Part 6

In this beautiful figure, Ariadne is represented asleep on a rock in the Isle of Naxos, abandoned by the faithless Theseus, and at the moment when Bacchus became enamoured of her, as described by several ancient poets.

It is astonishing how the expression of sleep could be mistaken for that of death, and cause this figure to be called _Cleopatra_. The serpent on the upper part of the left arm is evidently a bracelet, of that figure which the Greek women called [Greek: opidion], or the little serpent.

For three successive centuries, this statue of Parian marble constituted one of the principal ornaments of the Belvedere of the Vatican, where it was placed by Julius II.

190. AUGUSTUS.

This head of Augustus, adorned with the civic crown of oak leaves, is one of the fine portraits of that emperor. It is executed in Parian marble, and comes from Verona, where it was admired in the _Bevilacqua_ cabinet.

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On quitting the HALL OF THE SEASONS, we return to that through which we first passed to reach it. This apartment, from being ornamented with the statues of ZENO, TRAJAN, DEMOSTHENES, and PHOCION, is denominated the

HALL OF ILLUSTRIOUS MEN.

It is decorated with eight antique granite pillars brought from _Aix-la-Chapelle_, where they stood in the nave of the church, which contained the tomb of Charlemagne.

Among the antiques placed in it, I shall particularize

N° 75. MENANDER.

This figure represents the poet, honoured by the Greeks with the title of _Prince of the New Comedy_, sitting on a hemi-cycle, or semicircular seat, and resting after his literary labours. He is clad in the Grecian tunic and _pallium_.

76. POSIDIPPUS.

The dress of Posidippus, who was reckoned among the Greeks one of the best authors of what was called the _New Comedy_, is nearly that of Menander, the poet. Like him, he is represented sitting on a hemi-cycle.

These two statues, which are companions, are admirable for the noble simplicity of their execution. They are both of Pentelic marble, and were found in the XVIth century at Rome, in the gardens of the convent of _San Lorenzo_, on Mount Viminal. After making part of the baths of Olympius, they were placed by Sixtus V. at _Negroni_, whence they were removed to the Vatican by Pius VI.

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Continuing our examination, after leaving the HALL OF ILLUSTRIOUS MEN, we next come to the

HALL OF THE ROMANS.

The ceiling of this hall is ornamented with subjects taken from the Roman history, painted by ROMANELLI; and in it are chiefly assembled such works of sculpture as have a relation to that people.

Among several busts and statues, representing ADRIAN, PUBLIUS CORNELIUS SCIPIO, MARCUS JUNIUS BRUTUS, LUCIUS JUNIUS BRUTUS, CICERO, &c. I shall point out to your notice,

209. _The_ TORSO _of_ BELVEDERE.

This admirable remnant of a figure seated, though the head, arms, and legs are wanting, represents the apotheosis of Hercules. The lion's skin spread on the rock, and the enormous size of the limbs, leave no doubt as to the subject of the statue. Notwithstanding the muscles are strongly marked, the veins in the body of the hero are suppressed, whence antiquaries have inferred, that the intention of the author was to indicate the very moment of his deification. According to this idea, our countryman FLAXMAN has immortalized himself by restoring a copy of the _Torso_, and placing Hebe on the left of Hercules, in the act of presenting to him the cup of immortality.

On the rock, where the figure is seated, is the following Greek inscription:

[Greek: APOLLONIOS] [Greek: NESTOROS] [Greek: ATÆNAIOS] [Greek: EPOIEI.]

By which we are informed, that it is the production of APOLLONIUS, _the Athenian, the son of Nestor_, who, probably, flourished in the time of Pompey the Great.

This valuable antique is of Pentelic marble, and sculptured in a most masterly style. It was found at Rome, near Pompey's theatre, now _Campo di Fiore_. Julius II. placed it in the garden of the Vatican, where it was long the object of the studies of MICHAEL ANGELO, RAPHAEL, &c. those illustrious geniuses, to whom we are indebted for the improvement of the fine arts. Among artists, it has always been distinguished by the appellation of the _Torso of Belvedere_.

94. _A wounded warrior, commonly called the_ GLADIATOR MORIENS.

