4tST Digitized by the Internet Archive in 2014 https://archive.org/details/recollectionsabr01hoar RECOLLECTIONS ABROAD, DURING THE YEARS 1785, 1786, 1787. BY SIR RICHARD COLT HOARE, BART. BATH, PRINTED BY RICHARD CRUTTWELt. A. D. 1815. The Impression of this Volume is limited to Twenty-five Copies. R. Cruttmell. Bath, January 1st, 1815. Hi [ Hi ] PREFACE. JUVAT MEMINISSE. THERE is a certain period in human life, when the reflecting mind will naturally recur to the past, and anticipate the future: and, perhaps, at no one period will recollections take place more forcibly, than when, by the blessing of Providence, we have completed our fiftieth year ; when the foibles of youth have vanished, and the mind, from experience, is accustomed to reason with candour and impartiality. At such a period, having been obliged by a tedious confinement to resort to my library for amusement, my eyes were by chance directed to the [ * ] manuscript journals of my travels on the Continent, which for more than twenty years had been neg- lected on the shelves, and almost forgotten. The remembrance of past times induced me to look them over ; my enthusiasm increased with the re-perusal ; past scenes and past pleasures floated before my eyes ; and I was tempted to revise them, and print a few copies ; not to challenge the criti- cising pen of the public, but for the partial grati- fication of a few friends and relations, who lamented the melancholy cause of my first departure from England; who accompanied me during my journey with their good wishes ; and who anxiously awaited my safe return to England: as well as to renew in my own mind the remembrance of those social hours, and classical situations, from which, during the period of five years, I had derived so much pleasure and information. Twenty years of war and desolation have now elapsed, and the gates of Imperial Rome are once more opened to the traveller. Those who have [ * ] witnessed its former state of magnificence, in works of painting and sculpture, will have too much reason to exclaim, Qudm lapsa! quam spoliata! " Alas, " how fallen ! how bespoiled!" But although they may in vain seek to admire the graces of the Pythian Apollo, or shudder at the agonies of a Laocoon, yet much still remains to excite both attention and admiration. The sublime works of Michel Angelo and Raphael still adorn the walls of the Vatican, and Rome stands con- spicuous ill the architectural vestiges of its ancient greatness. The enchanting scenery of Albano, Nemi, and Tivoli, will still continue to delight the eye; and the classical shores of Parthe- nope, Baiae, and Misenum, will still recall to the enlightened mind those scenes which have been so beautifully described by the ancient poets : in short, Italy, however plundered, must still possess charms superior to those of any other country, and must ever continue to attract the attention of the scholar and the artist. [ vii 3 TABLE OP CONTENTS. ITINERARY from London, through Paris, page. Lyon, Turin, Milan, Parma, Modena, Bo- logna, Florence, and Rome, to Naples, - 9 Description of Naples and its environs - - 27 Itinerary from Naples to Geneva, through Rome, Lore to, Ancona, Rimini, Bologna, Parma, Genoa, Marseilles, Nismes, Aries, and Lyon - - 57—62 Description of Rome and its paintings - ~ 69 Excursion to the Sabine Farm of Horace - 98 Description of Genoa - - 120 Account of the Grande Chartreuse - - 129 — 300 Itinerary through Switzerland - - - - 133 Itinerary from Lyon, through Avignon, Mont- pellier, Barcelona, Marseilles, and Leghorn, to Florence - -- -- -- -- - 241 [ ™i ] Description of Vaucluse, the retreat of Petrarch 248 Account of Barcelona ------- 257 Description of the Mountain and Convent of Montserrat - - - - - - - - 262 Pisa described - -- -- -- -- 281 Itinerary from Florence to Rome, and from thence to Siena, Bologna, Venice, Padua, Vicenza, Verona, Brescia, Milan, and Turin 287 Description of Florence _ - - - - - 290 Antiquities at Rome - -- -- -- 313 Description of Siena ------- 340 Description of Bologna ------ 345 Description of Venice - - 354 Padua, 363.- Vicenza ------ 364 Verona, 365. Brescia 368 Milan, 369. -Turin 370 Itinerary from Turin to Paris and Calais - 373 [ 1 ] ITINERARY PROM CALAIS TO NAPLES. Stages. Posts. Inns. Calais a Ardres - - - - 2 La Recourse - 1 St. Omer 2 La Poste. Cassel 2f Ditto. Bailleul - -- -- -- 2f Armentieres ----- li. Lisle - -- -- -- 2 Hotel Bourbon. Pont a Marque - 1.1 Douay - -- -- -- 2 Hotel Bourbon. Bac a bercheux - If Cambray ------ If La Poste. Bonavis ------ \f Fins It Peronne - - - - - - 2 Trois Couronnes. Marche le Pot 1£ F ouches ------ 1 Roye 1 Soleild'Or. Conchy les Pots - - - 30 B C 2 ] Stages. Posts. Inns. 30 Cuvilly ...... 1 Goumey - - - - - 1 Bois de l'Hue - - - - li St. Maixence - - - - 1^ Chantilly 2 La Poste. Luzarche ------ If Ecouen ------ If St. Denis 1 Paris 2 Hotel de l'Empereur. Villejuif 1 From e nt eau ----- if Essonne ------ If Ponthiery ------ If Chailly 1 Eontainebleau ----- If Good inns. Moret - -- -- -- If La belle Image. Faussart - -- -- - if Bad inns. Villeneuve - 1 L'Etoile Royal. Pont sur Yonne - - - - if Bad inn. Sens ------ - if Ditto. Villeneuve ------ If Good, Villevallier - - - - - 1 Bad. Joigny - -- -- -- I Good. Basson - -- -- -- if La Poste. Auxerre ------ 2 Le Dauphin. St. Brice ------ l Very bad. 66 [ 3 ] Stages, Posts. Inns. 66 Vermanton - - - 2 Tolerable. Lucy le Bois 2 La Poste. Cussy les Forges - - - If Good. Rouvray ------ 1 Grand Monarque. Roche en Breni - - - - 1 Bad. Saulieu - -- -- -- If Hotel Dauphin. Maupas ------ If Bad. Arnai le Due - -- -- 2 Grand Jacques. Yvri - - 2 Bad. Rochepot ------ 1 Bad. Chagny If Good. Chalons ------ 2 Good. Sennecy ------ 2 Good. Tournius ------ 1 Good. St. Albin ------ 2 Bad. Macon If Good. Maison Blanche - - - - 2 Bad. St. George ----- If Bad. Villefranche ----- 1 Good. Aux Echelles ----- If Bad. Puitsd'Or 1 Bad. Lyon 1 Good. From Calais to Lyon - - 99f Calculated at 5 English miles per post make - - - - 497 English miles. B 2 [ 4 ] From Lyon to Turin, par Voiturier. Stages. Posts. Inns. Verpilliere ------ Tolerable, Beauvoisin ----- Ditto. Echelles Good. Montmelian ----- Tolerable. Aiguebelle ------ Good. Chambre ------ Bad. St. Michel Good. Modane ------ Bad. Lannebourg ----- Tolerable. Novalese ------ Bad. Suze ------- Good. St. Ambroise ----- De la Poste. Turin L'Anberge Royal, good. The distance from Lyon to Tuiin, according to the Itinerary of Dutens, is 193^ English miles. From Turin to Milan. Settimo - - - - - _ l Tolerable. Chivasco - - - - - 1 Ditto. Ziano - -- -- -- 1 Ditto. St. Germano ----- if Ditto. Vercelli ------ If Good. Orfengo - 1 Bad. Novara - -- -- -- l Good. Buff'alora - -- -- - ]f Good. [ 5 I Stages. Posts. Inns. Sidriano 1 Tolerable. Milano If Good. From Turin to Milan the distance, according to Dutens, is 93 English miles. From Milan to Florence. Marignano If St. Marco. Lodi ------ - If La Poste, good. Casale - -- -- -- If La Poste, good. Piacenza ----- 2 Good. Fiorenzuola ----- 2 Good. Borgo St. Domino - 1 Castel Guelfo ----- 1 Bad. Parma ------ 1 Good. St. Ilario ------ 1 Bad. Beggio - -- -- -- 1 Good. Rub i era ------ 1 Bad. Modena 1 Good. Samoggia ------ if Bologna If Les Pelerins, St. Marco, &c. Pianora ------- If Bad. Loiano - -- -- -- if Bad. Feligare - - - - - - 1 Bad. Covigliajo 1 Bad. Monte Casello 1 Bad. [ 6 ] Stages. Posts. Inns. Alle Maschere* - - - ) Good. Caffagiolo - - - - J Bad. Fontebuona - - - - 1 Bad. Florence ----- l Vannini and Meggit's Hotels. Distance about 202 English miles. From Florence to Rome. Pi an del Fonfp - 2 Bad. - 2 Bad. Arezzo ------ - 2 La Poste, good. - 2 Tolerable. - 2 Bad. - 2 La Poste, good. Madonna degli Angeli - 1 Bad. - 1 Good. LeYene ----- - 1 New inn. - 1 Good, out of the town. - 1 Yery bad. Terni 1 11 Mauro, good. Narni ------ - 1 La Poste, good. Otricoli ------ - 1 Ditto, ditto. Borghetto ----- 3 4 Bad. Civita Castellana - \ La Poste, good. Rignano ------ 1 Bad. * This being the only good house between Florence and Bologna, and not a post-house, the traveller must pay for keeping the horses at night. [ 7 ] J- KfO I/O » JL ivIt/Q i Cast el Nuovo - - - - - 1 Ditto. Valborghetto - - 3 " " - T Bad. Prima Porta - - 3 - - T Bad. - - - 1 The distance from Florence to Rome is about 197 English miles. From Rome to Naples. Torre di Mezza Via - - - 1 Bad. Albano - -- -- -- 1 Ditto. Genzano - -f-- - 1 La Poste, good. Velletri 1 Ditto. Cisterna ------ 1 Bad. Torre tre Ponti - - - - If Ditto. Mesa ------- 2 Ditto. Terracina - - - 2 Good. Fondi - - - - n - - If Bad. Itri 1 Bad. Gaeta 1 Tolerable Garigliano ------ 1 Bad. St. Agata ------ 1 Ditto. Francolesi ------ 1 Ditto. Capua - -- -- -- 1 Tolerable. Aversa - -- -- -- 1 Bad. Nap o Li 1 Good. The distance from Rome to Naples is about 152f English miles. I 8 J DISTANCES. Stages. Posts. From Calais to Lyon 99f — 497f English miles. Lyon to Turin 35 — 193t Turin to Milan - 12f — 93 Milan to Florence 27t — 202 Florence to Rome 26 — 197 Rome to Naples - 19 — 152f Total 219f 1335t ITINERARY FROM LONDON, THROUGH PARIS, LYON, TURIN, MILAN, PARMA, MODENA, BOLOGNA, FLORENCE, AND ROME, TO NAPLES. ffpUESDAY 19th September, 1785. I sailed from Dover in company with my friend Captain Mer- rick, on board the packet-boat, Captain Baxter, and arrived at Calais, after a very pleasant and expeditious passage of two hours and three quarters. We imme- diately proceeded to Dessein's Hotel, while our trunks and carriage were conveyed to the Custom-house, and strictly searched. This inn appears more like a noble- man's residence than an hotel. It consists of two or three quadrangles, in one of which is a garden, sur- rounded with pleasant apartments; at one end is a theatre, built at the expense of the proprietor, where plays are constantly performed. Before dinner we walked round the ramparts, at the entrance of which the first object that arrested my attention was a large cru- cifix, with this inscription : " Qui percussus tangeret eum, vivet" [ io ] The church, which is large, contains many pictures and altars. It is always open, and at all hours fre- quented by people for prayer. In the evening- a Capucin monk, who had left his convent in Dauphine for the purpose of begging alms, paid us a visit at the inn* Having never quitted England before, these novelties struck me forcibly; for within the short distance of twenty-one miles, and the brief space of three hours, I found myself amongst a people, differing as much from my own countrymen in appearance, dress, and customs, as perhaps the in- habitants of America. This contrast doubtless arises from our insular situation. Separated from the neigh- bouring nations by a barrier so distinct, we borrow few of their manners and customs; while they, divided by fainter boundaries or mere political interests, enjoying a freer intercourse, and connected by more frequent alliances, are imperceptibly blended with each other, and appear almost one and the same people. On entering the gates of Calais, the well-known print engraved by Hogarth recurred to my recollection. Instead, however, of being a representation of nature, it is an extravagant caricature; for most of the soldiers whom I saw are far different from those pictures of famine which he has drawn. They are well made, good-looking men ; and many wear whiskers, which give them a manly and military appearance. Wednesday, 20th September. Leaving Calais, we dined at St. Omer, and slept at Cassel. The mode of travelling in France is novel to an Englishman. The postillion, equipped with immense jack-boots, with his [ 11 ] hair tied in a long queue, and a cocked hat, drives his three horses abreast in a rope harness; and as he speeds away, endeavours to crack a tune with his long- whip. The entrance to St. Omer is through a long avenue of fine trees. Much tobacco is cultivated near this place, which, when mixed with a small quantity of real Virginia, proves very good. During our stay here we visited the Abbey of St. Bertin, a most beautiful Gothic building. The organ is supported by two marble co- lumns. The treasure is valuable and splendid; and among the many relics shewn to travellers, the most remarkable are a piece of our Saviour's cross, and one of the nails with which he was fastened; the mitre of St. Thomas a Becket ; a topaz of extraordinary size ; &c. This abbey was founded nearly at the same period as that of Canterbury ; they maintained an intercourse with each other, and exchanged relics and other va- luables. The cloister is fine, and the apartments of the canons are very comfortable. Cassel is situated on a hill called Mount Cassel, which appears as if it had dropped from the clouds, being lofty, and insulated in the middle of an extensive plain. From the summit above thirty villages can be descried, and in clear weather it commands a view of Dover cliffs and castle, the neighbouring districts of France, Flanders, and the Austrian Netherlands. The Flemish farmers seem very industrious, and neat in their method of husbandry; and their crops appeared to me superior to those of my own country. The roads are paved, and planted on each side with trees; and most of the avenues [ 12 ] are so formed as to terminate with the view of a church or convent. In case of any murder or fatal accident on the road, it is customary to bury the body on the spot, and distinguish it by a cross or inscription. Thursday 21st September. The road from Cassell to Lisle is uninteresting". Lisle is the capital of French Flanders ; was one of the first conquests made by Louis the Fourteenth in his encroachments on the Spanish succession ; and is justly ranked among the strongest fortresses in Europe. In 1708, it withstood a memo- rable siege by the Duke of Marlborough and Prince Eugene. The Porte des Malades, built by Louis the Fourteenth, to commemorate his entrance into this town when he took possession of it in person, is a fine piece of architecture. The cathedral is a handsome building. In the church of St. Catherine is an altar- piece painted by Rubens, which deserves notice; and in a convent is another picture by the same master, which we could not see. The theatre now used is bad ; but another is building, at the expense of the inhabitants. Friday 22d September. From Lisle we proceeded to Douay, a fortified place, where there is a foundry for cannon; and from thence to Cambray, a large town famous for its manufacture of cambrics. We here vi- sited three churches, the cathedral, St. Sepulchre's, and another, newly built: the first is ancient, contains many monuments, and a curious clock : the second belongs to the Dominican Order, and possessesseveral of the best chiaro oscuro paintings I ever beheld, by Jerome of Antwerp, a Flemish artist: the third is of a singular form; and in the dome is a good picture, but I could not; [ 13 j discover by whom it was painted. In the town are many curious pieces of clock-work, particularly at the Hotel de Ville, (a fine old building-,) where two figures strike the hours, as at St. Dunstan's in London. Here is a convent for English nuns. Saturday 23d September. We dined at Peronne, a frontier town of France, where we underwent a very strict search by the custom-house officers. The mo- tive for this vigilance is to prevent the introduction of tobacco ; for the Flemings pay no duty upon that com- modity, and the French a very considerable one, which presents a great temptation for smuggling. Had snuff or tobacco been found in our carriage, it would have been forfeited, as well as our luggage. Of this my friend once saw an instance : by the imprudence of a servant in secreting some tobacco, a French officer lost both his carriage and baggage. The road to Roy, where we slept, passes through a more uneven country than the preceding part of our journey; but was still very uninteresting. In the landlord of our inn, (the Soleil d'Or,) we found a most excellent cook. The ramparts of this town afford a pleasant and shady walk. Sunday 24th September. Nothing worthy of notice occurred during this day's journey, till we arrived at Chantilly, where we slept. From Pont St. Maixence, where a new bridge is building over the Seine, we entered the noble forest of Pont, and soon afterwards the park belonging to the Prince of Conde. His pa- lace is a large building, but contains few good pictures. The gardens are principally laid out in parterres, ac- [ 14 ] cording to the French taste, and abound with copious fountains. A part of these grounds, however, is shewn as disposed a V Angloise ; though so unlike any thing I ever saw in England, that I should not have discovered the peculiarity, without an explanation. The stables are reckoned the handsomest in Europe. Monday 25th September. In our way to Paris we visited the Abbey of St. Denis, the burial-place of the kings of France. It is a light Gothic building, deco- rated with many windows of painted glass. Among several fine marble tombs are those of Marshal Tu- renne, Francis the First, and Louis the Eleventh. In the fields, on each side of the road from St. Denis to Paris, are many crosses, which were erected on the spots where the bodies of the deceased kings rested on their way to St. Denis; like those which mark the resting-places of our English Queen Eleanor, between Lincoln and Westminster. As our time did not permit us to make a long stay at Paris, we could take only a superficial view of the many objects worthy of notice in that capital. We visited the Palais Royal 5 the Place de Louis XV., de Vendome, des Victoires ; the churches of Notre Dame, St. Sulpice,f St. Genevieve, which was not finished, of Val de Grace, the Sorbonne, and the Celestins; the f The altar of St. Sulpice is of a singular and beautiful construc- tion. St. Genevieve is far advanced. It is of the Corinthian order, and promises to be one of the finest buildings in Paris. Val de Grace and the Sorbonne are heavy structures. The latter contains the splendid monument of Cardinal Richelieu, by Girardon. The church of the Celestins also possesses many rich tombs. The dome and well at the Hotel des Invalides deserve notice. [ 15 3 Boulevards, the new water- works, and the Ecole Mili- taire; L'Hotel de Bourbon, and L'Hotel des Invalides. The last is a most noble establishment for soldiers grown old in the service. We conversed with some of these veterans, one of whom told us he had seen fifty-six