|COPY of the ARTISTS' PETITION presented to His MAJESTY 
 GEORGE the THIRD, November the a?th, 17 68 j and which gave, rile t® 
 the Establishment of the ROYAL ACADEMY. 
 
 To the KING’* Most Excellent MAJESTY. 
 
 
 May it please your Majesty, 
 "\X, E, your Majelty’s molt faithful 
 fubjeCts, the Painters, Sculptors, 
 and Architects of this Metropolis (being 
 defirous ol eltablifhing a Society for pro¬ 
 moting the Arts of Delign, and lenlible 
 how ineffectual every eltablifhmeot of 
 that nature mult be without the Royal 
 influence), mod humbly beg leave to 
 i'olicit your Majefty’s gracious, alli(lance, ; 
 patronage, atjd proteCtion, in carrying 
 this ulefulplan into execution. 
 
 It would be too greaj. an intrufion up.on 
 vour Majefty’s time to offer a minute 
 detail of our plan. We only beg leave to 
 inform your Majefty, that the two prin¬ 
 cipal obiefls we have in view are, 
 the eftabiiftimcnt of a 'well-regulated 
 S ibpi l~or Academy of l)ejign, for the uf'gj 
 of Students in the Arts ; and an annual 
 Exhibition, open ’q all Artifts of diftin- 
 guifhed merit, where they may offer their 
 performances to public infpeCtion, and 
 acquire that degree of reputation and 
 encouragement which they ftiaU be deemed 
 to deferve. 
 
 We apprehend that the profits arifing 
 from the laft of thefe inftitutions will 
 fully anfwer all the expences of the firjl ; 
 We even flatter ourfelves that they will 
 be more than neceflary, and that we ( 
 /hall be enabled annually to diftribute 
 fomsthing in ul'eful charities to the indi¬ 
 gent of our profeflion. 
 
 Your Majefty’s avowed patronage and 
 protection are, therefore, all that we at 
 prefent humbly lue for; But fhould we 
 be difappointed in our expectations, and 
 End the profits of the Society inefficient 
 to defray its expences, We humbly hope 
 that your Majefty will not deem that 
 charge ill applied which may be neceflary 
 to fupport fo ul’eful an Inftitution. 
 
 We are, with the ftrongelt l'entiments 
 «f duty and refpeCt, 
 
 Your Majefty’s mod dutiful 
 Subjects and Servants, 
 
 Z. 
 
 / 
 
 B. Weft 
 
 Franc. Zuccharelli 
 Nath. Dance 
 Rich. Will'on 
 G. M. Mofler 
 Sam. Wale 
 
 Auguftino Cartini 
 John Gwyrm 
 J. B. Cypriani 
 Jer. Meyer 
 Angelica Kaufman 
 C. Catton 
 M. Newton 
 

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 THROUGH 
 
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 ROYAL ACADEMY, 
 
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 JOSEPH BARETTI 
 
 SECRETARY FOR FOREIGN CORRESPONDENCE 
 TO THE ROYAL ACADEMY. 
 
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 / LONDON: 
 
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 GUIDE 
 
 THROUGH THE 
 
 ROYAL ACADEMY. 
 
 T O thofe, whom either vagrant curiofity, or defire of inftrudion, 
 brings into the Apartments of the Royal Academy, not to know 
 the defign, the hiftory, and the names of the various Models that- 
 Hand before them, is a great abatement of pleafure, and hindrance of im¬ 
 provement. He who enters, not knowing what to exped, gazes a while 
 about him, a ftranger among ftrangers, and goes out, not knowing what he 
 has feen. The fubfequent Lifts of theCafts in the Academy, with fome kind 
 of explanation to each, may therefore be ufeful to thofe that love the Arts, 
 and defire not to love them blindly. I am able to eftimate better the de¬ 
 ficiency of that kind of knowledge in others, by the difficulty I met in 
 obtaining that information, which I am now defirous to afford. 
 
 But before 1 enter upon a Defcription of thofe Cafts, the Public may 
 poffibly be pleafed with a general view of the Fabrick, in which that fplen- 
 did eftabliftiment is contained, and like to be apprifed of the various par¬ 
 ticulars relative to it, which my intimacy with the Architect, and other per¬ 
 rons concerned, has enabled me to collect. 
 
 The necefiity of ereding proper Offices for the tranfadion of the public 
 bufinefs of the Nation, and the expedience of uniting in one place all thofe 
 that have any connexion with each other, after having long been the fub- 
 jed of difcourfe, became at laft an Objed of Parliamentary Confideration, 
 and the Old Palace of Somerfet was purchafed of the Crown for that pur- 
 pofe, an Ad being pafied in 1774, “ for embanking the River Thames 
 u before Somerfet-Moufe, and for building, upon the ground thereof, va- 
 xt rious Offices herein fpecified, together with fuch other Public Offices and 
 Buildings as His Majefty fhould think fit.’* 
 
 The late Mr. Robinfon, Secretary to the Board of Works, Was the per- 
 fon firft appointed to condud this great Edifice ; and the buildings were to 
 be ereded in a plain manner, rather with a view to convenience than orna¬ 
 ment. But Mr. Burke, and various other Men of tafte in Parliament-, 
 having fuggefted the propriety of making fo vaft and expenfive a Defign at 
 once an objed of fiatiorial fplendour as well as convenience, it was refolved, 
 not only to execute the Work with the ftrideft attention to the bufinefs 
 
 A 2 '<& 
 
Space to be 
 occupied by the 
 i whole Edifice. 
 
 Officethat are 
 'to be iu the 
 i'alacc. 
 
 [ 4 ] 
 
 of the Public Offices ; but likewife with an eye to the Ornament of the 
 Metropolis ; and as a monument of the tafte and elegance of His Ma- 
 jefty’s Reign. 
 
 Mr. Robinfon made fome attempts upon this double idea ; but he dying: 
 before any thing was begun, or any of the Defigns compleated, Sir Wil¬ 
 liam Chambers was, at the King’s requeft, appointed to fucceed him in 
 October 1775, and all Mr. Robinfon’s Defigns were delivered to him-, of 
 which however he made no ufe, as he thought of a quite different difpofi- 
 tion; nor is there the leaft refemblance between his Defigns and thofe of 
 Mr. Robinfon, all which I have more than once feen and confidered with 
 fufficient leifure and attention. 
 
 The fpace to be occupied by this Edifice, though narrow towards the 
 Strand, being there only 135 feet, is very confiderable elfewhere,. being,, 
 from the Strand-front to the front of the Embankment on the River, 500 
 feet deep, and nearly 800 feet wide. 
 
 This great Area Sir William Chambers has diftributed into a large 
 quadrangular Court in the center, 340 feet long, by 210 feet wide, with a 
 Street on each fide, and parallel to it, extending 400 feet on a width of 60 
 feet, as a double paffage from the Strand to a fpacious terrace on the banks 
 of the Thames, raifed 50 feet above the bed of the River, being 50 feet 
 wide, and extending in length 800 feet. 
 
 Thefe great fpaces are all to be feparated and furrounded by buildings 
 of hewn-ftone, which, though yet only raifed to three {lories, are to rife to 
 fix when finiffied. They are to be decorated in the fame grand ftyle, and 
 with the fame degree of magnificence,, as the front now compleated towards 
 the Strand, and are to contain many Public Offices, with houfes and apart¬ 
 ments for a great number of Officers and Servants belonging to them, 
 whofe refidence has been judged neceffary for the more regular and expedi¬ 
 tious difpatch of bufinefs. 
 
 The principal of thefe are, the Privy-Seal and Signet Offices; the Navy. 
 Office; Navy-Pay ; Victualling; Sick and Wounded ; Ordinance; Stamp; 
 Lottery ; Salt-tax; Hackney-Coach; and Hawkers and Pedlars-Offices: 
 alfo the Surveyor-General of Crown-Lands-Office; the Dutchies of Corn¬ 
 wall and Lancafter; the two Auditors of Imprefts ; the Pipe-Office; and 
 Comptroller of the Pipe; the Clerk of the Eftreats, and Treafurers-Re- 
 memhrancers-Offices. The King’s Barge-Houfes are likewife comprehended 
 in the Plan, with a Dwelling for the Barge-Mailer; befldes Houfes for the 
 Treafurer, the Pay-mafter, and fix Commifiioners of the Navy; for three 
 Commiffioners of the Victualling and their Secretary; for one Commiffioner 
 of the Stamps, and one of the Sick and Wounded; with commodious Ap- 
 partments in every Office for a Secretary or fome other acting Officer; for a 
 Porter, and their Families.. 
 
 Spch is the general Dtfign of this Work, and this is aft that can yet in 
 general be laid of it. But the Building towards the Strand, as it is com- 
 .pleatly finished, will admit of a more fatisfaftory defcrrption, which I ffiail 
 endeavour to .give as ddtinctly as I am able, the rather as it is that part of 
 
 the 
 
I s 1 
 
 the defign, which Royal Munificence has appropriated to the reception of 
 polite Arts, ancient Knowledge, and modern Philofophy, fubjeCts equally 
 interefting to a great and polifhed Nation. 
 
 The Front towards the Strand is compofed of a ruftick Bafement fup- De/cription of 
 porting a Corinthian order of columns, crowned in the center with an 
 Attick, and at the extremities with a Baluftrade. Strand. 
 
 The Bafement con fills of nine large Arches, three in the middle, open, 
 forming the principal entrance, and three at each end, filled with Windows' 
 of the Dorick Order, adorned with Pilafters, Entablatures, and Pediments. 
 
 On the Key-ftones of thefe nine Arches are carved in alto-relievo, and in Key-Jlonts , 
 a very mafterly manner, nine Colojfal Majks , reprefenting Ocean arid the and Majks. 
 eight great Rivers of England, Thames , Humber , Merfey , Dee, Medway, 
 
 Tweed , Tine , and Severn , with proper Emblems to mark theip feveral pecu¬ 
 liarities. 
 
 OCEAN is in the center, reprefented by the Head of a venerable old 
 man, whofe flowing beard, refembling waves, is filled with filh of various 
 kinds. On his forehead is placed a Crefcent, to denote the influence the 
 Moon lias on its waters, and round his temples is bound a regal Tiara, 
 adorned with crowns, tridents, and other marks of Royalty. 
 
 To the right of Ocean appears the Thames , reprefented by a majeftick 
 Head, crowned with billing Swans and luxuriant garlands of fruits and 
 flowers. His hair and beard are drefled and plaited in the niceft order,' and 
 his features exprefs at once good fenfe, good humour, and every fpeeies of 
 urban perfection. 
 
 The next in order is the Humber , a ftriking contrail to the Thames, ex¬ 
 hibiting an athletick hardy countenance, with the beard and hair feemingly 
 dilordered by the fury of tempefts. • His cheeks and eyes are fwelled with 
 rage, his mouth open, and every feature diltended, as exprefiive of the 
 boilterous intra&able character of that River. . ),{ 
 
 Next to the Humber are placed the Merfey and the Dee , one crowned 
 with garlands of oak, the other with reeds and other aquatick produc¬ 
 tions. The laft of thefe is the work of Signor'Carlini \ the other four of Signor Car- 
 Mr. Wilton , all executed with a tafte and fkill, that does great credit to thefe lini andMr . 
 two able Artifts. Wilton. 
 
 Thefe are the Malks, which decorate the Arches to the Fight-of the cen¬ 
 ter. Thofe towards the left are •, firft, the Medhway , a Head fimilar to that 
 of the Thames, but of a different character, marking fomewhat lefs urba¬ 
 nity, being more negligently dreffed, and bearing for emblems the Prow 
 of a Ship of War, with feftoons of hops, and fuch fruits as enrich the 
 banks of that River. 
 
 The Tweed comes next, reprefented by a Ruftick, with lank hair, a 
 rough beard, and other marks of rural fimplicity, with which however the 
 ingenious Sculptor has artfully given to the head a character of fagacity, 
 valour, fortitude, and ftrength. It is crowned with a garland of roles and 
 thiftles •, and, though it be the laft, is certainly not the leafi: able perfor¬ 
 mance of Mr. Wilton,' 
 
 The 
 
[ 6 ]] 
 
 The remaining two on the left fide of the center, are finely executed?.,by 
 Signor Car Uni. The firft reprefents the Tine, with a head-drels artfully 
 compofed of Salmon intermixed with Kelp and other fea-weeds. The l'e- 
 cond reprefents the Severn. It has a fimilar head-drefs, compofed of ledges 
 and cornucopias*, from whence flow abundant dreams of water, with 
 lampreys and other fpecies of fifh, that abound in that River. 
 