This figure, represents a barbarian soldier, dying on the field of battle, without surrendering. It is remarkable for truth of imitation, of a choice nature, though not sublime, (because the subject would not admit of it,) and for nobleness of expression, which is evident without affectation.

This statue formerly belonged to the _Villa-Ludovisi_, whence it was removed to the Museum of the Capitol by Clement XII. It is from the chisel of AGASIAS, a sculptor of Ephesus, who lived 450 years before the Christian era.

82. CERES.

This charming figure is rather that of a Muse than of the goddess of agriculture. It is admirable for the _ideal_ beauty of the drapery. She is clad in a tunic; over this is thrown a mantle, the execution of which is so perfect, that, through it, are perceived the knots of the strings which fasten the tunic below the bosom.

It formerly belonged to the _Villa-Mattei_, on Mount Esquiline; but was taken from the Museum of the Vatican, where it had been placed by Clement XIV.

80. _A Roman orator, called_ GERMANICUS.

Hitherto this admirable figure of a Roman orator, with the attributes of Mercury, the god of eloquence, has passed for that of Germanicus, though it is manifestly too old for him. Here we have another model of beautiful elegance of form, though not of an _ideal_ sublimity.

On the shell of a tortoise, at tide foot of the statue, is inscribed in beautiful Greek characters:

[Greek: KLEOMENÆS] [Greek: KLEOMENOYS] [Greek: ATÆNIOSE] [Greek: POIÆSEN.]

Whence we learn that it is the production of CLEOMENES, an Athenian artist, mentioned by Pliny, and who flourished towards the end of the Roman republic, about 500 years before Christ. This statue was taken from the Gallery of Versailles, where it had been placed in the reign of Lewis XIV. It formerly belonged to the garden of Sixtus V. at _Villa-Montalto_, in Rome.

97. ANTINOÜS, _called the_ ANTINOÜS OF THE CAPITOL.

In this monument, Adrian's favourite is represented as having scarcely attained the age of puberty. He is naked, and his attitude has some affinity to that of Mercury. However, his countenance seems to be impressed with that cast of melancholy, by which all his portraits are distinguished: Hence has been applied to him that verse of Virgil on Marcellus;

_"Sed frons læta parum, et dejecto lumina vultu"_

This beautiful figure, of Carrara marble, is sculptured in a masterly manner. It comes from the Museum of the Capitol, and previously belonged to the collection of Cardinal Alessandro Albani. The fore-arm and left leg are modern.

200. ANTINOÜS.

In this colossal bust of the Bithynian youth, are some peculiarities which call to mind the images of the Egyptian god _Harpocrates_. It is finely executed in hard Greek marble, and comes from the Museum of the Vatican. As recently as the year 1790, it was dug from the ruins of the _Villa-Fede_ at Tivoli.

But enough for to-day--to-morrow I will resume my pen, and we will complete our survey of the GALLERY OF ANTIQUES.

LETTER VIII.

_Paris, October 29, 1801._

If the culture of the arts, by promoting industry and increasing commerce, improves civilization, and refines manners, what modern people can boast of such advantages as are now enjoyed by the French nation? While the sciences keep pace with the arts, good taste bids fair to spread, in time, from the capital throughout the country, and to become universal among them. In antiquity, Athens attests the truth of this proposition, by rising, through the same means, above all the cities of Greece; and, in modern times, have we not seen in Florence, become opulent, the darkness of ignorance vanish, like a fog, before the bright rays of knowledge, diffused by the flourishing progress of the arts and sciences?

When I closed my letter yesterday, we had just terminated our examination of the HALL OF THE ROMANS. On the same line with it, the next apartment we reach, taking its name from the celebrated group here placed, is styled the

HALL OF THE LAOCOON.

Here are to be admired four pillars of _verde antico_, a species of green marble, obtained by the ancients, from the environs of Thessalonica. They were taken from the church of _Montmorency_, where they decorated the tomb of Anne, the constable of that name. The first three apartments are floored with inlaid oak; but this is paved with beautiful marble.

Of the _chefs d'oeuvre_ exhibited in this hall, every person of taste cannot but feel particular gratification in examining the undermentioned;

N° 108. LAOCOON.

