XIV., but chiefly due to the liberality and taste of Pius VI., in whose reign, however, most of the best statues were carried off to Paris, though they were restored to Pius VII.

In the centre of _1st Vestibule_ is the *Torso Belvidere, found in the baths of Caracalla, and sculptured, as is told by a Greek inscription on its base, by Apollonius, son of Nestor of Athens. It was to this statue that Michael-Angelo declared that he owed his power of representing the human form, and in his blind old age he used to be led up to it, that he might pass his hands over it, and still enjoy, through touch, the grandeur of its lines.

"And dost thou still, thou mass of breathing stone (Thy giant limbs to night and chaos hurled), Still sit as on the fragment of a world, Surviving all, majestic and alone?

What tho' the Spirits of the North, that swept Rome from the earth when in her pomp she slept, Smote thee with fury, and thy headless trunk Deep in the dust 'mid tower and temple sunk; Soon to subdue mankind 'twas thine to rise, Still, still unquelled thy glorious energies!

Aspiring minds, with thee conversing, caught Bright revelations of the good they sought; By thee that long-lost spell in secret given, To draw down gods, and lift the soul to Heaven."

_Rogers._

"Quelle a ete l'original du torse d'Hercule, ce chef-d'uvre que palpait de ses mains intelligentes Michel-Ange aveugle et reduit a ne plus voir que par elles? Heyne a pense que ce pouvait etre une copie en grand de l'Hercule _Epitrapezios_ de Lysippe, mais par le style cette statue me semble anterieure a Lysippe. Cependant on lit sur le torse le nom d'Apollonios d'Athenes, fils de Nestor, et la forme des lettres ne permet pas de placer cette inscription plus haut que le dernier siecle de la Republique.

"Comment admettre que cette statue, aussi admiree par Winckelmann que par Michel-Ange, ce debris auquel on revient apres l'eblouissement de l'Apollon du Belvidere, pour retrouver une sculpture plus male et plus simple, un style plus fort et plus grand; comment admettre qu'une telle statue soit l'uvre d'un sculpteur inconnu dont Pline ne parle point, ni personne autre dans l'antiquite, et qu'elle date d'un temps si eloigne de la grande epoque de Phidias, quand elle semble y tenir de si pres?