 I have been thus particular in the defcription of thefe nine Mates, as 
 they exhibit more variety than could be expefled, and becaufe they are ex¬ 
 ecuted with much more tafte and (kill, than is ufually bellowed on fuch 
 works. 
 
 The Corinthian Order on the Bafement juft defcribed, confifts of ten 
 Columns placed upon pedeftals, and having their regular Entablature ; all 
 executed with great correflnefs, and in the mod approved ftyle of Anti¬ 
 quity. 
 
 The Order comprehends two floors’* a Principal and a Mezzanine. The 
 Windows of this are only furrounded with architraves, while thofe of the 
 Principal have before them a Baluftrade, arid are ornamented with Ionick 
 pilafters, entablatures, and pediments. The three central ones have further¬ 
 more large Tablets covering part of the architrave and frize, on which 
 Medal- are represented in baflo-relievo Medallions of the King, ghteen, and Prince of 
 MONs in the Woks, fupported by Lions, and refpedtively adorned with garlands of 
 ircm. laurel* of mirtle* and of oak, all executed by Mr. Wilton. 
 
 The Attick, which diftinguifhes the centef of the Front, extends over 
 three intercolumniations, and is divided into three parts by four colojfai 
 Colojfai Sta - Statue's placed ori the Columns of the Order, the center-divifion being re- 
 iutitmt. ferved for all Ittfcription, and the two fide ones having oval windows in 
 
 the form of medallions adorned with feftoons of oak and laurel. The four 
 Statues reprefent venerable Meft in fertatorial robes, with the cap of liberty 
 on their heads. All of them have in one hand a Fafces compofed of reeds, 
 firmly bound together, art emblem of ftrength derived from unanimity, 
 while- the other hand of each Figure fuftains refpeftively, the Scales, the 
 Mirrour, the Sword, and the Bridle*, Symbols of juftice, Prudence, Va¬ 
 lour, and Moderation *, Qualities by which Doirtinion can alone be main¬ 
 tained. The two Figures neared the center were made by Signor Carlini ; 
 Signor Car- the two at the extremities by Signor Geracchi , an Italian Sculptor, who re- 
 hiniamtStg- foied fome time in London, whofe abilities the Architect wifhed to encourage 
 vZi. tRAC ’ and keep among us* but the little employment found in England for 
 Sculptors, however excellent, fruftrated his intentions. 
 
 The Attick terminates with a Croup, confiding bf tipe Arms of the Bri - 
 tifh Empire , fupported on one fide by the Genius of England, on the other 
 by Fame founding her trumpet. The whole is a much approved perfor- 
 Mr. Bacon, mance of Mr. ’Bacon* 
 
 Before I’ proceed further, I (hall beg leave to tranfcribe fome remarks 
 upon this Front, which appear to me candid and judicious; They were 
 printed in feveral of the Daily Papers foon after it was ftnilhed and expofed 
 to public view. 
 
 «« This 
 
t 7 ] 
 
 “ This whole Compofition (fays my Author) is far from confiderable, 
 
 *« being little more than 130 feet in extent. All that the Artift could do 
 * e in fo fmall a compafs, and all that he feenis to have attempted, was to 
 « produce an objedt, that (hould indicate fomething more confiderable 
 “ within, and excite the Spectator's curiofity to a nearer examination of 
 “ the whole, of which it thade a part. His ftyle in confequence is bold, 
 
 « fimple, and regular. It is an attempt to unite the chaflity and order of 
 
 the Venetian Mailers with the majeftick grandeur of the Roman. The 
 “ parts are few, large, and diftindt. The tranfitions fudden, and ftrongly 
 “ marked. No breaks in the general courfe of the Plan, and little move- 
 “ ment in the outline of the Elevation; whence the whole Structure has 
 «* acquired an air of confequence, to which its dimenfions do not intitle 
 «* it. The great proportions are fuch, as have been obferved by Palladia 
 “ in the Tieni, Porti, and other of his Palaces in and about Vicenza; 
 
 “ and the detail, with regard to form, difpofltionj and meafure, chiefly 
 “ collected from the fame Palladio , from Vignola , from Raphael, from 
 “ Baldajfar Peruzzi, and from the Antique, new modelled, and Ikilfully 
 “ adapted to the general bent of the Deftgn.” 
 
 The three open Arches in the Strand-front, which have been before 
 mentioned, now form the only, and will always form the principal. Entrance 
 to the wholp Structure. They open to a fpacious and ftately Veftibule , uni¬ 
 ting the Street with the back Front, and ferving as the general Atrium to 
 the whole Edifice, but more particularly to the Royal Academy, and to 
 the Royal and Antiquary Societies, the entrances to all which are under 
 cover. 
 
 The Veftibule is decorated with columns of the Doriek order, whofe en- Vesttbu lb. 
 tablatures fupport the Vaults, which are modeftly fet off, as is the whole 
 Compofition, but with well-chofen antique-ornaments, among which are in¬ 
 termixed the Cyphers of their Majefties and the Prince of Wales. 
 
 The general idea of this Veftibule feems taken from that of the great 
 Farnefe-palace at Rome, defigned by Antonio Sangallo ; yet fo altered in its 
 forms, proportions, and decorations, that fcarce any refemblanee to the 
 Original remains. We may therefore, in conformity to the old Spartan 
 euftom, applaud the theft in confideration of the ikill with which it has 
 "been concealtd, and without any imputation of flattery be allowed to ob- 
 ferve, that the application is judicious, and the whole compofition a well^ 
 digefted and earefully-ftudied Performance. 
 
 Over the central Doors in this Veftibule are placed two Bufts executed in Central 
 Portland ftone by Mr. Wilton. That on the Academy-fide reprelents D° ors in 
 Michelangelo Bonarroti , the firft of Artifts; that on the Societies, Sir Ifaac Busts on the 
 Newton , the firft of Philofophers. Doers. 
 
 The front of this Building towards the principal Court, is confiderably Front te - 
 wider than that of the Strand, being near two hundred feet in extent, and is wards the 
 compofed of. a Corps-de-Logis t with two projedting Wings. The ftyle of (uourt ' 
 decoration is however nearly the fame, the principal variations confiding in ■* 
 the doots, windows, and other fttialler parts, which are of other forms and 
 
 3 different 
 
Sphinxes and 
 Altar. 
 
 Other Decora¬ 
 tions of the 
 Front fo¬ 
 rwards the 
 Court. 
 
 Masks by 
 Mr NollE- 
 
 KENS. 
 
 Statues by 
 Mr. Wil¬ 
 ton. 
 
 Mr. Bacon. 
 
 Sunk 
 
 Courts. 
 
 £n?rAUC fe. 
 to the Aca¬ 
 demy and the 
 Societies. 
 
 ne Hall. 
 
 [ 8 1 
 
 different dimenfions, 2nd in the Architect's having employed pilafters inftead 
 of columns, excepting on the fronts of the Wings, each of which has four, 
 fupporting a Finifhing compofed of two Sphinxes with an antique Altar be¬ 
 tween them, that makes an agreeable termination, and ferves to conceal 
 Chimneys neeeffarily there. , • - , » 
 
 What has been before obferved with regard to the Strand-front, may with 
 equal juftice be applied to this. The decorations of the principal-floor- 
 windows, though Ample* deferve attention, as the forms are perfectly chafte, 
 and the profiles fcrupuloufly correft. The Doors to the Wings are fkilfully 
 contrived at once to unite with the Compofition, to give entrance to a 
 Ground-flopr, and light to a Mezzanine : and the union of all the Ground- 
 fioor-windows with thofe of the Mezzanine-ftory, is a new and a lucky 
 thought, fince it obviates the ill eflfedt, which fuch little apertures occafion 
 in almoft every compofition I can at prefent recoiled. 
 
 The jive Mafks on the Key-ftones of the Arches, reprefenting Lares, or 
 tutelar Deities of the Place, are able performances of the ingenious Mr. 
 Nolle kens. f - 
 
 The Statues of the Attick reprefent the four Parts of the Globe. America 
 armed and breathing defiance * the reft loaded with tributary fruits and 
 treafures. They are all executed in a very mafterly manner by Mr. iVilton. 
 
 The Couronnement , or Attick-finifhing, by Mr. Bacon , like that of the 
 Strand-front, is compofed by theBritijh Arms placed on a Cartel furrounded 
 with fedges and fea-weeds. It is fupported by Tritons armed with tridents, 
 and holding a Feftoon of Nets filled with filh and other marine productions. 
 
 Before we leave this Front I muft not omit to mention the two funk 
 Courts furrounded with very elegant ruftick Arcades, and ferving to give 
 light to the bafement-ftory of the Royal Academy, the Royal Society, and 
 the Rooms intended to contain the National Records. In the middle of 
 each of thefe Courts is a Refervoir of water, ferving not only to all the 
 Cellar-Stories, but alfo the Engines in cafe of fire. The water is ferved 
 from the New-River; and being almoft conftantly on, muft, I apprehend, 
 prevent all accidents of fire, more efpecially as great cafe has been taken 
 throughout the Building, to render it as little liable to them as pof- 
 fible. 
 
 Returning from the gre&t Court to the Dorick Veftibule before deferibed, 
 you find on thfe right hand the Entrance to the Royal and Antiquarian Societies , 
 on the left that of the Royal Academy i And as this is the immediate Objeft 
 of this little publication, I fhall proceed to give a particular account of it, 
 after having juft mentioned, that the two learned Societies, its Neighbours, 
 are lodged in fuch a manner, as national fplendour and their importance in 
 the literary World required. They have fpacious and magnificent Rooms 
 for their publick Afiemblies, ample Libraries for their Books, retiring 
 Rooms for their deliberations, and commodious apartments for their Secre¬ 
 
 taries, Clerks, and other Servants. 
 
 The firji Room of the Royal Academy’s Apartments is a Hall about 25 
 feet fquare, which by having one fide open to the Great Stair, from which 
 3 « 
 
[ 9 ] 
 
 it is only feparated by an airy Screen of fluted Dorick Columns, appears Screen y 
 more confiderable than it really is, and exhibits a piece of fcenery exceed- 1,1 
 
 ingly agreeable, particularly during the Exhibition, when that circular Stair e 
 behind the Screen of Columns affords a conftant-moving Picture of every 
 gay and brilliant Object which graces the Beau-Monde of this vafl Capita!, 
 pleafantly contrafted with wife Connoifteurs and fprightly Dilettante’s of every 
 fize and denomination. 
 
 The Hall contains nothing very remarkable. Its walls are ftuccoed in De/cription of 
 compartments, adorned with fome antique Baffo-relievos over the doors, Hall. 
 and finifhing with a compofed Dorick Entablature, of which the Frize and 
 fome of the Mouldings are enriched. It is a Compofition of the Architect's 
 own, imitated from a Fragment mentioned in De Cambray s Parallele. He 
 had before employed it at Lord Melbourne’s in Piccadilly, and in various 
 other of his Buildings. 
 
 On one of the windows of this Hall there is an antique Urn , of a fine Casts in the 
 form, and beautifully carved all round. You will notice two Cajls of an old Hall. 
 
 Lion , that died in the Tower, modelled for the ufe of the Academy. There 
 is alfo an Hercules ebrius , or drunk , the Original of which was lately found at 
 Rome -, but not much admired. Of Michelangelo's Forfo and the Apollo 
 Pythius I (ball fay nothing here, as they are but duplicates of others to be 
 mentioned above-ftairs. But look at the Relievo's againft the wall. One, an 
 Alto-relievo , fupported by two fmall and whimfically adorned Columns, 
 that belonged to the old building, reprefents a Group of Angels. The 
 Original at Naples forms the front of an Altar in the Theatines-Church. 
 
 Among Flamingo's Works this is reckoned the belt. It is not pofliole for 
 marble to exhibit Nature with more truth than in that Original, as we may 
 judge by this Cajl, which was another prefent from Sir William Hamilton 
 to the Royal Academy. The Bajfo-relievo on the other fide the door, re- 
 prefenting a kind of Bacchanalian, is by Michelangelo , as I am told. Each 
 Relievo has three Bujls at top, all ancient, and all clafiical, if I may 
 be allowed the expreflion. 
 