The pathetic story which forms the subject of this admirable group is known to every classic reader. It is considered as one of the most perfect works that ever came from the chisel; being at once a master-piece of composition, design, and feeling. Any sort of commentary could but weaken the impression which it makes on the beholder.

It was found in 1506, under the pontificate of Julius II, at Rome, on Mount Esquiline, in the ruins of the palace of Titus. The three Rhodian artists, AGESANDER, POLYDORUS, and ATHENOPORUS, mentioned by Pliny, as the sculptors of this _chef d'oeuvre_ flourished during the time of the Emperors, in the first century of the Christian era.

The group is composed of five blocks, but joined in so skilful a manner, that Pliny thought them of one single piece. The right arm of the father and two arms of the children are wanting.

111. AMAZON.

This uncommonly beautiful figure of Parian marble represents a woman, whose feminine features and form seem to have contracted the impression of the masculine habits of warfare. Clad in a very fine tunic, which, leaving the left breast exposed, is tucked up on the hips, she is in the act of bending a large bow. No attitude could be better calculated for exhibiting to advantage the finely-modelled person of this heroine.

For two centuries, this statue was at the _Villa-Mattei_, on Mount Coelius at Rome, whence it was removed to the Museum of the Vatican by Clement XIV.

118. MELEAGER.

The son of OEneus, king of Calydon, with nothing but a _chlamis_ fastened on his shoulders, and winding round his left arm, is here represented resting himself, after having killed the formidable wild boar, which was ravaging his dominions; at his side is the head of the animal, and near him sits his faithful dog.

The beauty of this group is sublime, and yet it is of a different cast, from either that of the _Apollo of Belvedere_, or that of the _Mercury_, called Antinoüs, of which we shall presently have occasion to speak.

This group is of Greek marble of a cinereous colour: there are two different traditions respecting the place where it was found; but the preference is given to that of Aldroandi, who affirms that it was discovered in a vineyard bordering on the Tiber. It belonged to Fusconi, physician to Paul III, and was for a long time in the _Pighini_ palace at Rome, whence Clement XIV had it conveyed to the Vatican.

103 and 104. _Two busts, called_ TRAGEDY and COMEDY.

These colossal heads of Bacchantes adorned the entrance of the theatre of the _Villa-Adriana_ at Tivoli. Though the execution of them is highly finished, it is no detriment to the grandeur of the style.

The one is of Pentelic marble; and the other, of Parian. Having been purchased of Count Fede by Pius VI, they were placed in the Museum of the Vatican.

105. ANTINOÜS.

This bust is particularly deserving of attention, on account of its beauty, its excellent preservation, and perfect resemblance to the medals which remain of Adrian's favourite.

It is of Parian marble of the finest quality, and had been in France long before the revolution.

112. ARIADNE, _called_ (in the catalogue) BACCHUS.

Some sculptors have determined to call this beautiful head that of BACCHUS; while the celebrated VISCONTI, and other distinguished antiquaries, persist in preserving to it its ancient name of ARIADNE, by which it was known in the Museum of the Capitol.

Whichever it may be, it is of Pentelic marble, and unquestionably one of the most sublime productions of the chisel, in point of _ideal_ beauty.

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From the HALL OF THE LAOCOON, we pass into the apartment, which, from the famous statue, here erected, and embellished in the most splendid manner, takes the appellation of the

HALL OF THE APOLLO.

This hall is ornamented with four pillars of red oriental granite of the finest quality: those which decorate the niche of the Apollo were taken from the church that contained the tomb of Charlemagne at _Aix-la-Chapelle_. The floor is paved with different species of scarce and valuable marble, in large compartments, and, in its centre, is placed a large octagonal table of the same substance.

In proportion to the dimensions of this apartment, which is considerably larger than any of the others, a greater number of antiques are here placed, of which the following are the most pre-eminent.

N° 145. APOLLO PYTHIUS, _commonly called the_ APOLLO OF BELVEDERE.

The name alone of this _chef d'oeuvre_ might be said to contain its eulogium. But as you may, probably, expect from me some remarks on it, I shall candidly acknowledge that I can do no better than communicate to you the able and interesting description given of it by the Administration of the Museum, of which the following is a fair abridgment.