years of duty, and that now " il nattendoit que Vheureux " moment qui Femporteroit." Happy the man who can look back on the actions of his past life, and forward to its close, with the same heartfelt satisfaction as this good old soldier ! I saw the exhibition of pictures at the Louvre, which, without partiality, I cannot think equal in merit to those exhibited at our own Royal Academy. Saturday 1st October. We quitted Paris, and pro- ceeded on our journey to Lyon. The first object that attracted our attention was Fontainebleau, for some centuries frequented by the kings of France as a hunting seat. The architecture of a great part of the building is of ancient date. The surrounding country is barren and sanely ; but the woods and rocks with which the hills are covered, give it a wild appearance. The forest is extensive, and well stocked with game. Between Morat and Auxerre the country becomes more inte- resting; the hills are clothed with vineyards, and the vallies watered by the river Seine. From Yvry to Rochepot and Chagny, the country is picturesque. On the plains of Yvry, Henry the Fourth of France gained a memorable victory; and at Rochepot is an ancient castle, beautifully situated, which he besieged and took. The road from Chalons to Lyon, particularly the latter [ 16 ] part, presents the view of a very rich country, with mountains at a distance. Thursday 6th October. Arrived at Lyon, where we remained till Saturday. During- this time we visited the Hotel de Ville ; the public library; La Chapelle des Confalens, in which is a good picture by Rubens ; the silk manufactories ; and the cathedral, which contains a curious piece of clock-work. I believe Lyon is con- sidered as the second city of France. The street facing the river Rhone is broad and handsome. On this river are two bridges ; the one, constructed with wood, is much admired by architects for its singularity ; the other, of stone, is of great length. At the extremity of the long street is an avenue of poplars, leading to the junction of the rivers Rhone and Saone. This conflux has been described by our poet Thomson, in a passage which happily marks the tranquil character of the Saone, and the more furious one of the Rhone. She meek and modest, with a virgin grace Winds round and round, as shunning his embrace. He rushes rapid with a bridegroom's air, And pours his torrent in the yielding fair. Lyon is one of the most commercial cities in Europe. The manufactures consist of all kinds of silk, taffetas, velvets, embroidery, &c. &c. Saturday 8th October. We left Lyon, having hired voituriers to conduct us over Mount Cenis to Turin. At Pont Beauvoisin, the last town in the French ter- ritory, our trunks were rigorously searched. Proceeding towards Echelles, the Alps began to pre- sent a most romantic aspect. Near this place a passage [ 17 ] has been cut through the rock by Charles Emanuel XL Duke of Savoy, which is commemorated by the follow- ing inscription: Carolus Emanuel II. SabaudJcC Dux, Pedem. Princeps, Cypri Rex. Publicd felicitate partd, singulorum commodis intentus, breviorem securiotemque viarn regiam, naturd occlusam, Pomanis intentatam, ceteris desperatarn, dejectis scopu- lorum pagulis, aquata montium iniquitate, qucc cervicibus imminebat, pracipitia pedibus substernens, cum pater nnpt'ias honorificentiores hortaretur cxpetere^ neque [ 79 ] Borghese Palace. — Portrait of Titian and his wife, by Titian. — A fine Picture, by Bassan. — A Pic- ture, by Peregrino Tibaldi, master of the Caracci. — Diana and Nymphs, by Domenichino. — A Portrait, by Moroni. [Titian observed that he himself was the best colourist, but Moroni the truest copier of nature.] — A good Portrait attributed to Calvin or Luther. — A Picture containing two portraits, by Se- bastiano del Piombo. — St. Cecilia, by Domenichino. — A Group of Boys, by Annibale Caracci. — St. Catherine, by Raphael.— Christ carried to the sepulchre, by the same. — A Magdalen, by Annibale Caracci. — Two good pictures, by Bassan. — St. Cecilia, by Guido. — Christ, with two disciples, in the house of Emaus, by Cara- vaggio. — Madonna, Child, and Mary Magdalen, by Titian. — Three Graces, very small, by Raphael. — Divine and profane Love, by Titian. — The Graces disarming Cupid, by the same. — Venus and Adonis, by Paul Veronese. In the Prince of Aldobrandini's apartment are the following paintings : The Visitation, by Alessandro Bomvicino, commonly called Moretti. — A sacred subject, by Annibale Ca- racci. — Christ among the Doctors, by Leonardo da Vinci. — A Repose in Egypt, by Baroccio. — St. Peter, by Guido. — A Holy Family, by Raphael. — Do mine, quo vadis! by Annibale Caracci. — A Holy Family, by tamen quldpiam persuadere posset, Jilias, ex agro, patre earum non invito, duxit, JUiisque in matrimonium dedit. Ilia igitur a civibus Callipyga postea sunt vocata, ilia, cum amplas divitias essent consecuta, Veneris sacellum erexerunt, quam appellarunt Beam Callipygam. Athcnsus, lib. 12, cap. 23. [ 80 ] Benvenuto Garoffali. — A dead Christ, in fresco, by Annibale Caracci. — A landscape, by Domenichino. — Portrait of Luther, by Pietro Perugino. In the Princess's apartments is a room painted by the celebrated French artist Vernet. The Villa Borghese, in the suburbs, contains a good picture by Nicholas Poussin; a room full of Horizon te's performances; with many modern paintings, by Hamilton, Hackert, &c. But its chief riches con- sist in statuary of the first class. Here we find the Fighting Gladiator, which was discovered among the ruins of Antium, and bears this inscription: ArAEIAI AIO2I0EOT EfcHEIOS EnOIEI. The figure is looking upwards, in the attitude of defence, and originally bore a shield on the left arm. — The Hermaphrodite. — A Fawn holding an infant Bac- chus. — A Centaur. — A Genius, or Cupid. — A beautiful bust of Sabina, wife of the Emperor Adrian. — Others of Lucius Verus and Aurelian, &c. &c. — A most elegant vase, richly decorated with bas reliefs. Villa Lubovisi is ornamented with two beautiful ceilings, painted by Guercino, representing Aurora and Night. It contains, also, three excellent pieces of ancient sculpture: Mars, in repose ; Papirius and his Mother; Arria and Pectus; together with a fine Bacchus and a Fawn. Chigi Palace in the Corso. Here are two Battle- Pieces, and an admired landscape, by Salvator Rosa; with two smaller paintings by the same artist. Also [ 81 ] three landscapes by Claude Loraine; three Cupids, by Guercino ; and various pictures by that artist, Guido, and others. Boccapoduli Palace is celebrated for the Sacra- ments, by Nicholas Poussin; of which there are dupli- cates at Paris, but less esteemed. The subject of Extreme Unction pleased me the most. In the Albani Palace are a good copy of the Trans- figuration, by Raphael, which some have considered as the original sketch; a landscape by Salvator Rosa; two studies by Andrea Sacchi; several pictures by Carlo Maratti; and two admirable drawings, by Julio Romano. Santa Croce Palace. — A picture of Job, &c. by Salvator Rosa. — St. Jerome sealing a letter, by Guer- cino. — The Assumption, by Guido. — A young Christ, by Guercmo.— Four pictures, by Albano. — And a Rattle-Piece, by Salvator Rosa. Spada Palace. — Cain and Abel, by Salvator Rosa. — Two Figures, half length, by Caravaggio. — Judith and Holofernes, by Guido. — A landscape, by Gaspar Poussin. — The Madonna, and her Mother, by Cara- vaggio. — Judas betraying Christ, by Gerardo della notte. — Portrait of a Cardinal, by Guido. — Portrait of Paul III. by Titian. — Two laughing Boys,* school of Correggio. — The Death of Dido,f by Guercino. — The Rape of Helen,f -by Guido. — Also, a colossal statue of Pompey ; some beautiful bas reliefs ; and an exquisite figure of Aristides, or Aristotle. * Copied in bistre, in the Stourhead collection of drawings, t Copied the full size, in the Stourhead collection of pictures. G [ 82 j The Costagtjti Palace contains a few valuable tares, and some ceilings, painted by Domenichino, Guercino, and others. In the Mattei Palace are the following speci- mens of the ancient masters.— -The Woman caught in adultery, by Pietro di Cortona. — A Holy Family, by Parmeggiano. — St. Peter, by Guido. — St. Jerome, by the same. — The laughing and crying Philosophers, school of Caracci. — Rachel at the well. — A ceiling in fresco, by Domenichino. — A head of Cicero, and the Anatomy of a Horse, by Daniel di Volterra. The Falconieri Palace contains a curious small picture, representing God the Father, surrounded by three Angels, two Beasts, and an Eagle; said to have been copied by Julio Romano from an original by Ra- phael, in the Palais Royal, Paris. — Rebecca at the well by Carlo Maratti. — A Holy Family, and St. Francis, by Rubens. — A Madonna and Child, by Guido. — A fine copy from an original picture in Spain, by Correggio. Academy of St. Luke. Three landscapes, by Gaspar Poussin. — Cupid with a bow, by Guido. — Some good pictures, by Carlo Maratti. — Two by Berghem. — One by Vernet. — St. Luke painting the Madonna, by Raphael.— A Woman spinning, by Mola. n-Two good pictures of ruins, by Pannini, and a good drawing in bistre, by Salvator Rosa. The Villa Albant contains a vast number of marbles, but no good pictures. In the Villa Aldobrandini is the curious antique painting, representing the ceremonies of a marriage. Also, a good picture by Titian; and one by Caravaggio. [ 83 ] Having thus noticed those paintings, which appeared to me most deserving of attention, in the different palaces of Rome and its suburbs, I shall follow the same plan with regard to those in the churches. The church of St. Romoaldo contains the master- piece of Andrea Sacchi. In this picture the artist has ingeniously obviated the great difficulty of giving effect to the uniform white tint of a number of figures in the monastic habit, by introducing a tree, which throws its shade over several of them, and thus corrects monotony, and produces harmony in the general composition. The church of St. Silvestro at Monte Cavallo contains four beautiful paintings, by Domenichino. Two of the subjects are, Esther and Ahasuerus; the third, King David dancing before the Ark; and the fourth, Judith and Holofernes. St. Andrea deixa Valle. The dome is decorated with representations of the four Evangelists, by Dome- nichino, which may be classed among his best perform- ances. In consequence of a pique fostered against him, when this chapel was fitted up, other painters, Cala- brese, &c. were employed to execute the altar-piece, and decorate the lower parts of the church, while the higher and more difficult were left to Domenichino. But the inferiority of his competitors soon became manifest, and is still evident. The labour employed by this artist, to attain that correctness of design, which is so conspicuous in all his works, procured for him the nick-name of the toiling ox. But his master Caracci was accustomed to observe, that this ox would produce G 2 [ 84 ] a richer harvest than any of his contemporary scholars, Guido, Guercino, &c. &c. The church of St. Girolamo is, however, enriched with the capo d opera of Domenichino, in a large altar- piece, representing the communion of St. Jerome. He painted this exquisite picture, on his return from Bo- logna to Rome. But so great was the animosity and jealousy fostered against him by his fellow scholars;, and so successful were they in decrying it, that they prevented its exhibition ; and the discovery of its merits is ascribed to Nicholas Poussin. The principal figure displays every excellence of design and expression ; and every limb and muscle of the dying saint marks the languor of advanced age, and the struggle of expiring nature. St. Pietro Montorio contains the celebrated picture of the Transfiguration, by Raphael; which is justly considered as the master-piece of art, and the most perfect work of this great painter, who, instead of shunning difficulties, seemed to seek them. Few sub- jects, more arduous, could have been selected; yet the success of the artist has been more admirable than in most of his other works. It was the last effort of his pencil; and when his corpse was transported to the Pantheon for interment, this picture was suspended over his coffin during the ceremonies of the funeral. Many of Raphael's works, like treatises on philosophy, ap- pear to me to be too deep to be understood at first sight; but to a steady and persevering attention his beauties unfold themselves, and the painter appears in all his splendour. What dignity and variety does he display [ 85 ] in his characters ; what grace in the disposition of his drapery ; what harmony in his colouring ! In his works man is not merely dignified, but almost deified ! Living, great nature fear'd he might outvie Her works j and dying, fears herself may die ! When we examine his early performances, and those of his master Pietro Perugino, we cannot but wonder at the rapid progress he made within a few years towards that perfection in the art of painting, which in him may almost be said to have had its beginning and its end. St. Carlo alle Catenari contains one of the finest church pictures in Rome; the Death of St. Anne, by Andrea Sacchi. From this painting Nicholas Poussin appears to have drawn some ideas in his Death of Germanicus. In the same church are some angular paintings, by Domenichino, representing the four car- dinal virtues; but by no means equal to his other works in St. Andrea. In St. Giacomo dei Spagnuoli is a chapel, painted by Annibale Caracci ; and an excellent bust of a Spa- niard, by Bernini. In the church of L'Anima are a picture by Julio Romano; and an elegant little monument, with the figures of boys, by Fiamingo: this artist was both famous and infamous for his partiality to boys : his designs and groupes of them have been justly admired. Here are also two pictures, by Carlo Sarracina, which have a claim to merit ; but the expression of his cha- racters, like those of Caravaggio, is vulgar. [ 86 J The church of Santa Maria della Croce boasts of au fresco painting of Sibylls, &c. by Raphael, in his best manner. — In the Chiesa Nuova are three large paintings, by Rubens; and a Dead Christ, which is classed among the best performances of Caravaggio. The church of St. Luigi. The altar-piece is by Bassan. There is also a copy of Raphael's St. Cecilia, at Bologna, by Guido. In the sacristy is a painting by Procaccino, which has often been dignified with the name of Correggio. A chapel in this church is painted by Domenichino, in his best manner. St. Bartoeomeo, nelTIsola.* A chapel painted by Antonio Caracci, a nephew of Annibale Caracci. The genius here manifested by this young artist proves that he would have done honour to the name and abilities of his family, had not death arrested him in his early career. The church of San Francesco Ripa contains a Dead Christ, by Annibale Caracci, in his best man- ner; a good picture, by Baciccio; and under it a fine statue of Louisa Albertoni, by Bernini. * There is much fabulous matter attached to the history of the lsola Tiburtina, on which this church is built. Its original formation has been attributed to a large quantity of corn thrown into the river Tyber after the expulsion of Tarquinius Superbus from Rome. The following circumstance caused its dedication to iEsculapius. At a certain period when the city of Rome was infested with a plague, embassadors were sent to consult the oracle at Epidaurus, where they were presented with a serpent. On approaching this island, the rep- tile escaped from the vessel, and swam to the island, which was after- ward dedicated to /Esculapius, and embanked on all sides so as to represent the similitude of a ship. Part of these walls, with the bas relief of a serpent, together with some ancient inscriptions, are still remaining. [ 87 ] The church of St. Chrysogono is built in the form of the ancient Basilica, and supported by hand- some columns. Here is a ceiling, painted by Guercino, which by the style of colouring appears to have been finished about the same period as his celebrated picture of St. Petronilla, at Monte Cavallo. Sta. Maria trans Tyberim is, perhaps, one of the oldest churches of Rome, and a singular instance of the vicissitudes produced by the lapse of time. It was formerly the taberna meritoria, or militum, the hos- pital for invalid soldiers. It possesses a beautiful picture by Domenichino, and a tablet of ancient Mosaic, representing water-fowl; which is equal, if not superior, to the celebrated Mosaic of the doves drink- ing from a vase. The church is ornamented with various antique columns, of different orders in ar- chitecture. La Madonna della Scala contains a master- piece of Gerardo della notte, representing the De- collation of St. John. St. Onofrio, on the Janiculum y has some fine fresco paintings by Domenichino; an altar-piece, byBassan; and a picture by Annibale Caracci, though not in his best style. Tasso the poet was buried in this convent. The gardens command one of the most beautiful views in Rome. Sta. Maria Maggiore, on the Esquiline Hill, occupies the site of a temple dedicated to Juno Lucina j and in form resembles the ancient Basilica, being supported on each side by antique Ionic columns, of Cypoline marble. t 88 ] The church of St. Praxede owes its fame to the curious relics of which it is the depository, namely, the reed to which the spunge was affixed, at the period of Christ's crucifixion; the teeth of St. Peter and St. Paul; a remnant of the Virgin Mary's chemise; apiece of the girdle of Christ ; the rod of Moses ; a part of Christ's swaddling clothes; three of the thorns of the crown worn by our Saviour ; the column to which he was bound, when scourged ; with many others equally wonderful. In the sacristy is a painting by Julio Romano, representing the flagellation of Christ. La Trinita del Monte contains the celebrated picture of the Descent from the Cross, by Daniel di Volterra, which is painted in fresco, on a wall. The Chiesa dei Capuccini boasts of Guido's finest performance, St. Michael triumphing over the fallen angel; and St. Paul recovering his sight, by Pietro di Cortona.