 To the right of the Hall are the Secretary's Office , and the Academy of Academy of 
 living Models. In this laft, befides the Sculptures, Models, and Drawings Mo ~ 
 annually exhibited there, of which the annual Catalogue gives a particular 
 account, are to be feen the following Cajls and Clay-models , which I arrange 
 in an Alphabetical Order, becaufe they are fo often moved for the conve¬ 
 nience of the Students, that there is no poflibility of afcertaining fixed places 
 for them : but, as moft of them have names written upon them, I hope the 
 Reader will find without difficulty fuch information as he may require. I 
 fhall for the fame reafon follow the fame method when above-ftairs. Mean 
 while let us begin with 
 
 Adolescentulus, or Little Boy. This was a Work of the above-named Casts in it. 
 Francis Quefnoi } commonly called Flamingo , becaufe a Native of Flanders, who 
 fpent the beft part of his life in Italy. It is an opinion contradicted by few, 
 that, in the fculpturing of Boys and Children (and in that alone) the Artifts of 
 ancient Greece were inferior to thofeof modern times. Among thefe Flamingo Seme Account 
 
 B is o/’Fiamingo 
 
 the Statuary. 
 
t 10 ] 
 
 is reckoned the foremoft. 1 have read fomewhere, that he, as well as Algardi 
 and Nicholas Pouffin , firlt learned to reprefent them by ftudying the Works 
 of Albano , who himfelf painted over and over his own muft beautiful chil¬ 
 dren, of which he had no lefs than a dozen. Others fay, that Flamingo 
 reached that kind of excellence by contemplating and drawing l'ome Children 
 painted by Titian. Both faCts are poffibly true. Suffice that this little Boy 
 is one of his bell works. It was a prelent of Sir William Hamilton to the 
 Royal Academy. 
 
 Antjnous. This is but a Fragment of an Alto-relievo to be feen in the 
 Villa-Albani at Rome. Some fay, that the whole reprefented the Apotheofis 
 or Deification of a young' Man of that Name, who lived in the time of the 
 Emperor Hadrian. As Antinous was the molt beautiful youth of that age, 
 and in fuch high favour with that Emperor as to be deified by him after 
 death, his images in various forms were greatly multiplied by the Artilts 
 of that day, and a confiderable number of them came down to us, generally 
 much eltcemed for the perfection of their workmanfhip. Among the relt, 
 this Relievo is in great requelt, and Calls of it are to be feen in all Aca¬ 
 demies for the young Students to draw by. 
 
 Atalanta. This is the Bull of a Statue in a running pofture, to be feen 
 at Marly in France; a Work of Le Pautre , who was one of the molt able 
 Sculptors and Architects in the fervice of Lewis the XIV. In carving the 
 forrowful face of this Figure, Le Pautre vifibly intended to rival the grief 
 exprefied in the countenance of one of Niobe's Daughters belonging to the 
 Group to be mentioned by and by, when we come to fpeak of Niobe's Head. 
 It had poffibly been better, if, inftead of an Atalanta , he had made a Daphne, 
 or fome other fubjeCt of it, as the Calydonian Maid mult have appeared 
 full of anxiety rather than grief when near the end of her career. Be this as 
 it will, this Head is looked upon to be as fine as any in Niobe’s Group, and 
 as fuch is brought into Collections of this kind. 
 
 Car acalla-. The character of ferocity, which merited that Em¬ 
 peror the appellation of Aufonia Fera , or the Calabrian Beaft , is well ex- 
 preffied in this Bujl. The Original, by fome great Arcilt of his time, is in 
 the Farnefe-Palace at Rome. 
 
 Cicero. A fine Bull of that great Man by fome cotemporary Artilt, as 
 the Original was dug out of the Ruins of his own Villa at Tufculum, now to 
 be feen in the Gallery at Florence. 
 
 Faunus Juvenis, or Young Faun , a precious remain of the finell Greek 
 Sculpture. The Original is in one of the Rooms adjoining to the Gallery 
 at Florence. 
 
 Gr^cus Juvenis. This reprefentation of a Greek Youth is likewife a 
 piece of Greek Sculpture of the firlt Clafs, and to be feen at Florence 
 likewife. 
 
 Hadrianus. A fine Buft of that Emperor in the Gallery at Florence. 
 The times of Hadrian produced many pieces not inferior to thofe of the bell 
 Greek times, almoft all by Greek Artifts fettled at Rome. 
 
 Hercules 
 
f *« ] 
 
 Hercules infans . This Image of that Demigod, when an Infant, is 
 another capital piece of Greek Sculpture. The Original in black marble 
 is to be feen in the Villa-Medici at Rome, as I am told. 
 
 There are in this Room two jmall Models of the fame Hercules. One, a 
 Copy of the coloffal in the Farnefe-palace at Rome ; the other a Caryatides \ 
 that is, the Figure of that demigod fupporting, in I know not what 
 Building, fome part of the Cornice after the manner of a Caryatides ; and 
 mod of my readers know, that a Caryatides means a human Figure, which 
 fupports fome part of an edifice, as if it were a Column or Pilader; fo 
 called from the Women of Carya , a City taken by the Greeks, who led 
 them away captives, and, to perpetuate their flavery, reprefented them in 
 buildings as charged with burthens. This Caryatides-Hercules is the work 
 of a French Sculptor, as I am told. 
 
 Homerus. This Head , the production of fome Greek Artid at Rome 
 in Vefpafian or Titus’ times, is fo very excellent, that, whenever a head of 
 that immortal Bard has been wanting for any decoration ever fince, people 
 have made ufe of it without any hefitation. Pliny the elded, in his Na¬ 
 tural Hidory, B. 35. Ch. 2. fays, it was an invention of his age to give 
 ideal reprefentations of thofe great men, of whom no Image was to be 
 found, in order to fatisfy the natural defire in us of knowing fomething 
 of their figure and features. He indances that of Homer , glancing pofii- 
 bly at this very Head , now to be feen in the Farnefe-Palace at Rome. 
 
 Julia pia. A very fine Bud of that Emprefs, who was wife to Sep¬ 
 timus Severus. The Original is in the Collection of Mr. Brown at Wim¬ 
 bledon, and this Cad was a prefent of his to the Royal Academy. 
 
 Juno, a colofial Buft, ranked in the fird Clafs of Greek Sculpture. 
 The Original is at Rome in the Building called the Campidoglio , built on the 
 Ruins of the ancient Capitol , where a vad Collection of ancient Works of 
 art is preferved. 
 
 Justitia. This colofial female Figure lying down on a piece of dra¬ 
 pery, reprefents Juftice. The Cad is from the marble-datue on the Mo- 
 • nument of Pope Paul III. in St. Peter’s Church at Rome. Many that iee 
 this figure here, are apt not to be pleafed with it. But the cafe is different 
 with thofe who have feen it in its true point de vue, where the efieCt is 
 quite grand, though fome incorreCtnefs in it is allowed on all hands. The 
 Sculptor was Guglielmo della Porta , not Jacopo (Jacques) as Monfieur de la 
 Lande calls him in his Voyage d'un Francois en Italie. Jacopo was Guglielmo’s 
 Uncle, and the Name of Guglielmo is fo vifibly written on the Monument, 
 that it is furprifing Monfieur De la Lande did not fee it. His Book, by 
 the by, is full of inaccuracies, impertinencies, and wrong judgments, es¬ 
 pecially with regard to the works of Art. Ciacconio in his Lives of the 
 Popes, and Domenico de ’ Roffi in his Study of Architecture, have given 
 views of that magnificent Monument. Giorgio Vafari, the famous Writer 
 of the Lives of Painters , Sculptors , and Architects, though perfonally ac- 
 
 B 2 quainted 
 
quainted with della Porta , and his Condifciple in Michelangelo’s School, 
 gives a defcription of that Monument and of this Statue, which is not 
 quite exaCt, probably becaufe he faw not the work itfelf finally executed, 
 but only the Original Defign, which was altered afterwards. 
 
 Laocoon, and Laocoontis Filii. Thefe three Heads belong to the 
 Group of Laocoon and his Children , of which we fhall fpeak when upftairs. 
 
 Marcus Aurelius. Nothing fo common as the Images of that good 
 Emperor in all Collections of ancient Sculpture, becaufe, as we are told 
 by Julius Capitolinus the Hijlorian , whoever had not an Image of Marcus 
 Aurelius at home, was looked upon as a facrilegious Man. The Original 
 of this Bujl is in the Villa-Lodovifi at Rome ; the Head of bronze, the 
 Body of porphiry. 
 
 Minerva. An excellent Greek Bujl of the belt times. The Original 
 in the Campidoglio. 
 
 Mercurius, by Gianbologna , or John Bulloin , a Native of Doway in 
 Flanders, who lived in the fixteenth century, and fpent the belt part of his 
 life in Italy. In Sculpture, like Fiamingo , he rivalled the very belt Italian 
 Mailers. Of this Mercury there are two Calls in bronze, both made by 
 him. One of them, fays Vafari , was fent to the Emperor Maximilian. 
 The other is in the Villa-Medici at Rome; and from this the Royal Aca¬ 
 demy had this Plafter. The Account that Vafari gives of him is Ihort, 
 becaufe Giambologna was then but young. But Baldinucci , another Author 
 of Lives of Artifts, wrote it at large, and there mentioned moll of his 
 Works, which were very numerous, becaufe the Italians, fenfible of his 
 merit, employed him much ; though at that time abounding in all kinds of 
 excellent Artifts of their own Country. 
 
 Mithridates. This image of that King of Pontus, who fought fo 
 bravely and fo long againft the Romans, but was at laft overcome by 
 Pompey the'Great, exhibits a grand character, ufing the phrafe in the 
 Sculptor’s fenfe, and is numbered among the nobleft Bulls we have. The 
 Original is fomewhere at Rome, but I cannot be apprifed of the individual 
 place. 
 
 Neptunus. This Head belongs to a Statue of that God, made by 
 Laurence Bernini to decorate a fountain in the Villa-Negroni near Rome. 
 
 Account Bernini was a Painter and an Architect of great eminence, but chiefly a 
 ernini. Sculptor, who made as great a noife in the laft century, and was as enthu- 
 fiaftically celebrated, as the great Michelangelo himfelf in the century before, 
 on account of his unbounded genius, though in many parts of the three 
 Arts inferior to Michelangelo. See the judicious Criticifm on this Head of 
 Neptune by Sir Jofliua Reynolds in his laft Difcourfe to the young Students 
 of the Academy. Baldinucci wrote the Life of Bernini , which ought to 
 be read by every young Artift, to learn from it how far in Knowledge they 
 might go, by putting, like Bernini, all their powers on the ftretch. The 
 fame Life was alfo written with great fprightlinefs by the anonymous Au¬ 
 thor of another Book intitled Le Vite de' pin' celebri Architetti ; that is, The 
 2 Lives 
 
[ i3 ] 
 
 ✓ 
 
 Lives of the mofl celebrated Architects, printed in quarto at Rome, fo late as 
 1768. That inftrudive Book young Artifts ought likewife to read, though 
 written in a quaint and broken ftyle, and in an arbitrary kind of Italian, 
 plentifully larded with offenfive Gallicifms. 
 
 Nero. This Bufi reprefents that Monfter when a Boy. ’Tis a fine piece 
 of Roman Sculpture of the Auguftan age. The original is in a Room of 
 the Gallery at Florence, called the Tribuna. 
 
 Niobe. This is but the Bufi of the principal among the thirteen Sta¬ 
 tues, which form the renowned Group of Niobe and her Children, formerly 
 in the Villa-Medici at Rome, but lately taken to Florence by order of the 
 prefent Grand-Duke of Tufcany, to whom that Villa belongs. Ovid, in the 
 6th Book of the Metamorphofis, tells in a very pathetick manner the Story 
 of that Princefs fo proud of her numerous Offspring, and Aufonius, proba¬ 
 bly after having feen thefe Statues, objurgates the Gods for their cruelty to 
 her and her children. Abbe Richard , in his Travels through Italy, attributes 
 this whole Group to Phidias, one of the mofl famous Artifts of ancient 
 Greece. I wifti he had given us his authority for fo faying, as the elder 
 Pliny does not fay it in the 35th Book, Chap. 8. of his Natural Hiftory, 
 where he enumerates fome of Phidias’ performances •, and in the 36th Book, 
 mentioning this very Group , he fays, that the Sculptor of it is unknown. 
 The expreffion of forrow in this Head of Niobe is greatly admired, and was 
 pretty well imitated by a Roman Antiquary, who, on the day that thofe 
 Statues were taken away from the Villa-Medici, dreffed himfelf in deep 
 mourning, and accompanied them to the very confines of the Papal State, 
 bitterly crying and bemoaning the great lofs that his Country then fuftained. 
 The learned and unfortunate Abbe Winkelman, in a German Book of his- 
 about the Arts, fpeaks of the grief felt by the Artifts of Vienna, when 
 certain Statues, belonging once to the glorious Prince Eugene, were carried 
 away from that Town to Drefden, fold to the Elector of Saxony. But 
 neither did thofe Artifts cry, nor put on mourning, as the Germans, it 
 leems, are made of a fluff fomewhat rougher than the Italians. 
 