"Apollo has just discharged the mortal arrow which has struck the serpent Python, while ravaging Delphi. In his left hand is held his formidable bow; his right has but an instant quitted it: all his members still preserve the impression given them by this action. Indignation is seated on his lips; but in his looks is the assurance of success. His hair, slightly curled, floats in long ringlets round his neck, or is gracefully turned up on the crown of his head, which is encircled by the _strophium_, or fillet, characteristic of kings and gods. His quiver is suspended by a belt to the right shoulder: his feet are adorned with rich sandals. His _chlamis_ fastened on the shoulder, and tucked up only on the left arm, is thrown back, as if to display the majesty of his divine form to greater advantage.

"An eternal youth is spread over all his beautiful figure, a sublime mixture of nobleness and agility, of vigour and elegance, and which holds a happy medium between the delicate form of Bacchus, and the more manly one of Mercury."

This inimitable master-piece is of Carrara marble, and, consequently, was executed by some Greek artist who lived in the time of the Romans; but the name of its author is entirely unknown. The fore-arm and the left hand, which were wanting, were restored by GIOVANNI ANGELO DE MONTORSOLI, a sculptor, who was a pupil of Michael Angelo.

Towards the end of the fifteenth century, it was discovered at _Capo d'Anzo_, twelve leagues from Rome, on the sea-shore, near the ruins of the ancient _Antium_. Julius II, when cardinal, purchased this statue, and placed it in his palace; but shortly after, having arrived at the pontificate, he had it conveyed to the Belvedere of the Vatican, where, for three centuries, it was the admiration of the world.

On the 16th of Brumaire, year IX, (7th of November, 1801) BONAPARTE, as First Consul, celebrated, in great pomp, the inauguration of the Apollo; on which occasion he placed between the plinth of the statue, and its pedestal, a brass tablet bearing a suitable inscription.

The Apollo stands facing the entrance-door of the apartment, in an elevated recess, decorated, as I have before observed, with beautiful granite pillars. The flight of steps, leading to this recess, is paved with the rarest marble, inlaid with squares of curious antique mosaic, and on them are placed two Egyptian sphynxes of red oriental granite, taken from the Museum of the Vatican.

142. VENUS OF THE CAPITOL.

This figure of Parian marble represents the goddess of beauty issuing from the bath. Her charms are not concealed by any veil or garment. She is slightly turning her head to the left, as if to smile on the Graces, who are supposed to be preparing to attire her.

In point of execution, this is allowed to be the most beautiful of all the statues of Venus which we have remaining. The _Venus of Medicis_ surpasses it in sublimity of form, approaching nearer to _ideal_ beauty.

Bupalus, a sculptor of the Isle of Scio, is said to have produced this master-piece. He lived 600 years before Christ, so that it has now been in existence upwards of two thousand four hundred years. It was found about the middle of the eighteenth century, near _San-Vitale_, at Rome. Benedict XIV having purchased it of the _Stati_ family, placed it in the Capitol.

125. MERCURY, _commonly called the_ ANTINOÜS OF BELVEDERE.

This statue, also of the finest Parian marble, is one of the most beautiful that can be imagined. More robust in form than either that of the _Apollo_ or of the _Meleager_, it loses nothing by being contemplated after the former. In short, the harmony which reigns between its parts is such, that the celebrated POUSSIN, in preference to every other, always took from it the _proportions of the human figure_.

It was found at Rome, on Mount Esquiline, under the pontificate of Paul III, who placed it in the Belvedere of the Vatican, near the Apollo and the Laocoon.

151. _The Egyptian_ ANTINOÜS.

In this statue, Antinoüs is represented as a divinity of Egypt. He is standing in the usual attitude of the Egyptian gods, and is naked, with the exception of his head and wrist, which are covered with a species of drapery in imitation of the sacred garments.

This beautiful figure is wrought with superior excellence. It is of white marble, which leads to a conjecture that it might have been intended to represent Orus, the god of light, it having been the custom of the Egyptians to represent all their other divinities in coloured marble. It was discovered in 1738, at Tivoli, in the _Villa-Adriana_, and taken from the Museum of the Capitol.