* Sta. Maria degli Angeli, or the Chartreuse, contains the tombs of Salvator Rosa and Carlo Maratti. It is ornamented with several pictures by the latter, by Domenichino, and other more modern artists. This noble edifice is built out of the ruins of Dioclesian's Baths, and as we enter its precincts presents a striking coup d'ceuil. The roof is supported by sixteen columns of Egyptian granite, eight of which are antique, con- sisting each of a single block. St. Martino in Monte contains some landscapes, and fresco paintings, by Gaspar Poussin; many of which have been retouched. Also two fine views, in • A copy of the head in bistre, at Stourhead. [ 89 ] fresco, representing" the ancient Basilica of St. Peter's, and St. John Lateran. — In St. Pietro in Vincole is the celebrated figure of Moses, by Michael Angelo; which was intended to ornament the tomb of Pope Julius the Second. Also two fine pictures; one repre- senting St. Peter in prison, by Domenichino; the other, St. Margaret, by Guercino. The roof of this church is supported by beautiful fluted columns, of the Doric order, which probably once belonged to the adjoining baths of Titus. The church of St. Antonio Abbate is supposed to occupy the site of a temple dedicated to Diana; and even in modern times seems to preserve some of the ceremonies attached to Pagan worship. It contains some antique pieces of Mosaic, representing beasts, Sec. On the 17th of January I was present at a curious ceremony, — the blessing of horses and other animals, which are sprinkled by a priest with holy water. About thirty years ago, St. Anthony's reputation was consi- derably heightened by the following circumstance, which was related to me as an undoubted fact. A noble- m an residing* in the Medici palace would not adopt the usual custom of sending his horses to receive the bene- diction. They accordingly ran away with him the next day, dragged his carriage over the precipice at Trinita del Monte, and although he himself escaped unhurt, they were both killed in the fall. In St. Gregorio, on the Caelian hill, is an admired work of Domenichino, representing the flagellation of St. Andrew; in which the figure of the man who is scourging the saint is remarkably good. Opposite is [ 90 ] a fresco painting', by Guido ; at the right hand of which is a striking group, consisting" of a woman, child, &c In one of the chapels is an altar-piece, by Annibale Caracci, in his latest and best manner;* and in another is a beautiful representation of a Choir of Angels, by Guido Reni. In the church of St. Eusebio is a dome exquisitely painted by Raphael Mengs. In that of St. Bibiena is a fine statue by Bernini, w hich is said to be his best performance. St. Giovanni Laterano, anciently called avkea, or the Basilica of Constantine, is styled the mother of all the churches. The facade was built by Clement the Twelfth, after a design of Galileo; as was also the beautiful chapel of the Corsini family, which is orna- mented with an elegant sarcophagus of porphyry, for- merly placed under the portico of the Pantheon. In the sacristy is a picture ascribed to Michael Angelo. Four antique fluted columns of bronze, which are newly gilt, decorate one of the altars. A noble antique obelisk has been erected before the entrance, and another lies prostrate near it. The adjoining' Scala Santa, and Baptistery of Constantine, deserve notice. About half a mile without the Porta di St. Lorenzo, anciently called Tibnrtina, because it led to Tibur or Tivoli, is the church of St. Lorenzo, one of the oldest Basilicse, and still ornamented with several granite columns of the Ionic order, of which the following* anecdote is related. These columns were made for the portico of Octavia ; and the sculptors of them, Sauros * This picture now graces the Stafford collection in London. [ 91 ] and Barrachus, wished to have their performance honoured with a suitable inscription. The request being- refused, they contrived to commemorate their names by the introduction of a lizard and a frog, in the volute of the columns, which are still visible. By this ingenious device they recorded the name of Sauros, which in Greek signifies a lizard, and of Barrachus, which nearly resembles Batrakos, the Greek name of *>fr°gA An inscription on the altar ascribes its erection to an Englishman in 1148. Without the Porta di St. Paolo, formerly the Porta Trigemina or Ostiensis, is the Basilica of St. Paul, built by Constantine. From the number of columns which support the roof, it presents a grand and vene- rable appearance. They are said to amount to one hundred and forty, many of which were brought hither from the Mausoleum of Adrian; and the number of antique columns which decorate this edifice within and without is calculated at two hundred. On entering I was much struck with the grand and impressive effect produced by this noble colonnade. My last and principal homage is due to the magnifi- cent church of St. Peter, aud the adjoining pontifical palace of the Vatican. It would be both a tedious and -f The anecdote is thus related by Pliny, lib. 36. Nec Sauron atquc Barrachum obliterari convenit) qui fccere iempla Oclavia, portibus inclusa, qui clam et cpibus prapotentcs fuissc cos putant, ac sua impcnsd construxisse, inscriptionem sperantes. Qua, negatd, hoc tamen alio loco ct modo usurpasse. Sunt arte etiamnum in cohmnarum spirit, insculpta nominum eorum argumenta: lacerta atquc rana* [ 92 ] idle task to endeavour to particularize the rich materials, the costly sculpture, the exquisite Mosaics, and the elegant and harmonious, though costly, proportions of this stately temple. With regard to the exterior facade, it has encountered a powerful rival in our own St. Paul's; but the interior finds no parallel. As the repository of the most perfect specimens of painting, the Vatican must ever be the focus of attrac- tion. Here we find the most exquisite performances of the two celebrated artists, Raphael and Michael An- gelo ; which, being painted in fresco on the walls, are likely to continue as heir-looms to this palace till the period of their natural decay takes place. In these apartments we see the two great masters in all their glory ; for each was allowed to give full scope to his transcendent genius, by selecting subjects worthy of his pencil. Who but Raphael could have ventured to delineate the School of Athens? Who but Michael Angelo could have dared to depict the grandeur, mag- nificence, and terrors of the Day of Judgment ? Raphael, to an unrivalled correctness of design, and exquisite taste in the choice of his subjects, added equal grace in his figures, and beauty in his colouring. The rapid progress which he made in his art is almost incredible; and can only be estimated by those who have traced his three different manners, from their commencement. At an early period of life he carried painting* to the * Annibale Caracci., on his return from Rome to Bologna, being asked by his scholars, whom he thought the finest painter, replied, Che pot sempre era stato Rafaello quel 1 piltore, che neWopere tue havea demor ttrato minori mancamenti ed errori, d'ogtit allro della medesima professions [ 93 ] highest degree of perfection it had ever attained ; and seems almost to have been lent by Heaven to shew what it could achieve ; and then snatched away in his prime, lest his genius should have soared to too sublime a height. In the rival artist, Michael Angelo, we see equal, or as some think, superior abilities, but directed in a different way. He seems to have examined nature rather as a sculptor than a painter. By a constant study of anatomy, he gained that perfect knowledge of the human frame, which is manifested in all his works. He scorned or rather courted difficulties, by placing his figures in attitudes, which called forth all the re- sources of art. Could the colouring of Titian have been united to the drawing of Michael Angelo, the world would have seen a perfect painter. The various notes which 1 made, during my circuit, on the sculpture and antiquities of Rome, and its im- mediate vicinity, are so unconnected, that I shall not interrupt the narrative of my journal by a recapitulation of them. They were briefly minuted down, after each day's examination, from the verbal suggestions of my intelligent cicerone, and shall be given in an appendix. To those young travellers, who may hereafter visit this classic ground, let me, from past experience, recom- mend to them a methodical arrangement in their re- searches. They should, in the first place, procure a map of ancient Rome, as built on the seven hills; which may be copied from any of the numerous authors who have described it. When perfectly acquainted with its topography, let them divide this map into a certain [ 94 J number of portions or districts, each of which may employ one or more morning's excursion. Thus a regular, distinct, and satisfactory journal may be kept, of all the objects, both of ancient and modern date, which are found worthy of commemoration; and that con- fusion of ideas avoided, which is naturally produced by repeated and unconnected examinations of so many curiosities. Having" reviewed the department of antiquities; it will be necessary to advert to the modern ceremonies, which, perhaps, have the most admirers. These are principally confined to the Carnival, and Holy Week, During the first period, which is the season of gaiety, the amusement most likely to gratify a stranger is the Horse Race, which is conducted in a manner very different from our own. The horses start from the Piazza del Popolo, and the course extends to the end of the street, called the Corso. They are trained to run without riders, having plates of brass or tin fastened to their backs, and armed with small points, which spur them in their course. From these incitements, and their natural spirit, each horse exerts itself with as much vigour as if mounted by the most experienced New- market jockey. The prize is a mere trifle. The Corso presents a gay scene, being lined with a row of carriages, and the interval of the street filled with masks in various characters. From the carriages the same sugfar- plum war is maintained as at Naples. The windows are richly decorated with hangings of different colours, and the balconies crowded with spectators. After the conclusion of the races, the masks, both in and out of [ 95 ] carriages, parade the Corso with candles and torches, making a most abominable noise, and every one is obliged to take lights in self-defence. I could gain no satisfactory information concerning this whimsical custom, which, from its funereal effect, seems to be in commemoration of the dying Carnival. A long and regular routine of ceremonies, of a dif- ferent kind, takes place in the Holy Week, in which the Pope himself acts a principal part. On Thursday he washes the feet of twelve poor pilgrims, who are always foreigners, and generally from the most distant countries. After the ceremony he kisses their feet, and presents them each with a bunch of flowers. A Car- dinal then delivers to them severally a piece of gold and silver coin; and they are finally served at table by the Pontiff in person. The Miserere performed in the Sestine Chapel is an exquisite piece of music, and unique in its effect, from the resemblance of the voices to musical instru- ments, which is attributed to the peculiar construction of the building. The illumination of the Cross of St, Peter's fell short of my expectations, because it is too confined in proportion to the vast extent of the edifice itself, but the effect of light and shade produced by the illumination on detached parts was truly striking. But of all the spectacles which attract the atten- tion of the stranger during the Holy Week, that of the Benediction claims the preeminence, both for splen- dour and effect. The first view of the theatre destined for this exhibition is highly impressive. Let the reader picture to himself the grandest modern building in [ 96 ] Europe, flanked on each side by a magnificent colon- nade, a spacious area, ornamented with Egyptian obelisks, &c. crowded with thousands of spectators, waiting- impatiently for the appearance of their divi- nitg to shower down his blessings upon them. Let him suppose he sees the Pontiff move gradually towards the balcony of his palace, seated on a golden throne, adorned with superb plumes of white feathers, habited in his costly robes, the tiara glittering on his head, and preceded by a long procession of officers and attendants bearing crosses and other symbols of religion. Behold him rise from his throne, and, with all the dignity of the most graceful actor, move majestically forwards. See him spreading his hands, and extending his arms, as if drawing down blessings from heaven to dispense them on the multitude beneath ; while the effect is heightened by the sounds of martial music, and the thunder of artillery. The momentary impulse produced by this sublime and affecting exhibition extorts the exclama- tion, " almost thou persuadest me to be a Catholic. " x Informer times, after the ceremony of Benediction, the Pope was accustomed to wave a lighted torch, and denounce a curse against heretics; but this ceremony was prudently omitted by Pope Ganganelli, and has never since been revived. The exhibition concludes with a display of fireworks from the Castle of St. Angelo, the design of which is said to have been planned by Michael Angelo. The first and last explosions are grand, resembling the erup- tion of a volcano, but the intermediate parts shew little variety or effect. [ 97 ] The termination of the Holy Week seems to be the signal of departure for those whom idleness or curi- osity had drawn to Rome, and who then proceed to Venice to witness the brilliant spectacles, with which the Feast of the Ascension is accompanied in that city. The return of spring", however, induced me to make some excursions in the neighbourhood of Rome. After spending some weeks in the society and amusements of the metropolis, I began to wish for the retirement and tranquillity of the country. These I found at Tivoli, whither I first directed my steps. This delightful retreat, situated about eighteen miles from Rome, comprehends within the circuit of a moderate walk all the beauties, and all the interest, which the artist or the scholar can desire. The former will enrich the port- folio with an extensive collection of the most picturesque subjects; the latter will be raised to the highest pitch by a view of the stately ruins, which mark the site of Maecenas's villa, the Sibyll's Temple, &c; and by the recollection, that in this delightful spot a Brutus, Cassius, Sallust, Horace, Propertius, Plancus, and and many others, sought the pleasures of retirement and repose. Cold must be the bosom, which does not feel a degree of enthusiasm, on breathing the same air, and treading the same soil, as these once celebrated characters! Yet in these times Tivoli is unnoticed and unfrequented, except by artists in search of improve- ment, or foreigners in search of novelty. The ruins of Adrian's villa, near Tivoli, gave me a higher idea of Roman magnificence, than any thing I had before seen in the capital itself. On that emperor's return from his H [ 98 ] travels through Greece, Egypt, and other parts of his extensive empire, he began this splendid edifice. The circumference extended to seven miles; and within this space were comprised models of the most celebrated temples, porticos, &c. which he had seen in the course of his journey, as well as a collection of the choicest specimens of sculpture, Mosaic, &c. The number of statues already drawn from these ruins is very great, and new discoveries are still occasionally made. Excursion to the Sabine Farm of Horace. From Tivoli I made an excursion into the district which anciently formed the territory of the Sabines, to examine the situation of Horace's Sabine Farm, commemorated with such rapture in many parts of his writings. Its distance from Tivoli is about eighteen miles. I slept at Vicovaro, (Vkus Varii,) and found ample employment for my pencil, in the many pic- turesque views which the village and its environs, with the Convent of St. Cosimato, afforded. The next morning I pursued my journey to the spot where the poet's villa is supposed to have been situated. This point has been amply discussed, and I think ascertained, by the Abbe Capmartin de Chaupy, in a work enti- tled, " Decouverte de la Maison de Campagne d' Horace. 