 Nox, or Night. A fmall Model of the famous Notte, a Statue by 
 Michelangelo, to be feen on a Monument in the Sacrifty of San Lorenzo at 
 Florence, along with three more, all confidered as the very beft ever pro¬ 
 duced by the Chizzel of that Prince of Artifts. Vafari, who was Michel¬ 
 angelo's Difciple and Friend, fpeaks of them quite enthufiaftically, and fo 
 do almoft all Artifts that make mention of them, of this Notte in particu¬ 
 lar. I will however fay, that Vafari would have done better, had he omit¬ 
 ted the four verfes by Giambattijia Strczzi in praife of that Notte, and alfo 
 the four in anfwer by Michelangelo himfelf, as indeed they were not worth 
 tranfcribing. 
 
 Pompejus. This Bufi belongs to the Statue of Pompey the Great to be 
 feen in the Palazzo-Spada at Rome. It was a Work of Pompey’s times, 
 and reckoned a mafter-piece. It is granted almoft on all hands, to have 
 been the very Statue, at the foot of which Cefar was murthered by Brutus 
 and his other Republican Comrades, who did not reform the world by that 
 
 affaffi- 
 
[ >4 1 
 
 aflafTination, but. deluged it with blood, and brought themfelves to an un¬ 
 timely end by the vanity of their grand fchemes. 
 
 Puellus. This is another beautiful Child by Famingo , already men¬ 
 tioned. 
 
 Salis Amasia, or Sails’ Miftrefs , as fome fay it is, poftibly by way of 
 faying a pretty thing. Monfiiur Salis is a French Artift of diftinguifhed 
 merit, and chief Sculptor to the prelent King of Denmark. The Original 
 of this Call:, a prefent from him to the Royal Academy, is, as I am told, 
 in fome Palace at Paris. 
 
 Salvator Mundi* that is. Our Saviour , by Donatello , a Florentine 
 Sculptor, of whom fomething will be faid in the next article. The Origi¬ 
 nal is a Statue to be feen at Florence, I have forgotten in what Church. 
 
 Somi Account Sanctus Georgius. This Head belongs to a Statue in armour, repre- 
 0 f Dona- fenting St. George \ a Work of the faid Donatello. The Original of it is at 
 
 tello, a jq orence i n a Niche on the outfide of a Church called Qrfanmichele. See 
 the Life of this incomparable Artift in Vafari. Though born near a century 
 before Michelangelo (that is, in 1383, when the Arts, with regard to the 
 World at large, were but in their infancy, and when but a few ol thole 
 Antique Statues and Bufts had as yet been excavated from Ruins at Rome 
 and elfewhere, that helped fo powerfully the fubfequent Artifts) Dona¬ 
 tello proved fo excellent in fcujpture, as to be confidered no contemptible 
 a Rival of thofe Greeks themfelves, with whom he was but fuperficially 
 acquainted. This Call of his, St. George’s Head, given to the Academy 
 by Mr. Wilton , was moulded by himfelf on the Original. It does honour 
 to Donatello, that, when the French Academy at Rome was inftituted by 
 Lewis XIV, it was made one of its Statutes, that the young Men admitted 
 to it, fbould, among other works, ftudy the Call of his St. George. In 
 1583, Francefco Bocchi , a great Lover of the Arts, printed at Florence a 
 little Book, now very fcarce, entitled Eccellenza della Statua di San Giorgio 
 del Donatello •, that is. The Excellence of St. George's Statue by Donatello . 
 
 Sanctus Johannes, another work of Donatello. Vafari mentions it in 
 his Life. The Original is likewife at Florence, and the Royal Academy 
 had this Call from Mr. Wilton. 
 
 Senator Romanus. A Bitjl of the Auguftan age. If I am told right, 
 the Original is in the Campidoglio. 
 
 Susanna. This Call: is from the Head of a Statue reprefenting that 
 Hebrew woman, who has obtained a Place in the Saints-Calendar of the 
 Roman Catholicks. That Statue is over the Sacrifty-Door of a Church at 
 Rome, called La Madonna di Lorreto , one of Fiamingo’s admired Works. 
 Mr. Lock in his Colle&ion has the original model in terra cotta , or baked 
 clay, by Fiamingo himlelf. 
 
 Venus •, a work of Monfieur Pigal , dill living al; Paris, chief Sculptor to 
 the King of France, an Artift of' confiderable abilities. This Call was a 
 prefent from him to the Royal Academy as foon as founded. The Ori¬ 
 ginal, I am told, was fent to the King of Pruflia along with a Mercury of 
 .his, much p railed by Connoifieurs as well as this Venus. 
 
 Venus •, 
 
•[ »s ] 
 
 Venus ; that is, the Torjo, or Body of a Virgin, the Original of which 
 is in Mr. Lock’s Collection, at his Houle in Portman-Square, reftored by 
 Mr. Wilton in his ufual maflerly manner, and made again into a whole 
 Statue. In Cipriani's opinion, and I heard him fay it feveral times, this 
 body is more beautiful than that of the Medicean Venus, of which we lhall 
 fpeak when in the next Room. It is eafily to be remarked, that the Me- 
 dicean exhibits a young Mother, but Mr. Lock’s a Virgin : and this, I 
 fuppofe, contributes to give a fuperiority in point of beauty to this over 
 that, which really appears fomewhat heavy, or goffa, as the Italians term 
 ir, when examined by the fide of Mr. Lock’s. This Torfo was found at 
 Nettuno, a Town in the Roman Territory, near the fpot where ancient An- 
 tium flood, and where Nero had a Palace, containing a choice Collection of 
 antique Statues. The Apollo Pythius and the Gladiator repellent, to be men¬ 
 tioned anon, were alfo found at Nettuno. Hence the probable fuppofition, 
 that, like this Virgin-Venus, they belonged to that Collection. This Call 
 was a prefent of Mr. Lock to the Royal Academy. 
 
 Nothing remains for me to fay about this Room, but that there are 
 Cafts of fome ancient Foliages, hanging againft two of its walls, the Origi¬ 
 nals to be feen in the Villa-Medici. 
 
 We are now at the foot of the principal Stair , from which, as before 
 obferved, the Hall is only feparated by a Screen of Columns. 
 
 The Stair, though winding, is eafy and convenient. It has the merit of Stair case* 
 being contained in a very fmall fpace, without prejudice either to its com- 
 modioufnefs or magnificence-, and, though all the light it has is brought 
 from the top, yet fo has it been managed, that there is a fufficiency even 
 to the depth of feven (lories, fome of them very lofty ones. 
 
 As the Exhibition-Rooms are neceffarily, for the light, at the very top of 
 this Stair , the Architect felt the neceffity of fupplying amufement to the 
 Spectators while mounting towards the fky, and of furnifhing them with 
 flations of repofe, where they might find entertainment, to compenfate for 
 the labour paft, and be encouraged to proceed. In this he has certainly 
 been fuccefsful, as every flight of flairs affords a new piece of feenery re¬ 
 plete with amufing objeCls of various forts. 
 
 From the firfl Landing, which is of the fame order as the Hall, and but SW/Vestj- 
 a few fleps railed above the Floor of that Room, looking downward, you BULE 0 /^ e ^ # 
 fee in the Bafement-Story a Dorick Vefiibule , fmall, but of a very pleafing^^ 
 form, which, befldes being an entrance to the Keeper’s Apartments, the 
 principal part of which are in that Story, ferves alfo to conceal part of the 
 Back-flair and Paffages to the Offices. It finifhes with a mutule Cornice 
 and Blocking, that levels with the Landing you Hand upon, the center of 
 which is diflinguifhed by a very elegant Group , compofed of a Vafe , which 
 goes by the Name of Vafo de’ Medici , lately carried from Rome to Flo¬ 
 rence ; of the two Centaurs known by the name of the Furietti-Centaurs , 
 becaufe firfl belonging, when found, to a Cardinal of that name and of a 
 Bajfo-relievo reprefenting a Triumph , which is in the Capitol at Rome. To 
 accompany the Group, feveral Antique Bujls are placed round the Blocking, 
 
 i the 
 
[ >6 ] 
 
 the whole uniting and according very well with the decorations under 
 them. 
 
 Cipriani’s Afcending from this firft Landing, you arrive at the Mezzanine-Floor, 
 Cbiarofcuro. where, among other Ornaments, is Teen a Picture in chiaro-fcuro , by Signor 
 Cipriani, reprefenting feveral Genii employed in the Jludy of Painting , Sculp- 
 ture, Architecture, Geometry, ar.d Meckanicks. The Decorations of this 
 Landing are of the Ionick Order, and the Soffits plainly, but neatly 
 adorned. Two fine Cajts of antique Bufts accompany Cipriani's Chiaro-fcuro. 
 One is the famous Julius Cafar in the Campidoglio ; the other a young Ca¬ 
 ligula, if I am not miftaken, in the Borghefi-Palace at Rome. 
 
 From the Mezzanine to the principal Floor you al'cend by two Flights 
 of fleps. Over the Half-fpace that feparates them, is feen an Antique 
 Baffo relievo of Endymion afleep, and under it an Antique Fragment, repre¬ 
 fenting fome of the Mufes, furrounded with a rich Frame, Truffes, See. A 
 fimilar decoration, compofed of various Antique Fragments, is alfo placed 
 over the Half-fpace of the Mezzanine-Floor. Both are ornaments to the 
 walls of the Stair, in which view too, the Windows ferving to light the 
 back Stairs and Clofets round the Stair, may be confidered, as the neceffity 
 and vulgarity of thofe Apertures is thus artfully concealed, not only by the 
 choice of the ornaments which furround them, but alfo by Baffo-relievos 
 and Antique Vafes of various ffiapes intermixed with them •, which give an 
 unufual and pleafing afpect to the whole. 
 
 Landing of The Landing of the principal Floor is of the compofite Order, adorned 
 the principal with pilafters and a regular Entablature, that carries a large elliptical Arch, 
 which fupports the Attick Landing. The Soffit of this is decorated with 
 oflagon Compartments intermixed with lozenges filled with rofes, and bor¬ 
 ders of guillochis with flowerets. Its Key-ftone is a Mafk with a head-drefs 
 terminating on each fide in Ionick volutes, from which are fufpended fef- 
 toons of fruits and flowers to adorn the Archivolt. The Spandrels on each 
 fide of the Arch are funk into pannels filled with garlands of flowers and 
 branches of laurel. A Cordon, or String, finifhes this (lately compofition, 
 marks the level of the Attick-floor, and runs all round the cafe of the 
 Stair. It is compofed of Acanthus-leaves intermixed with Lyres, Flutes, 
 Pateras, and Inftruments of ancient Sacrifice. 
 
 Library. The principal entrance to the State-floor is by the Library, the Door of 
 which is under the center of the Arch juft defenbed, and a proper decora¬ 
 tion to its back-wall. This Room is not large, but very handfomely fitted 
 up with Book-cafes round the walls, over which are placed feveral antique 
 Bufts with a variety of paintings and other decorations, that merit a very 
 particular Defcription. 
 
 The Bock-cafes contain a very good Colledlion of every thing that has 
 been written in moft languages by either ancient or modern Authors on 
 the fubjedl of the Arts of Defign : alfo Books of ancient and modern Hii- 
 tory, Poetry, Mythology, Mathematicks, and other branches of learning 
 oonnedted with the Arts, with as extenfive a Collection of Prints, as could 
 be obtained during the few years that the Royal Academy has been efta- 
 
 bliffied. 
 
[ >7 J 
 
 b'lifhed, which is daily encreafing, and will in time, we doubt not, rival the 
 Colledtions of this fort exifting at Paris, Madrid, and in fome other few 
 Cities of Europe. 
 