To judge from the great number of figures of Antinoüs, sculptured by order of Adrian to perpetuate the memory of that favourite, the emperor's gratitude for him must have been unbounded. Under the form of different divinities, or at different periods of life, there are at present in the GALLERY OF ANTIQUES no less than five portraits of him, besides three statues and two busts. Three other statues of Antinoüs, together with a bust, and an excellent bass-relief, in which he is represented, yet remain to be placed.

156. BACCHUS.

The god of wine is here represented standing, and entirely naked. He is leaning carelessly with his left arm on the trunk of an elm, round which winds a grape-vine.

This statue, of the marble called at Rome _Greco duro_, is reckoned one of the finest extant of the mirth-inspiring deity.

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Having surveyed every object deserving of notice in the HALL OF THE APOLLO, we proceed, on the right hand, towards its extremity, and reach the last apartment of the gallery, which, from being consecrated to the tuneful Nine, is called the

HALL OF THE MUSES.

It is paved with curious marble, and independently of the Muses, and their leader, Apollo, here are also assembled the antique portraits of poets and philosophers who have rendered themselves famous by cultivating them. Among these we may perceive HOMER and VIRGIL; but the most remarkable specimen of the art is

N° 177. EURIPIDES.

In this hermes we have a capital representation of the features of the rival of Sophocles. The countenance is at once noble, serious, and expressive. It bears the stamp of the genius of that celebrated tragic poet, which was naturally sublime and profound, though inclined to the pathetic.

This hermes is executed in Pentelic marble, and was taken from the academy of _Mantua_.

Since the revival of the arts, the lovers of antiquity have made repeated attempts to form a collection of antique statues of the Muses; but none was ever so complete as that assembled in the Museum of the Vatican by Pius VI, and which the chance of war has now transferred to the banks of the Seine. Here the bard may offer up to them a solemn invocation, and compose his lay, as it were, under their very eyes.

The statues of CLIO, THALIA, TERPSICHORE, ERATO, POLYHYMNIA, and CALLIOPE, together with the APOLLO MUSAGETES, were discovered in 1774, at _Tivoli_, among the ruins of the villa of Cassius. To complete the number, Pius VI obtained the EUTERPE and the URANIA from the _Lancellotti_ palace at _Veletri_. They are supposed to be antique copies of the statues of the Nine Muses by Philiscus, which, according to Pliny, graced the portico of Octavia.

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The air of grandeur that reigns in the general arrangement of the gallery is very striking: and the tasteful and judicious distribution of this matchless assemblage of antiques does great honour to the Council of the CENTRAL MUSEUM. Among the riches which Rome possessed, the French commissioners also, by their choice selection, have manifested the depth of their knowledge, and the justness of their discrimination.

The alterations and embellishments made in the different apartments of the GALLERY OF ANTIQUES have been executed under the immediate direction of their author, M. RAYMOND, member of the National Institute, and architect to the NATIONAL PALACE OF ARTS AND SCIENCES. In winter, the apartments are kept warm by means of flues, which diffuse a genial vapour. Here, without the expense of a single _liard_, the young draughtsman may form his taste by studying the true antique models of Grecian sculpture; the more experienced artist may consult them as he finds occasion in the composition of his subjects; while the connoisseur, the amateur, or the simple observer may spend many an agreeable hour in contemplating these master-pieces which, for centuries, have inspired universal admiration.

These are the materials on which Genius ought to work, and without which the most promising talent may be greatly misapplied, if not entirely lost. It was by studying closely these correct models, that the great MICHAEL ANGELO, the, sublime RAPHAEL, and other eminent masters, acquired that idea of excellence which is the result of the accumulated experience of successive ages. Here, in one visit, the student may imbibe those principles to ascertain which many artists have consumed the best part of their days; and penetrated by their effect, he is spared the laborious investigation by which they came to be known and established. It is unnecessary to expatiate on the advantages which the fine arts may expect to derive from such a repository of antiques in a capital so centrical as Paris. The contemplation of them cannot fail to fire the genius of any artist of taste, and prompt his efforts towards the attainment of that grand style, which, disdaining the minute accidental particularities of individual objects, improves partial representation by the general and invariable ideas of nature.