1 y % Indeed the poet himself has recorded and described many local features of the country, which contribute to identify the site of his retirement. He mentions the | Mr. P. Hackert, an artist of high repute at Naples, has published a series of eleven engravings, illustrating the site and scenery of this villa. I 99 J river Digentia, the Mons Lucretilis, the village of Mandela, the villa of Varia, the temple of Vacuna, and several other peculiarities relating* to the latebra dulces, the sweet retreat, whither he resorted with such real and rational delight. By numerous allusions to this villa, and its pleasures, we are enabled to trace the character, habits, and in- clinations of this celebrated poet. By the words, satis beatus unicis Sabinis, we have reason to con- clude that this was his only country seat, although he seems to have occasionally visited Tibur, Baire, &c. during the season allotted to a country residence. Pa- tronized by the great, and associated with the fortunate, the affluent, and the powerful, he never lost the native moderation of his taste and character : an humble farm, a garden watered by the limpid stream, and the friendly shelter of the grove, formed the limits of his humble wish. Hoc erat in votis : modus agri non ita magnus> Hortus ubi 9 et tecto vicinus jugis aqua: fons, Et paulum sylva super his foret. fyc. Thither he repaired from the turmoil of the capital, and sought health and pleasure in the rational occupa- tions of a country life, unmoved by the derision of his more dissipated neighbours. llident vicinif glebas, et saxa moventem. In the following lines how admirably does he pourtray a contented and grateful mind! Me quoties reficit gelidus Digentia rivus Quern Mandela bibit, rugosus frigore pagus ; H 2 [ ioo ] Quid sentire pulas? quid credis, amice, precari? Sic mihi, quod nunc est; etiam minus ; et mihi vivam Quod superest ling hospital was established here; but such numbers, of children were brought for admission, that it was necessary to suckle them with goats. The blood of these infants was, however, so tainted by disease, that both the animals and nurses soon felt its effects. This humane institution accordingly ceased, as the remedy was deemed more fatal than the evil. [ 271 ] Anion ir the various restrictions on commerce, those ' on foreign snuff are the most severe, to secure the vent of that article to the royal manufactory established at Seville. I was told that a gentleman travelling on the Spanish coast was searched by a custom-house officer, who finding his snuff-box full of French rappee, levied on him the penalty of a thousand louis. The Catalans, from the peculiarity of their character, and the pride derived from their national constitution, which has been abolished under the Bourbon princes, are disaffected towards other Spaniards. The following anecdote, related to me by Sir Horace Mann, our em- bassador at Florence, is highly honourable to their probity and fidelity. At the commencement of the war before the last, all the English merchants settled at Barcelona were ordered to quit the city. On such occasions it has been the usual custom to insert a Spanish name in the firm of the house ; consequently the whole property, stock, and treasure, were left at the disposal of natives, who, at the close of the war, re- stored their charge to their English partners, without a single exception, after fulfilling their trust with the most scrupulous honour and integrity. Barcelona displays some antiquities of the Roman sera, and among the fragments and inscriptions scat- tered in different quarters, the following particularly attracted my attention. It is placed in a wall at the corner of a house, and exposed to the constant attrition of carriages, as well as of the cooler's knife applied to it as a whetstone, which must soon efface one of the most curious memorials to be found in Spain. It com- [ 272 ] memorates a bequest for the establishment of a boxing match, and for furnishing" oil to the pugilists; which, if not fulfilled by the citizens of Barcelona, was to be transferred to their neighbours of Tarragona. L. CAECILIVS . L . F . PAP . OPTATVS. > LEG. VII G . FEL . ET . > . LEG . XV . APOLLIN . MISSVS . HONESTA . MISSIONE . AB . IMP . M . AVR . ANTONINO . ET . AVR . VERO . AVG . ATLECTVS . AR . ANTE . INTER . IMMVNES . CONSECVT . IN . HONORES . AEDILICIOS . Ti . VIR . I7i . FLAM . ROMAE . DIVORVM . ET . AVGVSTORVM . QVI . R . P . RARC TA....EG . DO . LEGO . DARIQVE . VOLO . -X v77 . D . EX . aVORVM . VSVRIS . SEMISSIBVS . EDI . VOLO . QVOD . ANNIS . SPECTAC . PVGILVM . DIE . Tui . 1DVVM . IVNI . VSaVE . AT . -X . CCL . ET . EADEM . DIE . [TiT • 1DVVM . IVNI . VSaVE . AT . -X. CCL. EADEM . DIE . EX . -X. CC . OLEVM . IN . THERMIS . PVBLIC . POPVLO . PRAEBERI . ET . TECTA . PR^STARI . EA . CONDICIONE . VOLO . VT . LIBERTI . ME I . ITEM . LIRE RT ORVM . MEORVM . LIBERTARUMQUE . LIBERTI . QVOS . HONOR . SEVI- RATVS . CONTIGERIT . AR . OMNIBVS . MVNERIBVS . SEVIRATVS . EXCVSATI . SINT . QVOT . ST . QVIS „ EORVM . AT . MVNERA . VOCITVS . FVERIT . TVM . EA . X....VII. -X . AT . REMPVB .TARRAC . TRASFERRI . IVBEO . SVB . EADEM . FORMA . SPECTAC VLORV3T . QVOT . S . S . EST. EDENDORVM . TARRACONE. L . L . D . D.* * This interesting inscription has been published by Gruterus, page 378j and Agostino, in his ninth Dialogue on Medals and Inscriptions, has also published it, together with a learned dissertation : on com- paring the two with my own copy, I find the latter by far the most correct, and have therefore adopted his explanations. [ 273 J L. Caectltvs, Lucii Filius, Papirius Optatus, centurio legionis vii. geminm felicis, et centurio legionis xv. Apollinaris, missus honestd missione ab imperatoribus, Marco Aurelio Antonino, et Aurelio Vero, Augustis. Adlectus ab antescriptis inter immunes, consecutus in honores (jedilicios, Duumvir ter, Flamen Romce, Divorum et Augustorum, qui Reipublicce Barcino- nensi ita legavit. Do, lego, darique volo denarium septem millia quingentos, ex quorum usuris semissibus edi volo, quodannis spectaculum pugilum die quarto iduum Junii usque ad denarium ccl. et eadem die ex denariis ducentis oleum in thermis publicis populo prmberi, et tectaprccstari. Ed conditione volo, ut liberti mei item libertorum meorum libertarumque liberti quos honor seviratus contigerit, ab omnibus muneribus seviratus excusati sint. Quod si quis eorum ad munera vocatus fuerit, turn ea denarium septem millia quingentos ad rempublicam Tarraconensem transferri jubeo, sub eadem forma spectaculorum quod supra scripta est edendorum Tarracone. Locus datus decreto Decurionum. Many other inscriptions, basso relievos, sarcophagi, busts, statues, &c. are scattered about the town, exposed to the injuries of the air, or stuck into the walls of houses. Among* these I observed a head of Augustus, a young Tiberius, and a female figure, half length, holding a squirrel. Near the place, where many of these antiquities are to be seen, is a house, built in the time of the Emperor Charles the Fifth. It is ornamented with bas reliefs, in imitation of the antique, and the whole architecture proves that the arts were at that T [ 274 ] period in a flourishing state, and had attained a consi- derable degree of perfection. From the scanty specimen I had seen of Spain, I much wished to extend my journey along the coast to Tarragona, and Murviedro, the ancient Saguntum; but my plan being already formed to pass the winter in Italy, we were obliged to prepare for our departure from Barcelona. Having hired mules for twelve louis to convey us back to Perpignan, we bade adieu to Spain, and proceeded to Mataro, where we slept. At the gates we underwent a very strict search by the custom-house officers, to pre- vent us from carrying bullion out of the country. A passport was again necessary, and I afterwards heard that an order might have been procured from the go- vernor to save our trunks and baggage from examination. Friday 10th November. We dined at Peneda, and slept at Gronetta. The next day we took our noon-tide, meal at a little village beyond Girona, and slept at Figueras. On the third day we arrived at Perpignan, having received back the caution money deposited for my carriage at La Jonquiere. Monday 13th Novenlber. We reached Perpignan at an unlucky moment ; for in consequence of a crowd attracted by the fair, we found much difficulty in pro- curing a lodging. A violent pain in my head and limbs detained me the next day ; but on Tuesday 14th November, we continued our journey, and from the road to Beziers made an excursion towards Nissau, to see the Montagne percee, through which the royal canal passes in its course to Toulouse. The roof is vaulted and faced with stone, but the passage is of [ 275 ] no great length. The entrance is by a descent at one end, and a good path leads through it by the side of the canal. Thursday 16th November. Proceeded to Montpellier, where I was under the necessity of bidding adieu to my friend Mr. Lyttelton. The following day I went through Nismes to Tarascon, where I slept. The road was flat, and heavy* owing to the late rains. The town of Beaucaire is situated on this side of the Rhone, and Tarascon on the other; and the communication is kept up by a ferry, and a bridge of boats. The height of the waters obliged me to adopt the latter conveyance. Here this noble river appeared in all its glory ; each bank is adorned with a handsome castle; that on the Beaucaire side is placed on a lofty eminence, the other on the border of the stream. Sunday 19th November. Left Tarascon in the morn- ing, and arrived at Aix in the evening. At the distance of two posts from Tarascon is the town of St. Remy, near which are some fine Roman remains, situated in an open plain. Of these the most conspicuous is a lofty building, supposed to have been erected as a mausoleum, but to whose memory is uncertain. The existing in- scription, SEX . I, . M . IVt^IEI . C . F . PARENTXBVS . SVEis. proves it to have been a sepulchral memorial, without pointing out the name of the family or founder. It is about fifty feet high, and composed of three stories, the uppermost of which forms a rot undo, and under it are two statues. It is adorned with bas reliefs repre- senting battles, and is in the highest state of preserva- tion. Adjoining is a triumphal arch, which, though [ 276 } apparently contemporary, is yet inferior in beauty. Here, also, the want of an inscription leaves us in the dark respecting" its origin. The style of the sculpture in both these monuments seems to indicate the same period of construction as the triumphal arch, before- mentioned, at Orange. In the neighbourhood was an ancient town, on the site of which, medals &c. are daily discovered. When we consider the many beautiful fragments of Roman antiquity still existing in this dis- trict, at Lyon, Yienne, Orange, Nismes, St. Itemy, and Aries, we may justly conclude that this province was both well peopled and highly polished during the Roman empire in Gaul. The road from St. Remy to Aix is very uninteresting. Near Orgon I joined the great road from Avignon to Marseilles. Tuesday 21st November. Marseilles is a city of high antiquity, but at present contains few objects worthy the notice of a traveller. The abbey of St. Victor was built by Pope Urban the Fifth, who died at Avignon, and was buried here. Under the modern church is an ancient one, said to have been built in the time of Antoninus Pius. Several handsome columns of granite still exist in it, as well as many sarcophagi, with bas reliefs and inscriptions. A grotto, excavated in the rock, was pointed out to me as the spot where Mary Magdalen is supposed to have lived for some time. Within is a bas relief cut with great spirit. The Hotel de Ville contains a picture, representing- the ravages of the great plague which raged here in 1720. The arms on the outside of this edifice are well executed by Puget. The present theatre is a disgrace to so populous [ 277 ] and thriving a city as Marseilles ; the company of per- formers is, however, good, and a new theatre is nearly completed. Wednesday 22d November. From Marseilles I con- tinued my journey to Toulon ; and just before I reached Aubagne, underwent the most rigorous search I ever experienced from any officers of the customs. With difficulty I saved a new suit of clothes, which I had lately received from Lyon, and the manufacture of the country. I afterwards understood that the slightest proof of their having been worn would have prevented any vexation. I was probably mistaken for a marchand de modes. The roads continued rough and stony, though tolerably passable; the country wild, and in many places clothed with firs. The more cultivated districts produced vines and olives. Between Bausset and Toulon, I traversed a narrow pass, formed by high and barren rocks, which for a moment reminded me of Switzerland. A little beyond I caught a plea- sing view of Toulon, and its harbour at a distance. The environs of Toulon, like those of Marseilles, are enlivened by numerous bastides, or country houses belonging to the merchants. The celebrity of Toulon as a seaport is well known ; but foreigners, especially , Englishmen, are not permitted to enter the arsenal or docks. Thursday 23d November. At break of day I walked down to the port, to see the terms which support the balcony of the Hotel de Ville. They were the work of the celebrated Puget, and are remarkable for their execution and expression. The rising sun throwing [ 278 ] its light on the shipping presented me with one of those scenes which Claude Loraine and Vernet drew from nature. A good walk leads along the quay, and the harbour is more beautiful than that of Marseilles. Having seen as much as strangers are permitted to riew, I proceeded towards Nice, over roads worse than any I had traversed, since my arrival on the continent. The country was planted with vines and olives, and occasionally varied with pines and cypresses. I slept at the petty village of Muy, and on Friday morning found a tolerable road to Frejus. This was the Forum Julii of the Romans; and still exhibits vestiges of its ancient grandeur, in the ruins of a fine aqueduct, and amphitheatre. From Frejus to Esterel, I ascended a long and steep hill, which was surrounded by uncul- tivated mountains. The post-house at Esterel is a solitary habitation, and too bad for a lodging-. From thence, a rough and stony descent led to Napoule, though it rather improved on approaching- Antibes. This town is the last in Provence, situated on the shore of the Mediterranean, fortified with strong walls and a citadel, and garrisoned with about six hundred men. The residence of the Romans on this spot is proved by an aqueduct,* which still supplies a part of the town with water, inscriptions, &c. &c. Having taken my resolution to pass to Italy by sea, I hired a felucca for that purpose, but was detained at Antibes for some days by contrary winds. During * The Archxologia, vol. 16, p. 108, contains a memoir by M. D'Aiguillon, relating to this aqueduct, in which he describes his operations for restoring it to its ancient use. [ 279 ] my stay, a curious fact was related to me by my host. In the late contest for the possession of Corsica, part of the woods of that island being set on fire by the troops, several wild boars were observed to take to the sea; one was killed by a fisherman near Antibes, and two more on the same coast. Wednesday 29th November. Embarked, and after a prosperous course during" the night, arrived the fol- lowing evening at Savona, a considerable town belong- ing to the republic of Genoa. In our coasting voyage, (for the feluccas never venture far from the shore) we passed near Nice and Monaco ; the latter a principality, under the protection of France, where the late Duke of York closed his days. In approaching some merchant ships, I was unexpectedly hailed by a friend, whom I had left at Lyon, and who had been wind-bound on the coast, during the whole of our excursion into Spain. I received him into my felucca, and on Friday 1st December, we re-embarked at Savona, skirted the coast of Genoa, and early the following day, reached Lerice, a port prettily situated, belonging to the republic. From hence we went by land to Massa, where we slept. This place belongs to Modena, and the chief noble is the Duke of Massa, who has here a handsome palace. In the neighbourhood are the cele- brated marble quarries of Massa Carrara. Sunday 3d December. Dined at Pisa, and pro- ceeded in the evening to Leghorn. The road from Massa to Pietra Santa, is narrow, though not bad: from thence to Torretta it is heavy and sandy, but after- wards very good. The country is in general flat and [ 280 ] well cultivated. Between Torretta and Pisa, we saw on the left the Baths of Pisa, at some distance. Leghorn, anciently Liburni Portus, belonged for- merly to the Genoese ; but was ceded to Cosmo the First, Duke of Tuscany, in exchange for Sarzana, near Lerice. The port of this city is become one of the greatest emporia in Europe, and presents a singular and motly crew of various nations. From the number of English merchants established here, our language has made a great progress, and, as I was assured, is spoken by half the inhabitants. The town is handsome and well built, the streets clean, and neatly paved with flat stones. It contains one agreeable square, in which are the principal buildings, the palaces of the Grand Duke and the governor, the custom-house, cathedral, &c. On the quay is a colossal figure on a pedestal supported by four figures in bronze, very ably executed. Many tra- ditions are related respecting them, but I could not learn their true history. The oil magazines, which are sufficiently capacious to receive 25,000 barrels, deserve notice. They were built for the use of the merchants, by the Medici family. Many of the shops are equal in size, and superior in appearance, to those of our English metropolis; for they are not confined to par- ticular articles, but contain the choicest productions from every quarter of the globe. From the number of canals which intersect the city, it might aptly be called a little Venice. A particular quarter is assigned to the Jews, who are settled here in great numbers. The markets are well supplied, but provisions are dear. At a particular time, when the inhabitants were driven to [ 281 ] great distress for want of water, by the neglect of the magistrates, the Grand Duke informed them, that if they did not speedily find water, their veins should furnish blood. Tuesday 5th December. Returning through Pisa, I visited the cathedral, the Campanile, Baptistery, and Campo Santo, which, as a group of interesting buildings, cannot be equalled in Italy. The first is a handsome cruciform edifice, with doors of bronze, modelled in the year 1601, by the celebrated Giovanni Bologna Fiammingo, and very finely executed. The Campanile is a magnificent round tower, built of marble, and con- sisting of seven stories, each supported by columns. The singular circumstance of its declension ten feet from the perpendicular has given rise to much con- jecture and controversy. Some assert that this de- clension was occasioned by accident ; while others contend that it was the original design of the architect. The first opinion is the most plausible, for it is not likely that any architect of celebrity would wilfully exhibit so glaring a defect, in a building of such elegance; or that his employers should have shewn so wretched a taste, as to approve such a trick. The architects were Gulielmo da Norimberga, and Buo- nanno Pisano, who laid the foundation in 1174. The height of the structure is 190 English feet, and the summit commands a very extensive view. Near the church is an antique vase, enriched with a bas relief of bacchanals, &c. supported by a column. It formerly bore the following inscription, which is now defaced. I 282 ] Questo e* il talento, die Cesare hwperatore diede a Pisa, col quale misurava lo censo, che a lui era dato. Against the wall of the church is also a sarcophagus, with bas reliefs, well executed. The Baptistery of St. Giovanni is a circular building', supported by handsome columns of granite, brought from the isles of Elba and Sardinia. The pulpit, which is enriched with bas reliefs, is of alabaster or marble, and supported by columns of marble variously coloured* The Campo Santo was formerly a place of burial, but is now no longer appropriated for