Paris as It Was and as It Is Part 4

214. ROME.

In this bust, the city of Rome is personified as an Amazon. The helmet of the female warrior is adorned with a representation of the she-wolf, suckling the children of Mars.

This antique, of Parian marble, is of a perfect Greek style, and in admirable preservation. It formerly belonged to the Gallery of Richelieu-Castle.

51. ADOLESCENS SPINAM AVELLENS.

This bronze figure represents a young man seated, who seems employed in extracting a thorn from his left foot.

It is a production of the flouris.h.i.+ng period of the art, but, according to appearance, anterior to the reign of Alexander the Great. It partakes a little of the meagre style of the old Greek school; but, at the same time, is finished with astonis.h.i.+ng truth, and exhibits a graceful simplicity of expression. In what place it was originally discovered is not known. It was taken from the Capitol, where it was seen in the _Palazzo dei Conservatori_.

50. A FAUN, _in a resting posture_.

This young faun, with no other covering than a deer's skin thrown over his shoulders, is standing with his legs crossed, and leaning on the trunk of a tree, as if resting himself.

The grace and finished execution that reign throughout this figure, as well as the immense number of copies still existing of it, and all antiques, occasion it to be considered as the copy of the Faun in bronze, (or Satyr as it is termed by the Greeks), of Praxiteles. That statue was so celebrated, that the epithet of [Greek: perizoaetos], or the famous, became its distinctive appellation throughout Greece.

This Faun is of Pentelic marble: it was found in 1701, near _Civita Lavinia_, and placed in the Capitol by Benedict XIV.

59. ARIADNE, _known by the name of_ CLEOPATRA.

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 astonis.h.i.+ng 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 const.i.tuted one of the princ.i.p.al 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.

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

HALL OF ILl.u.s.tRIOUS 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 t.i.tle 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 n.o.ble 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.

Continuing our examination, after leaving the HALL OF ILl.u.s.tRIOUS 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 a.s.sembled 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: ATaeNAIOS]

[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 ill.u.s.trious 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 n.o.bleness 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 G.o.ddess 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 G.o.d of eloquence, has pa.s.sed 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 sh.e.l.l of a tortoise, at tide foot of the statue, is inscribed in beautiful Greek characters:

[Greek: KLEOMENaeS]

[Greek: KLEOMENOYS]