 By the Tides of the Shelves next the Windows, are cafes hung againft the 
 wa$ls, containing a large number of what they call Sulphurs, which exhibit Sulphurs. 
 impreffions of the molt choice Gems engraved by Arufts of ancient times, 
 
 •and preferved by the curious in every part of Europe. 
 
 The Bujls placed above the Book-cafes are all antiques, and all choice Busts over 
 ones. But I cannot give a particular account of them, as 1 have not been theBcok- cafes. 
 able to procure fufficient information myielf about moft of them. How¬ 
 ever the Names affixed to fome of them may poffibly give fome fatisfadtion 
 to the moft inquifitive. 
 
 The Chimney of this Library is of marble richly carved by Signer Loca- Chimney^ 
 telli, with various emblematical and arabefque ornaments. Upon it is Signer Loca- 
 placed a Pedeftal, on the die of which, in an oval Tablet, are reprefented telli. 
 Cupid and Pfycbe , a work of Mr. Nollekens, and his Reception-Piece n ol . 
 when admitted an Academician. That Pedeftal fupports an excellent Bufi lekens. 
 of his Majefty as Founder of the Royal Academy, executed by the malterly 
 hand of Signor Car Uni. Signor Car- 
 
 Upon a Defk between the two Windows is a Bujl reprefenting Sicknefs , LINI - 
 the Reception-Piece of Mr. Bacon. Two Models in terracotta, or baked Mr . Bacon. 
 clay, are on the Tides of itj one a Perm by Nicholas PcuJJin , the other PoussiN aH j 
 a Faun by Rijhrack , both given to the Academy by the Earl of Belborough, Risbrack. 
 a generous Encourager of Arts, and fkilful Colledtor of fuch an¬ 
 cient and modern Pieces, as may be conducive to their forwardnefs in this 
 Country. 
 
 The Doors of this Room are richly decorated with carving, and the 
 walls, finifhed in ftucco with enriched party-coloured compartments, that ter¬ 
 minate in a Cornice of a peculiar, but pleafing compofition, on which a coved 
 deling rifes, adorned with arabefque ornaments, garlands, and feftoons of deling of the 
 flowers and various other embellifliments excellently executed, partly gilt Library. 
 after a new and agreeable manner. They furround Compartments filled 
 with fuch paintings as juftly claim the admiration of both Artifts and Con- 
 noifieurs. 
 
 The Center-Painting reprefents the Theory of the Art under the form of 
 an elegant and majeftick Female, feated in the clouds, and looking up¬ 
 wards, as contemplating the Heavens. She holds in one hand the Com- 
 pals, in the other a Label, on which this fentence is written: 
 
 Theory is the Knowledge of what is truly Nature. 
 
 This Picture is the Work of Sir Jofhua Reynolds a noble Specimen of Joshua 
 that elegance of tafte, ftrength of imagination, fpirit and brilliancy of co- Reynolds * 
 louring, for which he has been lb often and fo juftly celebrated. 
 
 The four Compartments in the Coves of the Cieling reprefent Nature, Coves of tlx 
 Hijlory, Allegory, and Fable , the fources from which the chizzel and the 
 pencil gather fubjedts for reprefentation. All the four are the work of 
 Signor Cipriani > who may juftly be faid to have laboured con amore on thefe 
 
 C fpecimens 
 
[ t8 ] 
 
 Pictures in the 
 Library by 
 Cipriani. 
 
 Academy 
 of the An¬ 
 tique. 
 
 Fir/1 Room. 
 
 fpecimens of his clafilcal and correct talle of Defign, and of his consum¬ 
 mate {kill in the arts of compofition and colouring. Thefe Subjects explain 
 t hern Selves Sufficiently to Artifts and ConnoilTeurs; but as all who vifit the 
 Royal Academy cannot be of that claSs, an explanation may to Some not 
 be unacceptable. 
 
 On the Compartment over the Chimney is reprefented Hijlory by the 
 figure of a majeftick Female feated on the Earth, the theatre of her en¬ 
 quiries. Before her, a Genius with a trumpet, the emblem of fame, Sup- 
 ports a Shield, on which with one hand Ihe engraves pad events, while 
 the other holds and difplays the Book of truth. In the back ground, to 
 group and fill the compofition, are various Genii ftudioufly confidering a 
 Globe. 
 
 In the Compartment on the windows-fide is reprefented Fable in the 
 Phenix, the Pegafus, the Sphynx, the Satyr, the Gorgon’s-head, and other- 
 fanciful productions of poetick imaginations, intermixed with Genii, Mafks, 
 and various Instruments of ancient rites and ceremonies •, all allufions to the 
 principal Fables and poetical fancies of Homer, Ovid, and other Poets of 
 antiquity. 
 
 Over the entrance-door is reprefented Nature under the Figure of a beau¬ 
 tiful Young Woman giving nourishment to a Child, and unveiling herfelf 
 to the Studious enquiry of Some Genii employed in the delineation of her 
 charms. She leans on a Cornucopia, whence iffue various forts of animals* 
 with fruits, grain, vegetables, and flowers, in the consideration of which 
 other Genii appear clofely employed. 
 
 Over the other door of the room, and facing the windows, are intro¬ 
 duced various allegorical Genii and Animals, which are Types of Naviga¬ 
 tion, Commerce, and Maritime Fortune; of Wifdom chaftifing Vice and 
 fuppreSTing Ignorance ; of Victory, and fuch qualities as are molt conducive 
 to the felicity and grandeur of a State; each accompanied with fuch marks 
 and Symbols, as-the ingenuity of former ages has invented to explain this 
 myltick ftyle of compofition. 
 
 Next to the Library is the Academy of the Antique, confiltingof two Spa¬ 
 cious rooms filled with fine Calls of the moll celebrated Remains of ancient 
 Sculpture ftill exilling at Rome, at Florence, and elfewhere. 
 
 The firll Room is fitted up with great Simplicity. The ornaments are ra¬ 
 ther remarkable for tafte of defign and excellence of execution, than for 
 their fplendidnefs or abundance. The four Angles of the Cieling have 
 four Similar ornaments, confilling of garlands of flowers Surrounding the 
 Letters R. A., initials of the Royal Academy , interwoven with the Compafs, 
 the Chizzel, and the Brufh, which are the chief tools of the Siller-Arts 
 proteCled and cultivated there. 
 
 The ArchiteCl has Ihown Some ingenuity in rendering regular the Plan 
 of this Room, though, from the lhape of the ground, it is really very 
 much the contrary. I hope however, he will not be diipleafed at my re¬ 
 marking, that his door-frizes, though pretty, favour Rrongly of the 
 ' 5 
 
r *9 3 . 
 
 filligrane-fafhion of the day, and put me in mind of Gradaffo the Dwarf In¬ 
 troduced by Raphael in one of his moft ferious Paintings. 
 
 The Cads contained in this Room are the following : 
 
 Africus. For want of a better, I give this name to a Head of a Blackamoor , Casts in the 
 which is in the Niche of this Room. A Friend of mine would have firfi Room of 
 it called Boccar , or Boccor , an African King named in one of Juvenal’s Sa- the Academy 
 tires. But, as it has no enfigns of Royalty about it, I imagine it to be ^^ ^“' 
 the Portrait of fome Slave, if not a fanciful performance intended to cha- i 
 radferife the general Look of the African faces. Wnatever it be, I think 
 it a fine thing of the kind. 
 
 Alexander. We have fome Images on Gems of the Macedonian Con¬ 
 queror, but none in marble or bronze, that ever I heard, by any of his 
 cotemporary Artifts •, therefore this mud be of a later date. The original 
 of it is in the Campidoglio, if I am not mifinformed. 
 
 Antinous. Tlfis room contains no lefs than four reprefentations of that 
 young Man already mentioned. But, overlooking the Bujl , and the fmall 
 Model., we will only notice the two Statues of him, as big as life, the one 
 preferved in the Campidoglio , the other in the Cortile di Belvedere at Rome. 
 
 The left leg of the fird (near the Jlove) was redored by fome bad or care- 
 lefs Artid of modern times. Both are ranked among the bed pieces of 
 the Greek Sculptors that lived at Rome in Hadrian's time. 
 
 Apollo Pytbonem jaculans , or Apollo Pythius. Of all the Statues of 
 ancient Greece dill exiding in Italy, this coloffal one of Parian marble, 
 preierved in the Cortile di Belvedere , is confidered as the mod beautiful. It 
 was dug out of fome ruins at Net turn, a Town in the Territory of Rome 
 near the ancient Antium \ and as Nero had a Palace there, in which he had 
 collected a vad number of the fined Statues, ’tis likely this belonged to 
 that Collection. It exhibits the God a moment after his having difcharged 
 an arrow at the Serpent called Python , which had been produced by the 
 dime or mire formed by Deucalion’s Flood. See the dory in the fird book 
 of Ovid’s Metamorphofis. Some parts of the Statue were redored, as it 
 was broken and mutilated when fird found. It offers a character of ele¬ 
 gant majedy beyond the human, even in this Plader, which, to fay the 
 truth, is none of the bed, as it was formed, not on the Original, but on 
 another Cad. The fame is to be faid of the other in the Hall below. 
 
 Apollo C&lifpex. This fine figure of Apollo is in the Gallery at Flo¬ 
 rence. See the Mufeum Florentinum. 
 
 Athleta. If I am not mifinformed, the Original in marble of this 
 Wrefiler was lately dug out in the neighbourhood of Rome. It holds in 
 the right hand the Vial that contained the oil, with which the Athletes an- 
 nointed themfelves when going to their exercifes. Nobody thinks very 
 highly of this Statue. 
 
 Bacchus j a Work of Jacopo Sanfovino , one of the bed Italian Artids of 
 the fixteenth century, whofe Life has been written by Vafari. It is related 
 in that life, that this marble-datue was made for a Gentleman, who in- 
 
 C 2 tended 
 
C 2° ] 
 
 tended to place it on the front of his houfe •, and that was the innocent 
 caufe of an odd kind of misfortune to Pippo , an ingenious Lad, and a 
 Difciple of Sanfovino , who, having ferved as Model to his Matter while 
 making it, fuch a revolution was caufed in his poor brains by Handing 
 often in that fatiguing pofture, that he went mad as foon as the Statue 
 was finiflied, and ran ieveral times naked on the top of Sanfovino's houfe, 
 placing bimfelf on the very brink of the roof in the lame attitude in 
 which he Hood while a Model. This Caft is now more valuable than it 
 was before, as the Original, which was preferved in the Gallery at Florence, 
 perifhed in the conflagration of a part of that Gallery in 1762, along with 
 many other excellent works of art. 
 
 Ceres. The Original of this little Statue is in the Villa-Mattei at Rome; 
 An excellent Greek performance of tile beft times. The drapery is parti¬ 
 cularly admired. 
 
 Cincinnatus. The Original of this Statue is in Lord Shelbourne’s 
 Colledion at his Houfe in Berkley-fquare. Some fay it reprefents 
 v/ L. QuinElius Cincinnatus when called from the plough to the chief com¬ 
 mand of the army by the Senate ; but others will have it, that it exhibits 
 Jafcn, fon of /Egeus, putting on his c alee ament a , and his fword, after hav¬ 
 ing removed the Stone, under which they had been depofited by his Father, 
 with an injunction that he fhould not have them, but when ftrongenough 
 to lift up that Hone. In Cincinnatus's time, fay thole who think it a Jafcn, 
 Rome had no Sculptor. True, fay thofe who will have it a Cincinnatus ; 
 but Sculptors often reprefent people who lived in diftant ages. Be that as 
 it will, the Statue is a very fine one. The King of France has a repetition 
 of it at Verfailles, but- not quite fo fine as this. 
 
 Cupid and Psyche, an ancient Group in the Gallery at Florence, reftored 
 by Benvenuto Cellini , of whom we (hall fay fomething by and by. See the 
 Mufeum Florentinum. 
 