that purpose. It contains the sepulchral vaults of six hundred and fifty families, all numbered. Among the tombs, I observed that of Count Algarotti, bearing this inscription : ALGAROTTO OVIDII .EMULO NEWTONT DISCIFXJJ.O, FREDERICUS MAGNUS. The ancient sarcophagi found in the neighbourhood, and deposited here, give the cemetery a striking air of antiquity. The town of Pisa may boast of many handsome features, but it has suffered much in its population and commerce, since the foundation of Leghorn. The river Arno divides it, and the communication between the opposite banks is formed by two handsome bridges. The quays are regular, and there is a canal for the conveyance of merchandize to Leghorn. The first part of this canal near the town is covered with a roof, and the Grand Dukes of Tuscany had even formed the [ 283 ] noble design of protecting it in the same manner the whole way. An extensive aqueduct supplies the town in part with water. The city of Pisa dates its origin from a very early period. The first inhabitants are said to have emi- grated from the ancient Pisa, in the Peloponnesus, and to have formed a colony on this spot : as Yirgil says, Hos parerejubent Alphece ah origine Pisce Urbs Etrusca solo. In the year 558, it submitted to the Romans, and became a Roman colony. From an implicit obedience to its masters, it was distinguished with high favour, and by Augustus styled Julia Obsequens. In later times, it shook off the Roman yoke, and became a powerful republic, and the emporium of the Mediter- ranean. It soon rose to such a height of affluence and grandeur, as to excite the jealousy of the neighbouring states of Genoa and Lucca; and its ruin was acce- lerated by the ambition and perfidy of Count Ugolino, one of its inhabitants. In the year 1264, the Island of Corsica gave rise to a contest with Genoa, which terminated in a naval engagement near Leghorn. The fleet of Pisa consisted of three squadrons, commanded by Pisani Oberto Morosini, Andreotto Saracino, and Count Ugolino. The latter seeing his two colleagues engaged in the heat of battle, profited by the oppor- tunity to hasten back to Pisa, and made himself master of the republic. But he did not long enjoy the fruit of his treachery. After a reign of only three years, he was seized, immured in a neighbouring tower, and with his [ 2^4 j whole family starved to death. This tale of woe has* been finely recorded in poetry by Dante, and in painting by our countryman Sir Joshua Reynolds. The defeat of the Pisans, the feuds which ensued between them, the Florentines, the Lucchesi, and the Genoese, and a series of intestine wars, at length so weakened their state, that in 1406, they were reduced to the necessity of submitting themselves to Florence. But many of the most powerful families, impatient of subjection, emigrated into neighbouring countries; while the Florentines, harassed with their own domestic factions, were unable to pay the requisite attention to their newly acquired territory. Accordingly the country, which is naturally low, became marshy and unhealthy; culture disappeared, and population di- minished. In this deplorable state it continued, until Cosmo the First attained the sovereignty of Tuscany. It soon became the object of his care; and by his abilities and exertions was gradually restored to its ancient strength and splendour. From that period Pisa has been honoured with the residence of the grand dukes of Tuscany, during a part of the year. The reigning duke, a man of retired habits, is partial to this town. He is accused of great severity, if not oppression; but he may boast of having established a police, not inferior to any in Europe. The system of espionage is carried to a great height: it is even said that he himself sometimes assumes disguise for that purpose. He has followed the example of the Emperor, in suppressing four convents of the mendicant order at Leghorn. Though this rigid police may in some degree [ 285 ] contribute to maintain tranquillity, and correct the public morals ; it produces a detrimental effect on society, by banishing mutual confidence, and preventing that free and cordial intercourse between families and individuals, of congenial character, without which friendship is but an empty name. In my way to Lucca I passed by the Baths of Pisa, which are much frequented during the summer months. The springs seem to issue immediately from the moun- tains near which the baths are placed. From the tes- timony of Pliny, we find that they were known to the Romans. The entrance gate to Lucca still bears the motto libert as, in letters of gold; and hitherto this petty republic has maintained its independence. A great portion of its territory is enclosed by mountains, but the soil is fertile, and highly cultivated. If we may judge from the number of people in Pisa and Lucca, respectively, who are yearly condemned to death, the balance will be strikingly against republican manners; for in Pisa there has not been a public execution for thirty years, whereas in Lucca 1 was informed that the number amounted to eighty during the last year only. The road from Lucca to Borgobugiano is hilly. Pistoia is a large town, surrounded with walls. From thence to Florence the road is good, except in one place, where after heavy rains the passage of a river is disagreeable. It leads through a fertile plain, bounded on the left by lofty mountains. I arrived at Florence, December 6th, 1786. [ 287 ] FROM FLORENCE TO ROME, FROM THENCE TO SIENA, BOLOGNA, VENICE, PADUA, VICENZA, VERONA, BRESCIA, MILAN, AND TURIN. ITINERARY LORENCE T( FROM THENCE TO Stages. Posts. Inns. Florence to San Cassiano - If Bad. Le Tabernelle ----- l Bad. Poggibonzi 1 Tolerable. Castiglioncello ----- l Bad. Siena I Good. Montarone ------ 1 Bad. Buon Con ven to ----- l Ditto. Tornieri - ------ 1 Ditto. La Scala - - - - - - - 1 Ditto. Ricorsi - - - - - - - 1 Ditto. Radicofani ------ 1 Tolerable. Ponte Centino, (Papal territory) 1 Bad. Aqua-pendente I Tolerable. Nuovo San Lorenzo - - - 1 Good. Bolsena ------- - 1 Bad. Montefiascone ----- i Ditto. [ 288 ] Stages. Viterbo - - - La Montagna Ronciglione - - Monte Rosi - - Baccano - - - La Storta and Roma Fontebnona - - Caffagiolo - - Monte Carelli Cubillario - - Feligara ------- Lovano ------- Pianoro ------- Bologna » San Giorgio ------ Cento - -- -- -- - San Carlo ------ FERRARA ------ To Venice by water. Itinerary from Venice to M To Fusina, by water. AlDolo ------- Padova La Slesiga ------ VlCENZA Montebello Caldiero ------- Verona Castelnuovo ------ Posts. Inns. Good. Bad. Ditto. Ditto. Ditto. Bad. Ditto. Ditto. Ditto. Ditto. Tolerable, Bad. Good. Bad. Tolerable. Bad. Good. lan and Turin i Bad. t Good. Bad. Good. Bad. t Ditto, Good, i Bad. I 289 ] Stages. Posts. Inns, - - It Tolerable. Ponte di St. Marco - - - - 1 Bad. Good. X - - 1 Bad. o - - 2t Ditto. o o - - 1 - - 1 Colombarolo - - - - - - 1 - - If Good. - - It Buffalora - - - - - - - 1 Good. Novara - - - - - . . ij. Ditto. - - 1 Vercelli - - - - - 1 Good. St. German o - - - - - ii Cigliano - - - - - - - ii - - i - - l Torino - - - - - - - l DISTANCES. Florence to Rome ----- 171A Eng. Miles, Return to Florence - - - - 171.1 Bologna - - - -- -- - 63f Ferrara -------- 33f Venice, by water ----- 85 Milan -------- 173 Turin 93 79 If V I 290 ] FLORENCE. FEW cities in Italy better deserve the notice of travellers than Florence, on account of its beautiful situation, and valuable collections of sculpture, painting", and other productions of art. Its history, also, is highly interesting*. At an early period it shared the general fate of Italy, and became subject to the Roman power. But when that mighty empire began to sink, by the feuds of intestine factions, and the assaults of foreign enemies, this Tuscan colony followed the example of its kindred states, and, shaking* off the yoke of depen- dence, rose into a formidable republic. Such it con- tinued for many years, until the affluent and powerful family of Medici, partly by intrigue, and partly by force, appropriated the sovereign authority. In 1530 Alexander de' Medici was declared Duke of Florence ; but his short reign was terminated by the stroke of an assassin, from one of his own relations. His son Cosmo the First, succeeding in 1569, was crowned Duke of Tus- cany, at Rome, by Pope Pius the Fifth. The fame and power of the Medici family were widely diffused [ 291 ] throughout Europe, and its influence has continued from the beginning of the fifteenth century, till within a few years of the present time.* It can boast, indeed, of a Cosmo, who by his virtues acquired the glorious appellation of Pater Patrice; of a Leo the Tenth, who raised his own age into a comparison with that of Au- gustus; of a Clement the Seventh, who a second time illustrated his family by the papal tiara; and many other distinguished characters, to whose generous patronage we owe the revival of art and science, which had fled before the intestine factions, and foreign invasions, that accompanied the decline of Rome. To this illustrious family, therefore, we are indebted for the valuable assemblage of statues, pictures, and antiques, contained in the Gallery of Florence, which was built under Cosmo the First, by the celebrated Georgio Vassari. This edifice, originally intended for the ad- ministration of justice, and consequently destined to be the seat of discord and dispute, was by his successor .Francis consecrated to the muses, and made the re- pository of the fine arts. Each succeeding prince considered it as a duty to enrich this gallery with some new acquisition; but none has more liberally con- tributed to increase its treasures than the reigning prince, Peter Leopold. To him we owe the group of Niobe and her children, the Venus, and the little Apollo, from Rome; and the acquisition of many of the best paintings. To this prince, also, we owe the ex- * The family became extinft in John Gaston, A. D. 1737, when the territory was transferred to a Spanish prince. u 2 [ 292 ] cellent arrangement of the whole, which is no lessi judicious, than well calculated to assist and instruct every foreigner by whom it is visited. The gallery consists of two long corridores, which are completely filled with antique statues; a series of busts of the Roman Emperors; portraits of the most celebrated sovereigns, literati, and heroes, from the earliest ages; and a vast collection of paintings, by artists of the different Italian schools. Various apart- ments, amounting in number to twenty, branch off from the corridores. Half of these are situated on the east, and the other half to the west. The former bear the following distinctive titles. La petite Salle; Cabinet desMonnoies, et Medailles modernes; Cabinet de V Amour; Cabinet des Mignatures; Tribune; Cabinet des Ouvrages en terre-cuite ; Cabinet des Desseins; Cabinet des Ta- bleaux Flamands; Cabinet des Pierres precieuses; fyc. The apartments towards the west are thus distinguished: Cabinet des 3Iedailles anciennes; Cabinet des Portraits des Peintres; Cabinet des Inscriptions, et des Bustes; Cabinet de V Hermaphrodite; Cabinet de la Niobe ; Cabinet des Tableaux anciens; Cabinet des Bronzes Modernes; Musee Etrusque. It would be an endless and tedious task to detail the various beauties which each of these apartments displays, I shall therefore confine my notes to a few of those in which I felt a particular interest. The Tribune, as containing the rarest specimens both ancient and modern, deserves the first place. The statues are few in number, but of transcendent merit. The Venus de Medicis; the Wrestlers; the Arrotino; [ 293 ] the dancing Faun; and the little Apollo. Under the same roof are also concentrated the works of the most eminent painters; namely Raphael, Fra Bartolomeo, Michel Angelo Buonarotti, Leonardo da Yinci, Andrea del Sarto, Correggio, Titian, Guercino, Guido, Par- meggiano, Carlo Dolce, Daniel di Volterra, Bassano, &c. &c. Apathy itself must be awakened into surprise, if not into pleasure, on entering the Tribune, and sur- vey ing such exquisite productions of human skill. How different then must be the sensations of the man of taste and science ! The first impression which I felt myself, was that of admiration, not unmixed with awe. My eye was confused, and knew not where to fix. Nor could I, till after repeated visits had weakened the sensation of wonder, quietly seat myself, and contemplate the effect of each particular painting, and of each individual statue. The next in point of interest was the apartment allotted to Niobe and her family; a group on which I cannot refrain from dwelling with lingering partiality; The story of this infelix mater has been so admirably and feelingly related by Ovid, that curiosity and compassion acquire double strength, from beholding a represen- tation of these very personages, in which the cold marble displays all the truth and animation of nature. The apartment contains no other statue; as if to allow the contemplative mind to pause with undivided at- tention on this exquisite performance. The first figure which meets the eye, is that of the unhappy mother, embracing her youngest child, and lifting her suppli- cating eyes to heaven for mercy. Around her are dis- [ 294 ] played the statues of her unfortunate family. The tale of Niobe seems to have been devised to repress pride, vanity, and ambition; and above all, contempt of a superior deity. Lovely and graceful in her person, abounding in wealth, enjoying all the luxuries of life, blessed with a numerous and beautiful issue, nothing was wanting to render her happiness perfect, and awaken her gratitude to heaven. Yet the very objects of her joy and pride became the causes, as well as the instruments, of divine vengeance. Her ambition was first excited by the admonition of a prophetess to attend with her countrywomen, and offer sacrifice to Latona and her two children: Ismenides, ite frequentes, Et date Latonee, Latonigenisque duobus, Cum prece thura pid, lauroque innectite crinem. Niobe reluctantly obeys, but vents her indignation on the woman, who had been honoured with the embraces of a god. Ecce venit comitum Niobe celeberrima turbci, Vestibus intexto Phrygiis spectabilis auro. Et quantum ira sinit, formosa; movensque decoro Cum capite immissos humerum per utrumque capillos Constitit, utque oculos circumtulit alta superbos; Quis furor auditos, inquit, prceponere visis Ccelestes? Aut cur colitur Latona per aras? She then boasts of her own high birth and ancestry, her power, her riches, her beauty, and numerous offspring. [ 295 ] In quamcumque domiis adverto lumina partem, Immensce spectantur opes. Accedit eodem Digna Dece fades* Hue natas adjice septem Et totidem juvenes* Then comparing her situation with that of the goddess, she exultingly exclaims, Qucerite nunc, habeat quam nostra superbia causam : ---- ------ - Ilia duo rum Facta parens; uteri pars hcec est septima nostri. She now gives a loose to her vanity, and in a manner defies the power of fortune to injure her: Sum felix. Quis enim neget hoc ? felixque manebo ? Hoc quoque quis dubitet? Tutam me copia fecit. Major sum, quam cui possit Fortuna nocere. She concludes by ordering her attendants to withhold their homage from Latona. The fatal consequences of her presumption, and the sequel of this pathetic tale, are well known to every classic reader. On hearing of the death of her children, her first emotion bursts forth in the language of indig- nation and astonishment: Mirantem potuisse; irascentemque quod ausi Hoc essent Superi, quod tantum juris haberenU But the rage of passion subsides, when her maternal tenderness is awakened by the sad spectacle which meets her eye, and she assumes atone of indignant despair: [ 296 ] Heu / quantum hcec Niobe, Niobe distabat ab ilia f Qwb modb Latois populum submoverat aris : Et mediant tulerat gressus resupina per urbem, Invidiosa suis : at nunc miser anda vel Jwsti! Corporibus gelidis incumbit; et or dine nullo Oscula dispensat natos suprema per omnes. A quibus ad ccelum liventia brachia tollens, Pascere, crudelis, nostro, Latona, dolore, Pascere, ait; satiaque meo tua pectora luctu. Again, however, her pride is roused. She considers the vengeance of the persecuting deities as exhausted, and reflects with triumph on the number of her children who yet remain : Exulta, victrixque inimica triumpha. Cur autem vicirix? Miserce mihiplura super sunt y Qudm tibifelici. Post tot quoque funera vinco. Her own doom and that of her remaining children is fixed ; but her pride is still unbroken, ilia malo est audax, until she sees her offspring reduced to one, the youngest. Her tenderness is again called forth, as it flies to her arms for protection, and the struggle of humbled pride, and maternal sorrow, is marked by the language of pathetic supplication: Sexque datis letho, diversaque funera passis, Ultima restabat ; quam toto corpore mater, Totd vestejegens, unam, minimamque relinque, De multis minimam posco, clamavit et unam. [ 297 ] But prayer was vain. Again her heart bled in that of her last and darling child; and the proud, the beau- teous, the presumptuous Niobe was left a sad and soli- tary monument of divine vengeance and accumulated suffering ; a spectacle which even poetry could not describe without resorting to the aid of fiction. Such is the image of distress, which the sculptor's art has here exhibited. Before the removal of these statues from Rome, they were grouped together ; but they are now placed on separate pedestals, without diminishing the effect of the whole.* The Petite Salle contains two pretty groupes of statuary : one of Ganymede, the other of Cupid and Psyche. The Cabinet de V Amour, so called from a beautiful little sleeping Cupid, is enriched with some fine paint- ings, viz. The Emperor Charles the Fifth, by Vandyke ; Philip the Fourth of Spain, by Velasquez ; a picture, by Empoli; a sketch of the picture in the Tribune, by Fra Bartolomeo, &c. The Cabinet des Desseins is fitted up with presses, containing a most valuable collection of drawings by the old and best masters. The greater part of these, unfortunately for the amateur, are locked up; but a few choice specimens by Salvator Rosa, Rubens, An- * The excellence of the sculpture proves the figures of Niobe and the youngest child to be Grecian, and in that case they must have existed prior to the age of Ovid ; and perhaps suggested the descrip- tion he has drawn. Many of the other figures are of far inferior workmanship. [ 298 ] nibale Caracci, Guercino, and Michel Angelo, decorate the apartment. Two other rooms contain a large collection of the Italian and Flemish artists ; among which is a land- Scape by Guercino, another by Claude Loraine, a Medusa's Head, by Leonardo da Vinci, and many others worthy of notice. The Cabinet des Pierres Precieuses is rich in cameos, intaglios, and other valuable precious stones, &c. The Cabinet des Portraits is divided into two rooms, and contains a very numerous collection of portraits of painters, executed by themselves. But it is to b& regretted that those of Correggio and Fra. Bartolomeo are wanting, and that those of Raphael and Andrea del Sarto are so indifferent. Those of Leonardo da Vinci, Albert Durer, Salvator Rosa, Carlo Dolce, Gherardo della Notte, and of all the Bolognese school, are very good. Those of the two most celebrated painters in landscape, Claude Loraine and Gaspar Poussin, are wanting. The Cabinet des Inscriptions, besides the sculptured stones, is the repository of many busts of the emperors^ heroes, poets, and philosophers. Among them is the beautiful and justly-celebrated bust of Alexander, and an unfinished head of Brutus, by Michel Angelo Buo- narotti, with this couplet inscribed on the pedestal ; Duni Bruti effigiem sculptor e marmore ducit, In mentem sceleris venit, et abstinuit. The Cabinet de V Hermaphrodite, so denominated from that figure, is ornamented with a few good statues, [ 299 ] and some curious pictures of the earliest painters, Ghir- landajo, Sodoma, &c. &c. In the Cabinet des Bronzes modernes is the celebrated Mercury, in bronze, by Giovanni di Bologna. The beauty and aerial lightness of this admirable little deity can only be conceived by those who have seen it. But this superb and spacious repository of sculpture and painting has a powerful rival, if not a superior, at least with regard to paintings, in the Palazzo Pitti, once the residence of a noble family bearing that name, but purchased by Cosmo the First, and converted into a a ducal palace. It was the joint performance of the two celebrated architects, Brunelleschi and Ammanati, by the first of whom it was begun, and finished by the last. In this, as well as in the palaces of the Strozzi and Riccardi families, we see examples of the Tuscan and rustic styles of architecture. The facade is long and handsome ; three sides are open to a court, the fourth to the Boboli gardens. The architecture is composed of the Doric, Ionic, and Corinthian orders. It con- tains many handsome apartments, richly stored with paintings. In the first is the celebrated picture of St. Mark, which may be justly deemed the master-piece of Fra Bartolomeo, the contemporary of Raphael and Michel Angelo, who distinguished himself by great boldness of design, dignity of character, and breadth of colouring. — Also, the Virgin, Child, and two saints, painted by Andrea del Sarto, 1517. — A portrait, half length, by Vandyke. — An historical subject, alluding to the Medici family, by Rubens. — The portraits of Paul [ 300 ] the Third, and of Titian's mistress, by that painter.—* Two fine landscapes, by Rubens. In the second apartment is the celebrated picture, by Raphael, known by the title of the Madona della Sedia. — The portrait of Leo the Tenth, by the same artist ; also of Pope Julius the Second. — A most interesting composition, by Rubens, representing Grotius, Lipsius, himself, and his brother. — A Holy Family, by the same. — The portrait of Cardinal Rentivoglio, by Vandyke, i — St. Sebastian, by Andrea del Sacchi. — The ceiling is painted by Pietro de Cortona. In the third apartment are two subjects o the As- sumption, by Andrea del Sarto ; and the portrait of a Divine. — A Holy Family, by Raphael.— A Madona and Child, by Carlo Dolce. — The scourging of Christ, by Ludovico Cigoli. The fourth apartment contains the Madona del collo lungo, (the long-necked virgin,) by Parmeggiano. — The supposed portraits of Calvin, Luther, and a Nun, by Giorgione. — St. John, small, by Correggio. — The three Fates, by Michel Angelo. — The Padre Eterno, by Raphael; with another large picture over it, by the same hand. — A fine portrait, by Paris Bor- done. — Six Saints, by Andrea del Sarto. — A large subject, by Fra Bartolomeo. — A good painting, by Bronzino. — And a handsome table, in pietre dure. Among the detached specimens of painting and sculpture are, a copy of Correggio's celebrated St, Jerome, by Baroccio. — An Hercules, by Guido. — Por- trait of Andrea del Sarto, and his wife, by himself.— 4 seaport, by Salvator Rosa ; in which the effect of [ 801 ] Sim-shine on the water is very striking. — A bust of Cicero, with his cicer ; and another of Seneca, resembling 1 that at Rome. The Boboli gardens adjoin the Palazzo Pitti, and are decorated with many good statues of the modern school. Among these is a group of Adam and Eve, by Michel Angelo Nacarini.— A man with a vase on his his shoulder, in the act of emptying its contents into a tub, with a boy opposite, looking at him stedfastly, by Giovanni di Bologna. This group deserves great commendation, as a highly accurate representation of nature.— A colossal figure of Neptune, standing on a vase of granite, and surrounded by other figures, by the same sculptor. The idea of Neptune seems to have been borrowed from the Hercules Farnese. I shall proceed to give a short description of the palaces of the Florentine nobility, which, though far inferior to the Palazzo Pitti, contain some very valuable specimens of ancient art. Palazzo Martelli. Here are a few good pic- tures, among which is a large painting representing the conspiracy of Cataline, by Salvator Rosa. Great force of colouring and of expression appears in some of the figures; but I think a subject so well adapted to the character of this painter, might have been better treated. * — Two pleasing landscapes, by Lucatelli; and two others, by Zuccarelli. — The Temptation of St. Anthony, and a landscape, by Teniers. — A Madona and Child, small, by Fra Bartolomeo. — An Angel, by Ciro Ferri. ! — A Madona and Child, by Sasso Ferrata. — A Girl, supposed to be by Velasquez or Morillo, natural and [ 302 ] expressive. — A landscape, with cattle, by Berghem.— * A small landscape, by Salvator Rosa; a beautiful little picture, warm in its tints, and very harmonious. A head, by Carlo Dolce, grown dark and discordant. Palazzo Altoviti contains only one picture, but that an inestimable jewel, the portrait of Raphael, by himself, painted on wood, with a green back ground. Immense sums have been offered for this portrait, but hitherto without effect. Palazzo Corsini.— The most valuable portion of this collection has been removed by the noble family to Rome. But there remain two fine pictures by Carlo Dolce: one representing a beautiful female, in the character of Poetry, and said to be the likeness of the painter's daughter; the other, a St. Sebastian, half length. — A dance of boys, by Albano. — A field of battle, with two soldiers on horseback, by Salvator Rosa. — Two old men, with books, (over a door,) by Pignoni, a Florentine. — The original drawing of Pope Julius the Second, by Raphael ; the same size as the painting in the Palazzo Pitti. At this palace is sold the celebrated Italian Dictionary of La Crusca. Palazzo Gerini is rich in quantity, but not in quality. Among the best pictures is a landscape, by Salvator Rosa, in which the story of Diogenes is intro- duced. — A spirited portrait, attributed to Vandyke. — The Crucifixion of St. Andrew, by Carlo Dolce; well composed, and highly finished. — St. Sebastian, by Guido. — Portrait of Rembrandt, when young, by him- self. — A small picture, by Raphael, in his first manner. [ 303 J Palazzo Riccardi. Besides the ceiling by Luca Giordano, this edifice contains some good paintings. Among these are, four Evangelists, by Carlo Dolce ; some excellent portraits by Titian and Andrea del Sarto ; an unfinished portrait of Raphael, by himself; a sea piece, by Andrea del Sarto ; a battle on a bridge, by Borgognone; together with several good specimens of the Flemish school. The Strozzi Palace possesses a fine portrait of a child of the family, by Titian. In the Ceratini collection is a representation of three Cupids, one of whom is trimming a bow, said to be the work of Correggio ; but I rather think of Par- meggiano. This favourite subject has been frequently repeated, or copied ; for there is one in the Orleans collection at Paris ; a second at Vienna ; and a third, ©n sale, at Rome. ^ The palace of my countryman Lord Cowper is also rich in paintings; among which are three by Raphael, one by Correggio, one by Schidoni ; six by Andrea del Sarto; one by Fra Bartolomeo; one by Michel Angelo; one by Titian; one by Vandyke; &c. &c. The Academy for Students, lately established, is furnished with an excellent collection of models, from the best antique statues, &c. ; some fine drawings of the old masters ; and the master-piece of Giovanni di St. Giovanni; a painting in fresco, removed with the wall on which it was executed. The model of the machine with which this delicate operation was performed, is still exhibited. [ 304 ] The Buonarotti family is yet extant at Florence; and in the house belonging to it are some of the works of Michel Angelo, both in sculpture and painting; as well as the history of his life depicted in fresco, by a Florentine. Among the religious edifices, the Duomo or Cathedral claims the first attention. It is one of the handsomest buildings I have seen in Italy, being faced on the out- side with various coloured marble, The architecture is light, and of the species generally distinguished by the name of Gothic, though the Goths did not perhaps in any way contribute to its introduction in Europe. The cupola was designed by Brunelleschi ; and was the first which was raised in Italy. This architect died in 1446 and was interred in this church. It con- tains also the bones of the painter Giotto, with this epitaph : Ille ego sum per quern Pinctura extincta revixit, Cut quam recta manus, tarn fuit et facies. Naturce deerat, nostrce quod deficit arti y Plus licuit nulli pingere, nec melius. Miraris turrim egregiam sacro cere sonantem Hmc quoque de modulo crevit ad astra meo, Denique sum Jottus; quid opus fuit ilia referre? Hoc nomen longi carminis instar erit. Obiit anno 1336. Cives pos. B. M. 1490. There are, also, some statues by Bandinelli, and an unfinished work by Michel Angelo, which stands where the Adam and Eve, now in the Boboli Gardens, once stood. [ 305 ] The Campanile, designed by the painter Giotto, and alluded to in his epitaph, is a little distant from the cathedral, and is also faced with marble. Four hun- dred and eighteen steps lead to its summit, from which there is a most extensive view. The Baptistery near it is a handsome octan- gular edifice. The dome is ornamented with ancient mosaic, by Andrea Tassi, Gaddo Gaddi, and Apol- lonius a Greek, from whom Cimabue, the father of the Florentine artist, is said to have learned the art of painting. The three doors of bronze, belonging to this building, which are decorated with subjects from sacred history, are so excellent in their workmanship, that Michel Angelo pronounced them worthy of being the gates of paradise. One was executed by Andrea Ugolioni, of Pisa, in 1330 ; and the other by Lorenzo Ghiberti, of Florence, in 1421. The church of TAnnunziata is celebrated for some of the best works, in fresco, of Andrea del Sarto, par- ticularly the Madona del Sacco, so called from the sack on which Joseph is leaning. This painting, for a long series of years, has claimed the admiration of every artist and connoisseur, and may be esteemed as one of the ablest performances of this great master. Other frescos, by the same painter, have great merit; and, perhaps, that representing the nativity of the Madona may be thought equal to the former; indeed in my eyes it was superior. The Miracle of Resuscitations is also full of beauty and expression. This church contains the tomb of the famous architect Bandinelli ; and that of Giovanni di Bologna, whose excellence in x I 306 ] the art of sculpture is manifested by a figure of Christ on the cross, in bronze, and six very spirited bas reliefs, representing the Passion of our Saviour. The Church of Santa Maria Novella is decorated with many pictures, by the old masters; and the best works of Cimabue. In the Church of II Carmine is a handsome chapel, belonging to the Corsini family, in which the bas reliefs by Foggini are worthy of notice. The dome is painted by Luca Giordano. The architecture of the Church of Santo Spirito, by Brunelleschi, is much admired; as well as the altar, inlaid with marble, which was erected at a great ex- pense by the family of Michelozzi. The Church of Santa Croce, a large and handsome edifice, contains the tombs of many celebrated men, among whom are Michel Angelo Buonarotti, Machi- avelli, Galileo, Aretino, &c. &c. That of Machiavelli is now erecting, with the inscription, Tanto nomini nullum par eulogium. Nicolaus Machiavelli. The cele- brated astronomer Galileo is thus commemorated, Galilwus Galileius Patric. Flor. geometric?, astronomic, philosophic, maximus restitutor, nulli cetatis sua com- parandus, hie bene quiescit, fyc. fyc. The original tomb of Galileo was in a small chapel, called the No- vitiate. Here he was first buried, and afterwards removed into the great church. The following inscrip- tion records the memory of Aretino : Postquam Leonardus e vita rnigravit, Historia luget ; Eloquentia muta est ; Ferturque 3Iusas, tarn Grcecas quam Latinas, lachrymas tenere non potuisse. [ 307 ] On the sarcophagus of Michel Angelo are repre- sented the figures of sculpture, painting, and archi tecture, as recording his skill in those three sciences. The sarcophagus and ornaments of the tomb of Carolo Marsupino are well executed. The Church of St. Marco was once rich in the works of Fra Bartolomeo, a member of that fraternity; but the best have been removed to the Pitti palace. There is an excellent library annexed to this establishment, the windows of which command a beautiful prospect. In a court belonging to the church of Santa Maria Nuova is a painting in fresco, by Fra Bartolomeo, de- scribing the glory of paradise, but much damaged. On the wall of the adjoining cloister is another fresco, by Giovanni di St. Giovanni, representing in a pretty design, Charity and her three children; also, a has relief of the founder of the hospital, with an inscription bearing the date of 1288. In the Confralernita dello Scalzo, now suppressed, are several fresco paintings, by Andrea del Sarto, many of which are charming compositions, especially a Charity with three children. We learn from Baldinucci, that these were the first public works of this artist: Le prime pitture die fossero dale a fare, in publico, a Andrea (le quale perb condusse a fine in diver si tempi, e riuseirono singolarissime) furono le died storie della vita di St, Giovan Batista, a chiaroscuro, nella Compagnia dello Scalzo, e avendovi messa mano, appena ne ebbe condoita alcana, diegli monib in tania siima e crediio, die cla indi in poi gli furono ordinate moliissime pitture, da divcrsi cittadini. x 2 [ 308 ] The Church of St. Lorenzo is a handsome building", designed by Brunelleschi. It is supported by two rows of columns on each side. This structure was erected by order of Cosmo the First, who lies interred within its walls, with this short, but honourable inscription, DEC RE TO PUBLICO PATRI PATRIAE. In one of the chapels are some fine monuments, with statues, by Michel Angelo. Adjoining this church is the Mausoleum of the Medici family, which, when com- pleted, is designed to be laid open to the edifice, and to form the choir and high altar. Nothing can exceed the beauty of this celebrated chapel, which is entirely constructed and faced with a variety of the rarest marbles, and decorated with the arms of the dif- ferent cities in Tuscany, wrought in lapis lazuli, agate, coral, cornelian stones, &c. The form is octangular, and the sepulchral deposits consist of large sarcophagi of Egyptian granite, &c. Above is the famous Medicean Library, containing eight thou- sand manuscripts; among which is a complete collec- tion of the Greek and Roman classics, written in the most correct and beautiful manner on vellum, and richly illuminated. They are chained to desks, and open to public inspection and reference. Many good statues are dispersed through the streets and squares of Florence; among which is Ajax ex- piring in the arms of a soldier, said to be antique, near the Ponte Vecchio. — A pedestal, with a bas relief, by Bandinelli. — Hercules destroying Cacus, and David, by Michel Angelo ; both colossal, and serving [ 309 ] ornaments to the portal of the Palazzo Vecehio. — Perseus with the head of Medusa, in bronze, by Ben- venuto Cellini;* and a pedestal, richly ornamented with bas reliefs, by the same artist. — The rape of a Sabine woman, by Giovanni di Bologna; a beautiful group, in which the distress of the female sufferer, the joy and passion of the vigorous ravisher, and the grief of the father, who in vain attempts to rescue his daughter, are admirably contrasted. — Hercules killing the Cen- taur, by the same artist; as well as the equestrian statue of Cosmo the First. The horse is heavy ; but the bas reliefs on the pedestal, particularly the triumph of Cosmo, after the conquest of Siena, are very fine. — There is also a representation of a wild boar, in brass, by Pietro Tacca, after the original in the gallery. I am well aware, that a detailed list of statues, busts, and paintings, cannot prove very entertaining to those who have not seen them. It may, however, have its use, as well as interest, in pointing out their present owners and situations. The time may come, when many of these rare productions may be transported over the ocean to the shores of Gaul and Britain. Should such a change take place, a knowledge of their pedigree and history will be equally satisfactory and advantageous. J * Much is said respecting this group by Benvenuto Cellini, in his entertaining memoirs. J That period is now arrived, and my sad prognostic is now ve- rified ! Already have the riches of the Tribune and the Palazzo Pitti been transported to the banks of the Seine 3 and many valuable works have found their way to the distant shores of Britain. 