 Discobolon. It is proverbial that every Statue has a Story. Ths 
 Difcobelon , as the Greeks called their Quoit-Player, does not want one. 
 An Italian Phyfician of great learning, called Hieronymus Mercurialis , was 
 the firft among the moderns, as far as I can find, who in his Book De Arte 
 Gymnaftica , printed in 1670, difeufiing the form of the Difcus, or Quoit, 
 of the Ancients, took notice of this very Statue, giving a plate of it in 
 that Book. Mercurialis lays there, that the Difcobolus was then in the 
 houfe of a John Baptift Vidorius at Rome. But, it feems, that from that 
 Houfe it foon went to the Verofpi-Palace, where it was feen by Velafquez, 
 the celebrated Spanifh Painter, who had been Cent to Rome by his king 
 for the purpofe of buying antique Statues to decorate the Efcurial. Velaf¬ 
 quez intrigued fo much with the great People at Rome in order to induce 
 Verofpi to fell the Difcobolus, that Verofpi , abfolutely refolved not to part 
 with it, yet afraid of being forced to it, broke off his Statue’s head, and 
 gave out it had been ftolen. This put an end to the Solicitations of Velaf¬ 
 quez, who was then Satisfied to have only a copy of it, and had it made in 
 
 bronze 
 
[ ] 
 
 bronze by Algardi , one of the great Italian Sculptors of that day. Algardi 
 put a head of his own invention to his bronze, and thus it went to the 
 Efcurial, from whence Mengs the Saxon Painter, who died lately at Rome, 
 lent Mr. Lock, the prefent Proprietor of the Statue, a drawing of it, giv¬ 
 ing him two different views of it, by which it appears, that Algardds head 
 ftoops a little more than this, and has a fillet round it, which this nas not. 
 
 That this Statue is of great antiquity, appears from the marble itfelf, which 
 is of a kind called Pentelicon , ufed in Statuary long before the Parian. It 
 prefents us with a beautiful combination of ftrength and adlivity. The 
 adtion of the Dificobolus is fimply this, that he has caft his ghicit, and is 
 watching its fall with attention. This gives the Statue that advantage, 
 which the Apollo Pythius , the Laocoon , the fighting and dying Gladiators , and 
 a few more, have over the Mob of antique Statues. His mind determines 
 the Adtion, and influences all the limbs. There is no mind in the major 
 part of the antique Statues, which we only admire for the elegance of their 
 forms, and the corredlnefs of their proportions. They are mere Academy 
 Figures. The ftyle of Sculpture in this, is the fame as that of the fighting. 
 
 Gladiator , of which we will take notice anon. There is a repetition of the 
 Dificobolus lately found at Rome ; and its being repeated is a proof, that it 
 has been in eftimation with the ancients. I think it probable, that it 
 has been made in honour of fome vidtor at the public games, as it has the 
 Stump of a Palm-tree by it, which, however, is not the cafe with that, 
 now placed in the Campidoglio’s Colledlion, as the Stump by it is not that 
 of a Palm, if a Drawing of it that I have feen, is faithful, as 1 have reafon to 
 think it is. Our Caff was a prefent of Mr. Lock to the Royal Academy... 
 
 See the judicious Obfervations on this Statue made by Sir Joffiua Reynolds, 
 in his laft Difcourfie. 
 
 Faunus. There are two Fauns irr this Room, both Greek, and of the Some Account 
 beft times. One is the Dancing-Faun , the Original of which is to be feen- of the T'rihuna 
 in an odtogon Room adjoining to the Gallery at Florence, called the Fri- at-Flortno*. 
 buna , part of which we have feen laft year reprefented in a Pidture at the 
 Exhibition by the fkilful pencil of Mr. Zafifani. That Fribuna contains 
 many choice performances of ancient and modern Artifts, befides the 
 Dancing Faun-, the Head of which is by Michelangelo , and fo very fine, 
 as to make us regret lefs the lol's of the original one. A duplicate of 
 this Statue has lately been found at Rome, which is likewife without 
 a head. That I regret, as a fair comparifon might be made between 
 Michelangelo and one of the very beft Statuaries ancient Greece ever had. 
 
 The other Faun playing on the flute , not inferior to the dancing one, is prc- 
 ferved in the Villa-Borghefi at Rome. 
 
 Faustina Minor. This Rujl, which is in the Campidoglio, reprefentS' 
 the Wife of the good Emperor Marcus Aurelius, lo renowned for her 
 ftrange irregularities in her moral conduct. 
 
 Flora. This Statue , preferved in the Campidoglio, is particularly re¬ 
 markable for the great beauty of the drapery.. There is befides in this 
 5 Room. 
 
[ « ] 
 
 Room a friiall Model of another Flora, to be feen alfo at Rome in the Cor- 
 tile of the Borghefi-Palace, and reckoned not inferior to the above. 
 
 Ganimedes. This was but a Torfo, when dug out of the ground. 
 Benvenuto Cellini , already named, a famous Florentine Artift of the fix- 
 teenth century, of whofe Life, written in Italian by himielf, we have a 
 very bad Englifh Tranflation, made a whole Statue of that Torfo , adding a 
 head, arms, and legs to it. His redoration however is not very happy, and 
 Artifts admire more the Eagle , than the Boy. But the attitude of Ganimedes 
 fhowinga little Bird to the Eagle, feems to me prettily fancied. The Original 
 is in the Gallery at Florence. 
 
 Gladiator repellens , commonly called the fighting Gladiator. This 
 beautiful Statue was found during the Pontificate of Paul III. at Nettuno , 
 near the ancient Antium , where, as was already faid in fpeaking of the 
 Apollo Pythius , Nero had a Palace, in which he had collected many of the 
 fineft Statues exifting in his time, among which this had moft probably a 
 place. If the infeription on the pedellal fays true, this Gladiator was a 
 work of Agafias of Ephcfus , whofe Name is not to be found in the Lilt of 
 the Greek Sculptors, that Pliny has given, which is fomewhat furprifing, as 
 the perfection of it, in the unanimous opinion of all Artifts, is not to be 
 effaced by any other antique Statue. From its being omitted by Pliny , 
 Antiquarians conclude, that Agafias lived in Hadrian's times, or there¬ 
 about; and it is well known, that many Artifts of Hadrian’s age were not 
 inferior to the very beft of ancient Greece. See the Mufeum Capitolinum. 
 
 Hercules. This Buft of that Demigod when young, holds a very high 
 rank among the Works of Art. The Original of it is in Mr. Townley’s 
 celebrated Collection at his houfe near the Cock-pit, and this Cafi was a 
 prefent from him to the Academy. 
 
 Lucius Verus, Brother to Marcus Aurelius Antoninus the Philofopher, 
 and his Collegue in the Empire, is here reprelented when young by an 
 able Mafter of his time. 
 
 Marcus Aurelius Antoninus, the Philofopher when young, is here 
 reprelented in a buft , probably by the fame Mafter, that carved the above 
 of his Brother Lucius Verus. 
 
 Medusae Caput \ that is, Medufa's head in baffo-relievo. See the Story 
 of that beautiful Maid in Ovid’s Metamorphofis, Book V. The work is 
 Greek, and very fine. 
 
 Meleacer. The Story of this famous Hunter is to be read in Ovid’s 
 Metamorphofis, Book VIII. He is here reprefented with his Dog on one 
 fide, and the Head of the Calydonian Boar on the other. Moft Artifts 
 look with admiration upon this Statue, thinking it full as fine as any of 
 the two Antinous’; yet I have been told by a Painter of great reputation, 
 that it has fome very confiderable defeCls. The Original is in the Cam- 
 pidoglio. 
 
 Mercurius, the God of Commerce, is here reprefented with a purfe in 
 one hand', and a piece of the caduceum (as I fuppofe") in the other. The 
 
 Original 
 
r 23 ] 
 
 Original was lately found at Rome, if I am not rnifinformed. • There is 
 another fine Head of Mercury in this Room. 
 
 Minerva. The Original bead of that Goddefs with a helmet on, is 1 
 know not where. 
 
 Mirmillo Deficiens , or ’The Dying Gladiator •, a Statue in the Campido- 
 glio’s Collection. You have here a very beautiful reprefentation of one o t 
 thofe Wretches, generally of Thracian extraction, who fought in public at 
 Rome for the diverfion of that brutal People always delighted by bloody 
 {hows. This is exhibited in a fallen pofture, and dying of a wound re¬ 
 ceived in the bread. It was a part of a Gladiator’s education to learn fall¬ 
 ing in a fine attitude in cafe of his being mortally {truck by an Antagonid, 
 and dying in a graceful manner, in order to deferve the applaufe of the 
 Spectators. Whenever I look upon this Statue, I cannot help being lefs 
 affeCted by the vifible perfection of a Grecian chizzel, than by the inhu¬ 
 manity of the Romans. This Gladiator , attributed to Ctefilas , a famous 
 Greek, who lived in the Augudan age, has been noticed by Pliny. The 
 right arm of it was redored by Michelangelo . See the Mufeum Capitolinum. 
 
 Niobe. This Room contains four or five of the Heads belonging to the 
 ftatues that form the Group of Niobe already mentioned. 
 
 Pancr atiast^e, or the Wrejllers , an excellent Group , the Original of 
 which is at Florence in the Tribuna. See the Mufeum Florentinum. 
 
 Paris, a fuppofed reprefentation of that Son of Priam. The Original 
 is in the Earl of Shelburne’s Collection. 
 
 Philosophus •, that is, a Bujl reprefenting an ancient Philofopher, reck¬ 
 oned of Greek workmanlhip, and very fine. I know nothing about the 
 Original. 
 
 Phrygia Rex •, that is, a Bujl belonging to a Statue more remarkable for 
 its rarity, than workmanship, preferved in the Gallery at Florence, fuppofed 
 by the drels to reprefent a Phrygian King. 
 
 Polyphemus •, a fmall Model of the monocular Cyclop, whofe Story is 
 told in Ovid’s Metamorphofis, Book XIII. This is thought a Work of 
 Gianbologna already mentioned. 
 
 Praestigiatrix *, that is, a female Vagabond, who pretends to foretel 
 futurity by palmedry or phyfiognomy in Englifh a Gipfey, in Italian 
 una Ztngana. This is a fmall model of the famous Zingana to be feen in 
 the Villa Borghefi at Rome, not only much valued on account of its being 
 a fine piece of Sculpture, but alfo a reprefentation of a character not to 
 be met in any other antique Remain but this. 
 
 Puellus ; that is, a child, by Flamingo. 
 
 Pythagoras. A fine Statue, fuppofed to reprefent that Philofopher, I 
 know not on what Ground. The Original is in the Duke of Dorfet’s 
 Collection, and the Cad was a prefent of his Grace to the Royal Academy. 
 
 Seneca ; a Head of that famous Man. The Original is in the Gallery 
 at Florence. 
 
 Smug- 
 
Dr. Hun¬ 
 ter. 
 
 Signor Car 
 
 LINI. 
 
 t H J 
 
 Smuggler ius. A jocular Name given to this Caff, which was mould¬ 
 ed on the Body of a Smuggler for the ufe of the Academy. As Dr. 
 Hunter, Profeffor of Anatomy to the Academy, was going to difiedt that 
 Body in one of his Leftures to the young Students, it was obferved, that 
 many parts of it were very fine and worth preferving. Signor Carlini was 
 therefore directed to mould it, and he chofe to give it the pofture of the 
 Dying Gladiator. 
 
 SusannA. A fmall Model of a Figure at Rome, which we have already 
 faid to be a fine Statue by Flamingo. 
 
 Triton, a Sea God ; a fmall Statue by Gianbologna , probably made to 
 decorate fome piece of water in fome Garden. 'Tis that which is placed at 
 top of the Stove. 
 
 Venus fpinam educens \ fo called in the Mufeum Florentinum. It is an 
 elegant female Figure, fitting and extracting a thorn out of her foot. The 
 thorn has not penetrated very deep, as fhe feems to grieve rather out of 
 over-delicacy and grimace, than real pain. ’Tis a Greek performance 
 highly efteemed, and kept in the Gallery at Florence. 
 
 Unus e Dus Pr^stitibus •, that is. One of the Tutelar Deities privately 
 worfhipped by the ancient Romans. By this appellation goes this Statue 
 in the Mufeum Florentinum. Some Antiquarians are however of opinion, 
 that it reprefents one of thofe young Men called. Camilli, whofe office was 
 to affifi: at Sacrifices-, and there are even thofe, who think it a Bacchus. 
 Be that as it will, the bronze-Original, kept in the Gallery at Florence, is 
 reckoned a Mafter-piece of Greek Sculpture, though this Cajl, which is 
 none of the beft, offers nothing very extraordinary to the eyes of a common 
 Beholder, like myfelf. 
 