1815. [ 310 ] To that part of Italy which is distinguished by the name of Tuscany, the world is indebted for the revival of painting ; but the two republics of Florence and Siena dispute the palm of priority. Though I am willing to give the precedence, as well as great merit in the art, to the latter ; yet it is just to assign the supe- riority, in point of excellence, to the former. Cimabue is considered as the father of the modern school of painting. To him succeeded Giotto, Masaccio, Luca Signorelli, &c. who in a great measure revived this noble art, which lay neglected during the long period of civil broils, which preceded the establishment of a new political system in Italy. The fifteenth century gave birth to Leonardo da Vinci, Fra Bartolomeo, Michel Angelo Buonarotti, and Andrea del Sarto, the brightest luminaries of the Floren- tine school. The sixteenth may boast of Pontormo, Rosso, Daniel da Volterra, Salviati, Bronzino, Georgio Vasari, Santa Titi, and Cigoli ; the latter of whom, from the warmth of his colouring and the fine effect of his cliiaro scuro, obtained the appellation of the Florentine Correggio. Among the best painters of the seventeenth century were Giovanni da St. Giovanni, Pietro da Cortona, and his scholar, Ciro Ferri. Thus we see that the fifteenth century was the period in which the Florentine school attained its rapid ma- turity, and even the zenith of its glory. It is painful to observe that the art has since gradually declined. The cause, however, was evidently less the want of natural abilities in succeeding artists, than the want of patronage. [ 311 ] The present aera will be memorable in the annals of Tuscany, for the introduction of a new code of laws formed by the reigning 1 Grand Duke. His principle is honourable to him as a sovereign and a man, as well as to his people. He has placed himself on the same foot- ing as the meanest of his subjects, by excluding the crime of treason from his code. He has also shewn his confidence in their good dispositions by abolishing the punishment of death, as if he supposed them incapable of committing capital offences ; and his supposition has been verified by the singular in frequency of such crimes for a long period. I was informed that for thirty years previous to the establishment of the new code there had been only one execution within the grand-ducal terri- tories. Even a robbery is seldom heard of, and locks and keys are deemed almest useless. But the grand secret which has essentially contributed to this change, and the ruling principle of the government, must appear odious to an Englishman, as subversive of genuine liberty, and derogatory to that generosity and openness of heart, which ought to characterise every sovereign ; especially of him who has publicly declared his confidence in his subjects. I allude to the system of espionage; which most unfortunately prevails at Flo- rence, as well as at Pisa. I do not know the extent of the Tuscan territory ; but the population is estimated at about eighty thousand souls. The soil is in general very rich, and highly cultivated ; though I have been told, that on an average of ten years it does not produce sufficient corn for the [ 312 ] consumption of the inhabitants. The chief trade con- sists in oil, wine, and silk. Florence derives its origin from the more ancient adjoining- town of Fiesole, which was one of the twelve cities of Etruria. Adfait et sacris interpres fulminis alls Fcesula. . Silius, lib. 8. The modern city is adorned with many handsome palaces, public buildings, antique columns, and eques- trian statues; some of which display the able work- manship of Michel Angelo, Giovanni di Bologna, Bandinelli, and Benvenuto Collini. It has four bridges over the Arno ; one of which, La Trinita, is of a most beautiful construction. The air is perfectly good throughout the whole year, and the heat more moderate than in many parts of Italy. On Friday 29th December I quitted Florence for Rome, where I arrived on Sunday evening the 31st ; having experienced no delay on the road. This my second visit to the imperial city extended to the 17th of February 1787. During this time I had an oppor- tunity of revisiting the churches, palaces, and remains of antiquity ) and of reflecting at leisure on their past grandeur, history, and present state. The usual routine, which a stranger on first coming to Rome, very pro- perly takes with his cicerone, is attended with such hurry and confusion, that a repetition of it at a subse- quent period, under different circumstances, becomes doubly interesting, if not necessary. [ 313 J ROME. Ecce iterum Romcc! Once more I find myself within the walls of the Imperial city ; and as at page 93 of this journal, I signified my intention of recording the differ- ent remarks that were submitted to me by Mr. Colin Morison, I shall avail myself of the present opportunity. They 2 are indeed unconnected, but still may prove in some decree useful. Antiquities on the Capitoline Hill. — Three Corinthian columns belonging to the temple of Jupiter tonans, vowed by Augustus for having escaped a thunder-storm in Spain ; restored by Domitian. The columns must have been fifty or sixty feet high. An epigram of Martial applies to it. — Temple of Concord, of the Ionic order, restored by Constantine : Mr. Mo- rison supposes it to have been the temple of Fortune. There was a temple dedicated to Concord in the Forum, mentioned by the historian Livy. C. Flavius Cn. jilius scriba cedem Concordia in area Vulcani summd in- vidid nobilium dedicavit. Lib. 9, 46. In a stable of the senatorial palace I was shewn some arches, on which the Tabularium is supposed to have been built. Here was a public library ; and here the public records, senatorial decrees, &c. were deposited. An old in- scription thus records the founder of this building : Q. Lutatius Q. F. Catulus Cos. substructionem et tabularium $. $. faciendum coeravit. — The next object of antiquity is a prison, known formerly by the title of Tullianum ; t 314 ] in which the abettors of Catiline's conspiracy were con- fined. It is thus described by Sallust : Est locus in careers, quod Tullianurn appellator, ubipaululum ascen- der is ad lesvam circiter xn pedes humi depressus. Eum muniunt undique parietes, atque insuper camera lapideis 'fcrnicibus vincta, sed incalta tenebris, odore fceda, atque terribilis ejus fades est. These walls form the sub- struction of the church of St. Pietro in Carcere, so called from the circumstance of St. Peter having been confined within them. From the towers of the Capitol there is a fine view of the city of Rome. The walls of it were not extended from the time of the kings to that of Sylla; but it is not to be understood that the ancient city could contain half the inhabitants within its walls. Divided into tribus urbarue and rusticce; the former of which ex- tended to the distance of two or three miles without the gates. Till the period of the empire no one was permitted to appear in armour within the city, and many disputes were occasioned by this regulation. Marble columns were not much in use before the reign of Augustus ; the native stone is made use of in the tomb of Scipio. Near seventy modern tribunals now exist in Rome, and frequent disputes occur about their decisions i appeals are made to three conservaiori and a senator, who sit in the capitol. In the celebrated hassi relievi of Marcus Aurelius, the front of the tem- ple of Jupiter that stood on the Capitoline Hill is repre- sented. It was usual to mark the years and age of the city by driving a nail (clavum jigere) into the door of the temple ; and the nails are visible in this bas relief. [ 315 ] The triumphal arch of Septimins Severus was erected in honour of his victory over the Parthians, and a re- presentation of the battering ram is upon it, the only one known : order composite. The form of the Greek forum was square, that of the Romans bore the propor- tion of three to two. The Corinthian column was ori- ginally fluted down to the bottom : its alteration is said to have arisen from the circumstance of some soldiers leaning their spears against it after a battle: and the idea of Corinthian capitals is also said to have been taken from a basket lying amongst plants of the acanthus. One column only remains of the Temple of Jupiter custos. There was originally a marsh between the Circus Maximus and the Forum, with depth of water sufficient to carry vessels; described by Ovid, in his Fasti : Forte revertebar, fyc. The Via Nova was a continuation of the Via Sacra. The Cloaca Maxima was made by Tarquinius Superbus as a drain to the city, and was considered as the greatest work of those times ; it is above thirteen feet in height and width, and extends about a quarter of a mile. A little further under the Palatine Hill was a temple dedicated to Romulus: the altar is now visible on the outside : the ancient custom of bringing children hither to be cured of the rickets is still continued : St. Theo- dore is now the acting physician. Ov er this temple were performed the Lupercalia, as described by Ovid. Ro- mulus and Remus are, according to ancient tradition, said to have been found in this marsh. The grove and temple of Vesta were situated in this part of the forum. A little further is the Boarium, [ 316 ] supposed to have been originally the Ara Maxima, de- dicated to Hercules for having destroyed Cacus. Ad- joining it is an arch erected by the merchants to the emperors Severus and Caracalla. Near it is the Cloaca 31axima, and the Forts Juturnce, where the apparition of Castor and Pollux is said to have been seen ; and is mentioned by Pliny. The temple of Jupiter Stator stood also in the neighbourhood of the aforesaid antiquities. There Romulus halted his army, when driven the whole length of the forum by the Sabines ; [Livy, lib. 1, 12,] and vowed, in case of victory, a temple to Jupiter. At iu, pater deum Jwminumque, hinc saltern arce hostes ; deme terrorem Romanis fugamque fcedam siste. Hie ego ubi iemplurn Statori Jovi, quod monumentum sit posteris, tud prcEsenti ope servatam urbem esse, voveo. Three fluted columns of the Corinthian order indicate the site and style of this votive building. At a little distance the emplacement of an ancient temple, dedicated to the god Neptune, is occupied by a modern church, which still retains within its walls many fine antique columns. The rape of the Sabine women took place at the celebration of the feasts in honour of this god, who is styled by Livy Neptunus Equcstris ; lib. 1, 9. Turning to the left we observed the ruins of the Circus Maximus ; some of the farnices are still remaining: it extended above four stadia in length, each of which measures about half a quarter of a mile : it lay between the Aventine and Palatine hills, and is well described by Dyonisius. The circumference of the ancient walls was eleven miles \ of the modern, thirteen. The Arch of Constan- [ 317 ) tine Was erected in commemoration of his victory over the tyrant Maxentius. The arts being on the decline, the ornaments were taken from Trajan's Forum to decorate it. This Forum was originally adorned with four triumphal arches, surmounted by cars and horse? of bronze, none of which now remain at Rome. Appius Claudius paved the Via Appia as far as the city of Capua. The emperor Trajan continued it to Bene- ventum, where a fine triumphal arch, erected to his memory, still is preserved. At the end of the Via Triumphalis, and at the commencement of the Via Sacra, stood the colossal statue of the emperor Nero, from which the amphitheatre derived the name of Colosseum. Close to the road side are the remains of a fine aqueduct which conveyed water to the Palatine hill. On the left of the triumphal arch of Severus is a church, said to have been formerly a temple of Saturn, where the public treasury was kept. No columns remain of the portico which was restored by Hadrian ; the modern building still bears the name of St. Adrian. The ancient Forum consisted of one temple, one basilika, and one portico ; the first was appropriated to religious causes and uses; the two next to civil. The first basilika, called Portia, was built by one of Cato's family. The entrance to the Forum was from the Via Sacra, under an arch dedicated to Fabianus. Tiberius pulled down the front of the temple of Castor and Pollux, to ornament his own palace. Architects usually made the frieze plain, when the architrave was en- riched, and vice versa. The three Corinthian columns now remaining are supposed to have belonged to the [ 318 ] Comitia, to which authors say there was an ascent by steps : these are not much sunk in the earth. — Temple of Faustina, wife of Antonine, and mother of Marcus Aurelius; portico entire, of Cypoline marble, brought from Africa: order Corinthian. They must have been fifty feet in height, in eludings base and capital : their diameter is five feet. — Temple of Romulus and Remus, restored by S. Severus; the ancient doors of bronze still remain. Each of the brothers had his temple, and two modern saints still retain the same honour. — There was anciently in the forum a statue of Marsyas, which it was the custom to crown, on the completion of a person's wishes ; and scandalous tradition asserts that Julia, wife of Augustus, performed this ceremony on her return one night from the fornices. — There was a temple\ to Venus Cloacina, near to the Cloaca Maxima, — On the Citadel was a fine temple dedicated to Concord; two also to the Sun and Moon, designed by the emperor Adrian, and criticized by the celebrated architect Apollodorus; for which offence he was banished^ During his exile the emperor built this temple, and informed Apollodorus, that although he was absent, yet a specimen of good architecture could be seen at Rome, and asking his opinion, was told, " that if the " figures of the deities, who were represented in a sit- " ting posture, were to rise up, they would find it a " difficult matter to get out of the temple. ' ' Etenhn, inquit, si Dece surgere, atqite hide exire voluerint, non poterunt.* This unfortunate speech was the cause of the architect's death. * I find this anecdote in Dion Cassius, as relating to a temple of the goddess Venus at Rome. Lib. 6g, cap. 4. [ 319 ] The next ruin is the temple of Peace, only one half of which is now remaining*, and as it differs so materially in its design from any of the other temples at Rome, it may have originally formed a part of Nero's golden palace, and have been converted afterwards into a temple. That dedicated to Pax was celebrated amongst the ancients for its fine pictures, one of which by Pro- togenes was rendered interesting by the anecdote re- corded of it by Pliny, lib. 35. The painter, unable to satisfy his own ideas respecting the foam issuing from the panting jaws of a dog, threw his brush at the canvas in anger, and thus produced the effect denied to art. Postremo iratus arti, spongiam impegit inviso loco labulte, fecitque%n pictura fortuna naturam. This fine temple was consumed by fire during the reign of the emperor Commodus. The arch of Titus was erected after his conquest of Judsea, and was the first trial of the Composite Order. When the sculpture of figures began to decline in excellence, so did that of letters. After the death of Augustus, the Romans made use of triangular bricks in their buildings. Nero's palace and gardens extended as far as the baths of Titus. Martial tells us that there were marshes on the spot where the Colosseum now stands, and by the same poet we learn that the whole adjoining tract of ground was occupied by the demesne of Nero. Hie ubi sidereus propias videt astra Colossus, Et crescunt media pegmaia eelsa via, Invidiosa feri fadiabant atria Regis, Unaquejam totd stahat in nrbe domus. [ 320 ] Hie, ubi conspicui venerabilis amphitheatri Erigilur moles, stagna Neronis erant. Spectaculorum liber, Epigramma 2. The Colosseum, or Amphitheatre, was the joint work of the emperors Vespasian, Titus, and Domitian, and called Flavian, from their family: it contained seventy or eighty thousand spectators ; an awning* was drawn over the top to protect them from the changes of weather. Wild beasts were prevented from hurting those in the lower seats by means of ivory balls sus- pended on a pivot. The spectators were arranged as to their seats in the following order : senators, consuls, and vestals; patricians, equestrians, citizens; women and plebeians. The emperor sat in the centre of one of the sides. The people were divided into curies, and places were allotted to them accordingly ; those who came too late were called excuneati. The senators had a net work of bronze over their heads. There was one staircase to ascend, another to descend, and another leading to the vomitoria. Long diameter 625 feet, short diameter 517 feet, height 164 feet. — Note. The rust of iron causes stone to decay, not so that of bronze. Palatine Hill. So called by Evander, from Pallantium, a town in Arcadia, from which he came. Under this hill, then probably uninhabited, were found Romulus and Remus, the subsequent founders of the city of Rome. It was afterwards honoured with the residence of the emperors. Augustus, having bought the houses of Crassiis and Hortensius, laid the foundation of the [ 321 ] Imperial Palace, which was continued by Tiberius, and increased by Caligula. It was afterwards ex- tended by Nero from the forum to the baths of Titus ; all of which was restored to the public by Vespasian, Titus, andDomitian, who erected the Colosseum on apart of the ground. — Careatides were so called from the girls of Carea. — The celebrated temple of Apollo was on the hill; and many fragments of it are dispersed, which may be distinguished by griffins in the frieze. Poets recited publickly in it: thus mentioned by Propertius, - Aurea Phoebi Porticus a magno Ccssare aperta fait. This portico and the adjoining temple were decorated with fine paintings, and a colossal statue of Apollo, in bronze. Close to the house of Augustus grew the bay trees, from which crowns were made to decorate the fronts of heroes, &c. Domitian was the last emperor who restored the palace. Many baths and other apartments have been lately discovered, beautifully ornamented with