 Befides the above Bulls and Statues, this Room contains two other Ob- 
 jedls worth much notice that is, the Pannels of the three doors of a Church 
 at Florence called San Giovanni ; and a number of Heads from the Trajan 
 Pillar at Rome. Thofe Doors were call in bronze by Lorenzo Ghiberti , a 
 Florentine Artift, who, like Donatello already named, was born near a cen¬ 
 tury before Michelangelo \ that is, before the antique works of art were fo 
 familiar to the Italians, as they became in Michelangelo's time. Fafari in 
 Ghiberti's Life gives a minute defeription of the Scriptural Stories engraved 
 on thefe Pannels. In fuch elleem were thofe Doors with Michelangelo , that, 
 being afked his opinion about them, he anfwered they deferved to be the 
 Gates of Heaven. ’Twould be difficult to praife them higher. As to the 
 Heads , hanging, like thofe Pannels, about the Walls of this Room, every 
 Man of education knows, that at Rome there Hill exifts a high Pillar, 
 called la Colonna Trajana , erefted by Trajan after his viftory over the Da¬ 
 cians, with an intention it ffiould be his own and his Pofterity’s burial place, 
 as we are told by Dion Cajfius. The Pillar has no lefs than 2500 Heads 
 engraved on the outfide, which cover it from top to bottom -, and thofe 
 you fee here, have been moulded on fome of them. They all appear to 
 have been fo many Portraits. The Architect and Sculptor of the Pillar 
 
 was 
 
I 25 ] 
 
 was Apollodorus of Damafcus , one of the moft eminent charaders of his 
 time, in great Favour with Frajan^ but hated and put to death by Hadrian 
 his fucceflor. 
 
 The fecond Room of the Academy of the Antique, intended alfo for the Second 
 general Meetings of the Academicians, or Council, is more fplendidly fur- Room of tht 
 niflied than the firft. The Walls of it are hung round with Frames , that 
 are in time to contain Pidures by the Academicians. Only four of them e ntique ' 
 are as yet filled up with Portraits , which tell very plain by whom they are 
 made, and whom they reprefent. Sir JoJhua's hand needs no Nomencla- 
 tor, when his Originals are known to the Beholder. 
 
 The two Chimney-pieces in the Room are plain, yet elegant, and very Mr. Wi*.- 
 well executed by Mr. Wilton. The door, windows, architrave, and cor- ton. 
 nice, are richly decorated, and the Cieling is an original Compofition, in 
 which ornamental Sculpture, (or rather Moulding) Painting, and Gilding, 
 are blended with fuccefs, though in an unufual manner. Bernini and 
 Pietro da Cortona feem to have been the models of the Archited’s imita¬ 
 tion in the general management of this work •, and the ftyle of decoration 
 keeps a proper medium between the excefiive luxuriance of Le Pautre , and 
 the meager trifling fafhion fo univerfally adopted among us at this time. 
 
 Inftead of exhibiting a defiert compofed of a great number of diftind little 
 round, oval, odagon, fquare, and lozenge difhes, conneded only by a 
 number of little infignificant flourilhes, as is now ufual, one principle runs 
 through the whole Defign, of which the parts feem naturally to rife out of 
 each other, to fupport and beautify each other, and to unite in forming a 
 well conneded whole. The execution of the Jlucco-ornament r, both in Stucco's in tht 
 this Cieling and throughout the building, are admirable. They are defigned Second 
 in the beft ftyle of antiquity, as tranfmitted to us in thofe fine Frag- Rocm - 
 ments ftill exifting at the Villa-Medici at Rome, of which the Cafts have 
 already been feen below in the Life-Academy, and they are executed with 
 all that truth, fpirit, and tafte, that was to be expeded from the conftant 
 attention of the Archited, and from the great executive powers as well as 
 tradability of the workmen employe'd by Mr. Collins. 
 
 The artifice of painting Shadows in the ftucco’s, is there judicioufly in¬ 
 troduced. It foftens the outline in places where it feems necefiary, gives 
 a relief, which ftucco alone could not have, with a lightnefs and effed to 
 many parts, that could not otherwife be obtained. Bernini has availed 
 himfelf of the fame artifice with great fuccefs, and to a very great extent 
 in the Vault of the Gran Gefu at Rome, which, though executed by Bat- 
 tijla Bacicciy was compofed by him, and finiftied under his diredion : and 
 our Archited, vifibly a great admirer of Bernini , efpecially in his orna¬ 
 mental Works, has employed it in various decorations at Earl Gower’s, 
 
 Lord Melbourne’s, in Wooburn-Abbey, and elfewhere. 
 
 The five Pidures, which fill the center-compartments of this Cieling, Pictures in tin 
 are all painted by Mr. Weft, whofe abilities as an Hiftorical Painter have ^ 
 
 been univerfally acknowledged, and munificently rewarded by our gracious Mr ' EST * 
 
 D Sove- 
 
Figures by 
 Angelica. 
 
 [ =6 ] 
 
 Sovereign and all ranks of his People. The Art and the Artifts are great¬ 
 ly indebted to Mr. Weft for having been one of the firft, who opened the 
 eyes of the Englifh to the merits of modern Hiftorical Painting, and ex¬ 
 cited in them a defire of feeing it flourifh in this happy Ifland. 
 
 The center Pidture in this Cieling, reprefents the Graces unveiling Na¬ 
 ture , exhibited under the Figure of the Ephefian Diana, meaning proba¬ 
 bly, that nothing but what is graceful in the ftores of Nature, fhould be 
 a lubjedt for the Artift’s pencil. The other four explain themfelves fuffi- 
 ciently. They reprefent the four Elements (from which the imitative Arts 
 colledt the Objedts of their imitation) under the forms of female Figures 
 attended by Genii with fire, water, earth, and air, exhibited in different 
 forms and modifications. 
 
 The four large oval Pictures, which adorn the two extremities of .the 
 Cieling, are works of the celebrated Angelica Kauffman , whofe various ac- 
 complifhments, as well as her great fkill in the Art fhe profeflfes, have 
 long been the fubjedt of admiration.' They reprefent Invention , Compojition , 
 Defign , and Colouring , and are executed with all that grace, elegance, and 
 accuracy, which diftinguifh the beft produdtions of this extraordinary Lady. 
 
 Invention , or Imagination, is reprefented by a majeftick, but adtive 
 Woman in the flower of her age, when ftudy and obfcrvation have 
 given the mental faculties their full vigour. She leans upon a ce- 
 leftial Globe, has an eye upon her breaft, and wings upon her head, 
 which is elevated in earneft contemplation of the heavens; emblems 
 and intimations of the vivacity, penetration, and fublimity required in an 
 Artift. 
 
 Compofition is reprefented by a Female fomewhat more advanced in life 
 than Invention. She appears feated in a fedate and penfive pofture, leaning 
 her head on one hand, while the other fupports an open compafs. On a 
 table near her is feen a Chefs-board covered with its pieces, by which the 
 ingenious Paintrefs meant to exprefs, that the fallies of Imagination fhould 
 be reftrained by reafon and circumfcribed by rules; and that it is only 
 by a judicious arrangement and choice of parts, that true perfedtion in 
 compofition can be obtained. 
 
 Defign is alfo reprefented by a Female feated, and ftudioufly employed 
 in delineating the famous antique Torfo , which by way of excellence is 
 called. The School of Michelangelo. Of that Torfo we fhall have occafion to 
 fpeak by and by. 
 
 Colouring appears in the form of a blooming young Virgin, brilliantly, 
 but not gaudily dreflfed. The varied Colours of her garments unite and 
 harmonize together. In one hand fhe holds a prifm, and in the other a 
 brufh, which fhe dips in the Tints of the Rainbow. Under her feet is feen 
 the Cameleon fporting on a bed of various flowers. 
 
 Befides thefenine large Pictures, there are in the Angles or Spandrels in the 
 center, four coloured Medallions reprefenting four great men of Antiquity; 
 that is, Apelles the Painter, Phidias the Sculptor, Apollodorus the Architect, 
 
 and 
 
[ 27 ] 
 
 and Archimedes the Mathematician ; and round the great circle of the center 
 appear eight lmaller Medallions held up by Lions, upon which are re- 
 prelented in chiaro-fcuro Palladio , Bernini, Michelangelo, Flamingo, Ra¬ 
 phael, Domenichino, \Titian, and Rubens, all great Artifts of modern times, 
 and all painted by the well-known Signor Rebecca. Signor Re- 
 
 The following are the Calls in this beautiful Room. becca. 
 
 Alexander. The Original of this Bufi is in the Gallery at Florence. Casts .in the 
 Some chink it an Achilla 
 
 Antinous. We have here two excellent Bujls of that young Man, both 
 exhibiting him in the character of Bacchus. They are not copies of each 
 other, as may be feen by the ivy-leaves differently difpofed about the 
 Heads. One of the Originals is in the Earl of Shelburne’s Colledlion; 
 the other in Mr. Townley’s. 
 
 Ariadne. A much admired Buft in the Campidoglio. 
 
 Astragalizontes ; or the two Boys playing at ojjicles, which were a kind 
 of dice. This Fragment was found during the Pontificate of Urban Y 1 II. 
 in the Ruins of Titus* Baths at Rome, which makes it probable this is 
 the identical Group faid by Pliny to be a work of the moft famous 
 Polycletus of Sicyon. Duofque Pueros (fecit Polycletus Sicyonius) tails nudos 
 ludentes , qui vocantur AJlragalizontes, et funt in Titi Imperatoris Atrio , quo 
 opere nullum abfolutius plerique judicant. Of the two Boys only one remains: 
 of the other, but an arm and a foot is left. I have read, I cannot re¬ 
 coiled: where, that, during the Siege of Sparta by Pericles, two common 
 Boys of that Town, that were playing at oflicles, fell a quarrelling, and 
 that one, for having bit the other in the arm in a defperate manner, was up¬ 
 braided by the Byftanders, to whom he made no other apology, but that 
 he wifhed he could do the fame to Pericles. That patriotick anfwer deferved 
 him a Statue, in which he was reprefented biting his Antagonift. The 
 Fragment is of marble, though Pliny mentions it in the chapter of Bronzes, 
 pofiibly by an overfight, of which he has not a few; if we will not rather 
 fay, that the Group was a repetition in marble of Polycletus * bronze. Be 
 that as it will, this is a moft precious Remain of ancient Greece, now 
 preferved in Mr. Townley’s wonderful Colle&ion, and the Cajl was a pre¬ 
 sent of his to the Royal Academy. 
 
 Bacchans ; that is, the Buft of a Bacchanalian Woman. Nobody can 
 tell me where the Original is to be feen. 
 
 Caracalla ; a fine Buft in the Farnefe-Palace at Rome. 
 
 Explorator, commonly called by the Italians VArrotino, that is, the Knife- 
 Grinder. Some fay it reprefents the Augur Attius Noevius, who is going 
 to cut a done before Tarquinius Prifcus j fome a real Knife-grinder, 
 who revealed the confpiracy of Catiline to Fully, and fome the Have Mi¬ 
 lieus, who difeovered that of his mafter Scevinus to Nero. Be what it 
 will, ’tis looked upon as a great chef-d’oeuvre preferved in the Tribuna 
 at Florence. 
 
 D 2 Faunus* 
 
Torso. 
 
 [ 28 ] 
 
 Faun us. A young fylvan God, that carries a kid on his flioulder. 
 There is one in the Farnefe-Palace at Rome, which, like this, carries a 
 kid on his back; but, as I am told, it has nothing to do with this, the 
 Original of which fome fay is in the Eicurial •, others, that it has been loft 
 at fea while carrying there. Be where it will, there is fomething rejoicing 
 in the chearful and innocent look of his Faun, which fome will have 
 to be the work of a modern Artift. 
 
 Hercules. This is the famous coloflal Torfo of Michelangelo , fo en- 
 phatically called, becaufe Michelangelo termed it His School , thinking it the 
 very beft remain of Greek Sculpture that the World could ftiow. Torfo 
 is an Italian word, which in its firft fignification means the Stump of a cab¬ 
 bage quite fiript of its leaves : but Artifts call Torfo's all thofe Statues , that 
 want the head, arms, and legs, as is the cafe with this. By the Lion’s 
 lkin under it, -’tis reafonably fuppofed to have reprefented an Hercules, 
 and the Sculptor is faid to have been Apollonius of Athens. The original 
 marble is carefully preferved at Rome in the Cortile of Belvedere. The 
 Royal Academy has it engraved on the gold and filver Medals annually 
 diftributed as premiums to the Students, and Angelica has introduced it 
 with great propriety in the reprefentation of Design in the Cieling of this 
 Room. 
 
 Laocoon. Little can be faid of this wonderful Group, that has not 
 already been faid a thoufand times- It reprefents Laocoon and his children , 
 whofe Story is to be read in Virgil, Book II. Laocoon however, is here 
 exhibited in a character different from what Virgil gives him when dying. 
 Inftead of roaring loud, like a Bull wounded at the Altar, Laocoon expires 
 here in fuch exquifite anguifh, as permits him not even to mind his Chil¬ 
 dren’s horrid fituation, one*of whom is nearly dead by the fting of a Ser¬ 
 pent, the other in extreme terror at the fame impending fate. This Piece 
 was found at Rome in the Ruins of Titus’ Baths. Pliny fays, that it 
 was the joint work of three Rhodian Sculptors, Agefander, Polidorus, and 
 Athenodorus, whom he terms fummi Artifices, and prefers it to all perfor¬ 
 mances whatever both of Statuaries and Painters. Opus omnibus et pittur* 
 et Statuaria artis pr^eponendum. The right arm of the Laocoon was reftored 
 by Friar Angelo Montorfoli, fays Vafari in the Life of that Friar. Our Caft 
 was fadly broken when carried hither-, but Mr. Wilton fet it to rights with a 
 great deal of care and patience. 
 
 Lucius Verus. This Mafk, or Face, is from a coloflal Bull in the 
 Villa-Borghefi at Rome-, a mafter-piece of Hadrian’s times. 
 
 Marcus Aurelius. A much admired Bujl in the Campidoglio. 
 
 Nero; a fine Bujl in Mr. Townley’s Collection. 
 
 Otho; a fine Bujl in the Campidoglio. 
 
 Puellus; that is, another Child by Fiamingb. 
 
 Thalia. The Original of this Statue, of which only the Torfo is an¬ 
 cient, is at Mr. Anfon’s Seat in Stafford (hi re. 
 
 — . - . Venus 
 
Venus Callip.®dia. This is a Statue of Grecian workmanfhip, reckoned 
 very fine, efpecially about the parts, from which it derives its appel¬ 
 lation. The Original is in the Farnefina at Rome. Atheneus in the 12th 
 Book, tells with great naivete the Story of the two Maids at Syracufe, in 
 confequence of which the Greeks firft thought of ere&ing temples and 
 images to the Goddefs of Beauty under that ludicrous Name. The Head 
 belonging to this Statue, thought by fome not to belong to it, appears to 
 be a Portrait rather than a fancy-head. However, it fits well the reft of 
 the body. 
 
 Venus C^lestis. This is another of the fineft remains of Grecian An¬ 
 tiquity. The Diadem about the Head of the Original, which is in the 
 Tribuna at Florence, ftill preferves the marks of having once been gilt and 
 ftuck with jewels. The modefty exprefted in the look, and the beautiful 
 drapery, which covers it from the waift t <3 the feet, procured it from the 
 Antiquaries the appellation of celejlial or chafe , and it goes by both Names. 
 
 One of the arms, fome fay both, have been reftored by Benvenuto Cellini 
 with fuch (kill, as to make us forget the lofs of the old ones. 
 
 • Venus Anadyomene ; that is, Venus emerging out of the Sea, commonly 
 called La Venere de' Medici , or the Medicean Venus. This Statue, found at 
 Tivoli, where Hadrian had a great Villa full of fine Sculptures, was the 
 work of Cleomenes the Son of Apollodorus the Athenian, if we credit the In- 
 fcription on the pedeftal. The general opinion of Artifts is, that this Venus 
 is the moft beautiful reprefentation now exilting of a female body. In the 
 Original, which is confidered as the belt piece in the Tribuna , the hair ap¬ 
 pears to have been gilded, and the ears to have had rings. I wonder the 
 modern Artifts do not adopt that ancient cuftom. The Fijh and two Cupids 
 on the left fide of it, febm to be the work of an inferior hand •, but, as 
 they belong to the block, they were probably neglefled on purpofe, left 
 they fhould diftraft the Beholder’s attention from the figure, which appears 
 beautiful in every afpeft; an advantage not common to every Statue. 
 
 This Caft, which is one of the very beft, was a prefent of the Duke of 
 Gloucefter to the Royal Academy, given his Royal Highnefs by Filippo 
 Farfetti , a Venetian Nobleman, well known to all Lovers of Art on ac¬ 
 count of his vaft Collection of Cajls in his Palace at Venice, put together 
 at a very confiderable expence from all parts of Italy. 
 
 There is another Venus in this Room, which is evidently an imitation 
 of the Medicean. I have been told, that the Original of it was bought at 
 Rome by an Englifh Gentleman of a Mr. Jenkins, a great dealer in an¬ 
 tiques, for the enormous fum of three thoufand pounds. If the faft is, 
 true, this ought to be the Venus of all VenufTes. There is likewife here 
 the Cafi of a Dog , the Original of which, in marble, was bought for a 
 thoufand pounds at one of Cnriftie’s Sales. As it is the Work of a Greek 
 chizzel, they call it Alcibiades* Dog. Whether .Alcibiades’, Afclepiades’, Aldliadef 
 or Acrifioniades’, it would be a hard matter to make Foreigners believe, Doc. 
 that fuch Works of Art fetch fuch prices in. England, though the idea of 
 i Englilh 
 
Signor Car 
 
 o 
 
 ILN I. 
 
 Upper Part 
 of the Houfe. 
 
 Cipriani’/ 
 
 Chtarofcuro. 
 
 Firjl Exhi¬ 
 bition- 
 Room. 
 
 [ 3° ] 
 
 Englifh opulence, of Englifh liberality, and of Englifh tafte is great every 
 where. ., 
 
 Over one of the Chimneys there is a fmall Model of His Majefty on 
 horfeback by Signor Carlini , and over the other a Cajl of a fayed Horfe , 
 the Original of which, a bronze in great efteem, is to be feen in the 
 Villa-Mattei at Rome, fuppofed to have belonged to fome ancient School 
 of Anatomy. 
 
 Having now explained as well as I could all that is to be remarked in 
 the State-apartment of the Royal Academy, we proceed to the Attick 
 floor by two flights of fteps, above the half-fpace cf which is ieen a paint¬ 
 ing confiderably large in chiaro-fcuro by Signor Cipriani , a noble fpecimen 
 of that Gufto of the Antique, which has long fecurcd to him the efteem 
 of the moft intelligent. The fubjeft of it is Minerva vifiting the Mufes on 
 Mount Parnajfus , who fhow the Goddefs the beauties of their abode, and 
 fupplicate her favour. See the fifth Book of Ovid's Metamorphofis. No¬ 
 thing more appoflte could be thought of for the place ; and the applica¬ 
 tion of that fubjedt to it is quite obvious, that Artifts will rife to excel¬ 
 lence in proportion to the exienfion and variety of their knowledge, whereof 
 Minerva and the Mufes are the fymbol. 
 
 At one end of this Painting, in a circular Niche, is placed an antique 
 Colojfal Buft of Jupiter , the original of which is in the Verofpi-Palace at- 
 Rome, and at the other end one of Niobe from the celebrated Group already 
 mentioned. 
 
 The Attick Landing is decorated with columns and pilafters of the 
 Corinthian order, forming at one end the entrance to the Keeper’s apart¬ 
 ments, at the other that to the Secretary’s, and in the center the entrance 
 to the Exhibition-Rooms by an open Screen of columns. The Entablature 
 and other parts of the order, are very corre&ly defigned and executed 
 with the greateft neatnefs. The Soffit of the Stair, with the Sky-light, 
 and parts furrounding, are all well ftudied, and unite well with the Order 
 that fupports them; the whole forming a very pleaftng piece of fcenery, 
 in which fymmetry, juft proportions, and agreeable forms have been 
 fcrupuloufly attended to, in fpight of many difficulties, which fome odd- 
 nefs in the locality threw in the way of the Architect. 
 
 Th z Anti-Exhibition-Room is about 25 feet fquare by 19 feet high, and 
 comprehends the Attick and Garret-ftories; It is well lighted, and neatly 
 decorated. Its upper parts being in the roof, give it a Angular form 
 yet not a difagreeable one, nor irregular; but fubtilly contrived to conceal 
 the awkwardnefs of the Atuation, and render it fit for the intended pur- 
 pofe. 
 
 The Entrance from this to the Great'Exhibition-Room^ is a Compofition 
 part real, part painted, to correfpond with the entrance oppofite, that leads 
 from the Stair to the Anti-Room. Circular niches, containing ancient 
 Bufis , anfwer to the circular windows on the oppofite fide, and Pilafters to 
 the oppofite Columns, Their Entablature is the fame, as is likewife the 
 
large Tablet occupying part of it, upon which, on this fide, is reprefented 
 in chiaro-fcuro a Sacrifice to Minerva , the poetical Divinity of the Place: 
 on the other fide is reprefented the Marriage of Cupid and Pfyche , or 
 Union of the Soul and Body, taken from the famous antique Cameo 
 now in the pofieflion of his Grace the Duke of Marlborough; an Emblem 
 of the mental and executive faculties requifite to conftitute a perfeCt 
 Artift. i 
 
 Above the Order is reprefented an open Window with a difiant fky feen 
 through it, before which is placed a Group painted in chiaro-fcuro, fo as 
 to unite with, and ferve as a Hnifhing to the Architecture beneath it. The 
 Group reprefents Painting and Sculpture fupporting a Medallion of their 
 Majefties , decorated with laurel and flowers, which fall in feftoons on each 
 fide, ferving to adorn and unite the Compofition. This Group, as well 
 as the two Tablets, are the work of Signor Rigaud, a very ingenious Artift Signer Ri- 
 eftablifhed here, whofe abilities as a portrait, hiftorical, and ornamental GAUD - 
 Painter have been very ufeful on many occafions. Of the two mentioned 
 Bufis in the Niches, one reprefents Marcus Aurelius , the other Antoninus 
 Pius , if I am not miftaken. 
 
 Over the Door that gives entrance to the Great Exhibition-Room, is Greek hfcrip 
 feen this Greek Infcription OYAEIZ AMOTSOS ElXlT^i, which means, Let tion on the 
 no Stranger to the Mufes enter. It was fuggefted, as I am told, by the h)oor. 
 learned Phyflcian Sir George Baker, who took it from that famous one 
 over the Door of Plato’s Library, O’u'JW ii £jtw ay«a>jouflp»flo?, let no Stranger 
 to Geometry enter. 
 
 This Great Exhibition-Room is, I believe, the largeft, and certainly the Great Exhi 
 beft of that fort in London, as the light is every where good and equal, bition- 
 and its height bearing a due proportion to the other dimenfions, which fel- Room * 
 dom is the cafe. Its length is 53 feet, its width 43, and its height 32, 
 including the lantern, which is a mafterly piece of mechanifm, fupported 
 on very ftrong trufles concealed in the coves of the Room and in the di- 
 vifions of the four Dioclefian Windows , fo called from their being found in 
 the ruins of Dioclefian's Baths at Rome. The whole is framed of timber, 
 and covered on the outfide with copper. 
 
 As the Pictures of the Exhibition were to be the great ornament of the 
 place, very few decorations are introduced on any part of the Room, that 
 the attention of the Beholders might not be called off from the main ob~ 
 jeCt. A few however have been beftowed round the foot of the Lantern 
 and in the Cieling, at the four Angles of which are painted in chiaro-fcuro 
 Groups of Boys employed in the Arts of Painting, Sculpture, Architecture, 
 and Geometry, that fill the Spandrels of a large oval foliage-frame, 
 furrounding a fpace fuppofed to be open in the center, through which 
 is feen a very well executed fl<y, much more properly introduced there, 
 than the fineft Picture would have been, for the alledged reafon. This 
 whole performance came from the mafterly hand of Mr. Catton. Mr. Cat- 
 
 6 Such ton. 
 
[ 32 ] 
 
 Such are the embellifhments of this new Seminary of Arts, and fuch 
 the Models it contains for its improvement, the Originals of which have 
 long been the delight and wonder of Mankind. Let us confidently 
 hope in the prefent hour of Royal Patronage, that productions of equal 
 perfection will foon be added to them by the rifing genius of the Englifh. 
 School. 
 
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