painting, gilding, &c. The great hall, discovered in 1720, measuring 150 feet by 100, is as large as the nave of St. Peter's. The ancients were so much accustomed to bathe by torch-light, that when they had the opportunity of admitting day -light into their bathing apartments, they continued to prefer their old custom. Many of the fine buildings remained perfect for several years after the time of the emperors. The last demolishing stroke was applied to this building! by the Normans, in the twelfth or thirteenth century, out of revenge to the Pope ; who, contrary to his pro- Y [ 322 ] mise, gave assistance to the King of Naples, when at war with that people. The orig inal Forum having, owing to the increase of population, been found insufficient for transacting the business of the citizens, Csesar added another forum, and dedicated it to Venus ; Augustus another, and de- dicated it to Mars; Domitian another, which was completed by Nerva, and still bears the name of that emperor. It was surrounded by walls of an immense height, some of which are still visible ; as well as the facade of a temple sacred to Minerva, ornamented with a statue of that goddess, and a rich bas relief on the frieze. In Caesar's forum was a colossal statue of that emperor, and three fine Corinthian columns. A little further are the remains of a semicircular building, vul- gulariy called the baths of Paulus Emilius : they are decorated with a corridore, and niches for statues. But the forum of Trajan seems to have exceeded all the rest in magnificence : it was the work of the celebrated architect Apollodorus, and its site is still marked by the rich and stately column that stands within its area. It was erected as a memorial of gratitude to that great em- peror for his splendid victory over the Dacians, and his ashes were deposited within it. The whole column is richly sculptured with bas reliefs, representing the trans- actions of that famous war; and according to tradition, the summit was crowned with a gilded statue of the em- peror. This pillar was composed of thirty-four blocks of marble, placed over each other like so many cheeses, and perforated so as to admit access to the summit. It bore the following antique inscription : [ 323 ] SENATVS POPVLVSaVE ROMANVS IMP . CAES . DIVI . NERVAE . F . TRAIANO . AVG . GERM . DACICO . PONT . MAXIMO . TRIB . POT . XVII . IMP . VI . COS . VI . PP . AD . DECLARANDVM . QVANTAE . ALTITVDINIS . MONS . ET . !LOCVS . TAN BVS . SIT . EGESTVS. It appears by the historian Dion that the ground on which this column as well as the forum of Trajan were placed, was originally hilly, but made level by art. Clivus surgebat, qnem effossa quoquoversus terra, ita com- planavit, ut undique columna conspiceretur, forumque deinde in arece modum cequatum mansit. Venuti supplies the vacant letters in the last lin3 with tantis operibus; Donati with tantis ex collibus. This forum was ornamented with triumphal arches, colonnades, and statues, and was the admiration of every beholder. The historian Ammianus Marcellinus men- tions the effect it produced on the emperor Constan- tius. Cum ad Trqjani forum venisset, singularem sub omni cwlo structuram, ut opinamur 9 etiam numinum assen- sionemirabilem, hcerebat attonitus per gigantceos contextus circumferens mentem, nec relatu effabiles, nec rursus mor- talibus appetendos. A bronze effigy of Pope Pius Sextus supplies the place of that of Trajan on the summit of the column, and an inscription on the base by the same pon- tiff consecrates it to the blessed apostle St. Peter. Not far from this forum is a sepulchral memorial erected to C. Publicius Bibulus, which deserves notice from the circumstance of its marking the ancient boun- daries of the city; for by the laws of the twelve tables, y 2 L 324 ] burial within the walls of the city was not allowed. In nrbe ne sepelito neve urito. It is to be presumed, there- fore, that this sepulchre stood originally without the city walls 3 but when the emperor Trajan extended them, it of course became enclosed, and the emperor was the first person who w as interred within them. At Monte Cavallo are two colossal statues, with horses, said to represent Castor and Pollux, and to have been the work of the celebrated sculptors Phidias and Praxiteles. On each figure the lock of hair rises up-\ wards, as denoting them to be descendants from Jupiter. The pedestals, on which these groupes stood, were turned to a contrary direction a few years ago by a very ingenious and almost incredible manoeuvre. On that part of the Quirinal hill, where the baths of Con- stantine were built, was formerly a temple of Health, and one dedicated to Quirinus, from whom the hill took its name : its modern title is derived from the horses. Near this place was the Circus of Flora. Appius Claudius constructed the first aqueduct about A. U. 440 ; at which period baths were introduced, which at first were only private. At a later period they were constructed for the use j>f the public by Agrippa. The baths formed by the emperor Dioclesian pre- sent a noble and satisfactory specimen of the buildings appropriated to similar purposes; their exterior walls are in a great measure perfect. At each end was a temple, the one dedicated to Apollo, the other to iEscu- lapius; the former, now St. Bernardo, is very beautiful and perfect. Between these temples is a semicircular [ 325 ] building, where the exercises were probably performed after the use of the bath : they are sufficiently spacious to accommodate two thousand people. These magnifi- cent baths were supplied with water that was brought to Rome, A. U. 612, by Quintus Marcius, and called from him the Aqua Marcia. It was conveyed from beyond Subiaco, the great distance of sixty-one miles, fifty-four of which were under ground, and the remaining seven above ground. A part of these baths was converted by Michel Angelo into a christian church, distinguished by the name of La Madona degli Angeli, and annexed to a monastery of Carthusian friars. It contains the tombs of the celebrated painters Salvator Rosa and Carlo Maratti ; and eight fine granite columns attest the ancient magnificence of this splendid building. The quadrangle attached to this convent is striking, and deserves notice. St. Agnes fuor delle Mure is supposed to have been one of the churches built by Constantine ; it possesses many fine antique pillars of various orders, and a very perfect candelabrum. Adjoining it is a round temple, called the Mausoleum of St. Constance ; it was sup- posed to have been once dedicated to the god Bacchus, from its bronze mosaic ceiling representing vines, 8cc* Here is a magnificent sarcophagus of porphyry, and the largest in Rome, ornamented with bas reliefs of boys with vines, &c. Near this place are the ruins of a cas- trum prcetorium. Continuing my excursion on the Via Nomentana, which leads into the Sabine country, the Mons Sacer was pointed out to me on the right ; and as many of the ruins throughout Italy are rendered more [ 326 ] interesting by the history and anecdotes attached to them, than by their present state and appearance, I shall insert from the life of Coriolanus by Plutarch, an anecdote relating to the Mons Sacer. At a time when the enemy had invaded the Roman territories, so great a dissention prevailed amongst the commonalty, that when the consuls called upon such as were able to bear arms to give in their names, not a man stepped forward. The senate assembled, debated, but came to no conclusion : the commotion became so general, that the commonalty rose, and encouraging each other, took possession of the Mons Sacer, near the river Anio ; but did not proceed to any open act of violence. It was on this occasion that Menenius Agrippa, who had been selected by the senate to treat with the people, made use of the following illus- trative fable. " The members of the human body once " mutinied against the belly, and accused it of lying " idle and useless, whilst they were all labouring and " ministering to satisfy its appetites; but the belly only ' laughed at their simplicity in not knowing that, " though it received all the nourishment into itself, it " prepared and distributed it again to every part of the " body. Just so, my fellow citizens," said he, " stands " the case between the senate and you . For the neces- " sary counsels and acts of government are productive " of advantage to you all, and distribute their salutary " influence among the whole people." A little further is an old bridge over the Anio, supposed to have been built about the time of Belisarius. On our return homewards we visited the site of the Circus of Flora, on one side of which Sallust had a fine [ 327 ] villa and gardens. This circus was made use of by the Romans at times when the rising of the river ren- dered the Circus Maximus unserviceable. Adjoining to it was a temple dedicated to Venus Ericyna ; thither the Roman matrons carried the symbols of Priapus, adorned with garlands of flowers, and deposited them within the sacred walls. The next object of our antiquarian pursuit is the Esquiline hill, the largest of the seven on which the city of Rome is built. It was formerly honoured with a temple sacred to Juno Ltjcina. The poets Virgil and Propertius, as well as that distinguished patron of the arts, Mecsenas, had houses upon it. In the church of St. Maria Maggiore we see a model of the ancient ba- silika, and within it a costly chapel belonging to the Borghese family. Before it is one of the two Egyptian obelisks that were found in the mausoleum of Augustus : the other is designed for the area at Monte Cavallo. Behind it is a fine column of the Corinthian order, which belonged formerly to the Temple of Peace. The ancient city did not extend far beyond this church. On the outside of the walls was the Campus Esquilinus, the burial-place for the common people ; from whence down to the forum ran the Via Scelerata, so called from the inhuman conduct of Tullia, in driving over the dead body of her father. In this district were the pa- lace and baths of the emperor Titus ; not so large as those of Dioclesian, but similar in their plan. The subterraneous vaults retain some curious specimens of antique paintings, from which Raphael is supposed to have borrowed some hints in the composition of his [ 328 ] arabesques. The fine group of Lao coon and his two sons were found amongst these ruins. I observed nine very large reservoirs. Near to the church of St. Euse- bius is a ruin called the Castle of the Aqua Marcia before described, by which the baths of Titus, as well as those of Dioclesian, were supplied with water. The trophies of Marius, now deposited in the capitol, were found here. Between these baths and a gate of the city called Porta Maggiore, is a pretty little circular temple, attri- buted to Minerva Medica, from the circumstance of finding within, or near to it, a statue of that deity, with the serpent of iEsculapius at her feet. In the same vineyard is the columbarium, or sepulchral vault of the family of L. Arunzius, who was consul under the emperor Tiberius. We now come to the Porta Maggiore, which originally formed a part of the mag- nificent aqueduct by which the emperor Claudius con- veyed water to the imperial city. Three different inscriptions record the author and restorers of this grand work : the first is to the memory of Claudius the founder ; the second records the repairs done by Vespa- sian ; and the third those by his successor Titus. The Yi in the mountains, answering the purpose of an artificial one, for it is traversed by the road. From Verona I proceeded to Brescia. The road was in general good, the country flat and well culti- vated. For some way I skirted the bank of the Lago di Garda, which was backed by the lofty Alps, and pre- sented many picturesque views. Its length is thirty- five miles, and its breadth fourteen. Brescia, though less than half the size of Verona, is much more populous. The inhabitants are industrious, and carry on a considerable trade, in manufactured silk, iron, and fire-arms. The women are handsome. Weapons of every sort are forbidden to be carried. Within the churches are a few good pictures. In St. Nazaro e Celso are five in one frame, by some attributed to Titian, by others to Giorgione. At the Carmelites, [ 369 ] a Guercino ; in La Carita, a little chapel, resembling the Santa Casa of Loreto. The Church of St. Affra contains a picture by Paolo Veronese, and another by Giacomo Bassano. The cathedral is a beautiful build- ing, of the Corinthian order, but unfinished. In the city are many handsome palaces ; some of which, as I was informed, contained collections of pictures. Some detached ruins, as well as inscriptions, found here, prove the antiquity of the place. It is agreeably situated at the foot of mountains, and supplied with excellent water. I observed several women in the streets afflicted with those swellings in the neck, which are known in Switzerland by the name of goitres. From Brescia I went to Milan, by the new and shortest road, leaving Bergamo on the right. The country is flat, and well cultivated. In the preceding part of my tour, I have already noticed the principal buildings and best pictures in Milan. I ought, however, to observe, that the Ambrosian Library contains the best performances I have yet seen of Giacomo Bassano ; and several good paintings by Bernardino, a scholar of Leonardo da Vinci, who imitated his master so closely, that I have no doubt many of their works are con- founded. At rOspidale h an Annunciation, by Guer- cino. At La Vittoria, two landscapes, by Salvator Rosa and Francesco Mola. In St. Antonio Abate del Teatini is a prcesepia, attributed to Annibale Caracci, but placed in so bad a light that I could not distinguish it« The archiepiscopal palace contains some good pictures, and two rooms filled with small landscapes. [ 370 ] During my stay at Milan I made a short excursion to the Villa Simoneta, where there is a remarkable echo, which repeats the explosion of a pistol between forty and fifty times. Leaving Milan I passed through Novara, a fortified town belonging to the King of Sardinia, to Turin. The roads are flat and good, the posts well served, and contrary to custom, the postilions civil and reasonable. During the whole way I enjoyed a beautiful view of an extensive range of the Alps, clothed with snow. I crossed several rivers, particularly the Sessia and the Doria, sometimes by fording , at others by bridges of boats. Turin, the capital of Piedmont, and the residence of the King of Sardinia, is delightfully situated on the banks of the Po ; sheltered towards the north by the rugged Alps, and towards the south by a range of smaller hills, better cultivated. The city is small, not exceeding a league in circumference, but well peopled. From the straightness of the streets, and the good archi- tecture of the houses, it is one of the prettiest towns in Italy. During this my second visit, I went to the Su- perga, a magnificent church of the Corinthian order, placed on a lofty hill, five miles from Turin, and com- manding a most extensive view. It was built by order of Victor Amadeus; who from this height surveyed the French army besieging his capital, previous to the battle of Turin, and made a vow to found a church, if he obtained the victory. This circumstance is comme- morated in the following inscription: [ 371 ] VIRGINI GE NITRIC! VICTORIUS AMADEUS r GALLICO BELrLO VOVIT, PULSO HOSTE, FECIT, DEDICAVITQUE. The dome is lofty and of good architecture. Beneath is the mausoleum of the royal family of Savoy and Sardinia. Twelve canons are resident here ; they are comfortably lodged, and enjoy the advantages of a good library. The Venerie, one of the royal country seats, three miles from Turin, is a handsome building. It is orna- mented with one of the lightest and most beautiful gal- leries I ever saw. The stables and orangerie are good. I again visited the royal palace within the city, which is enriched with a large and good collection of pictures, both of the Italian and Flemish schools; the latter of which predominate. Among these are a beautiful Guercino; several by Albano; two by Paolo Veronese ; and others by Salvator Rosa, Guido, Schidoni, Bassano, Rubens, Vandyke, Gerard Dow, Rembrandt, Both, Teniers, &c. &c. A whole length portrait, on horse- back, by Vandyke, merits attention ; though the fore legs of the horse are ill drawn. In the gallery of Flemish paintings is a charming piece by Teniers, representing a shepherd, with cows and a flock of sheep ; also a sick woman and attendants, by Gerard Dow; two or three by Rembrandt, &c. RB 2 [ 373 ] ITINERARY FROM TURIN TO CALAIS, BY LYON AND PARIS. Stages, Rivoli - - - St. Ambroise La Jaconniere Susa - Novalese - - Tavernette Posts. Inns. Lanslebourg* - - - Rramant - - - - Villaroudin - - - St. Andrea - - - St. Michele - - - St. Jean de Maurienne La Chambre - - - Aypierre - - - - Aig-uebelle - - - - Maltaverne - Montmelian - - - Good. Tolerable. Bad. Tolerable. Bad. Ditto. Ditto. Good. Ditto. Tolerable. Bad. Good. Bad. Tolerable. [ 374 j Stages, Pos\ Inns. Chamber) 7 - - - - - - St. Jean de Coux - - - Echelles - - - - * - Pont Beauvoisin, (confines of Good. Bad. La Croix Blanche, France and Savoy,) Au Gas - - - - La Tour du Pin Bourgoin - - - Tolerable. La Verpilliere - - - - If S. Laurent des Murs - - - If Bron - -- -- -- i Lyon - - - - - - - 1 La Tour - 1 Aux Arnas ----- 2 Tarare ------- 1JL A la Fontaine - - - - - if St. Symphorien - - 1 Neat. Boanne ------- 2 Good. St. Germain - - - - - If La Pacaudiere - - - - 1* St. Martin d'Fstreaux - - 1 Droiturier ------ 1 LaPalice ------ l Tolerable, St. Geran ------ 1 Vareunes ---<<•--• l£ B essay - -- -- -- if Moulins - - - - - - If Good. Villeneuve ------ If St. Imbert - • - - - - 1 [ 375 ] Posts* Inns. kjL. riciic 1C lTXUULlCI. - - 1 VJTUOU.* * - It 1 _L t i \jrOOU.» " - It 1 3 - - !£■ r~i _ _ j UrOOCL - - a; Ixooa. 1 -I, 1 X Lid V^UlllillUtliLG — ** - - 1 1 Good. -i t (jrOOu. T^ii rirniciprA _ _ - 1 A laro*p tnu'n o Tlittn JL/lllO* 1 X Mrvni"n l (*w\f _ _ _ - - 1 1 x T r " - if T 1 ri ) irmp n - - x + ■ - It Chantilly - - - - - - It Good, - - It [ 376 ] Stages. Posts, Inns* Clermont ------ If St. Just 2 Wavigny ------ l Breteuil If Good. Piers - If Hebe court ----- l Amiens ------ 1 Good. Pecquigny ------ If Flixcourt ------ 1 Ailly le haut Clocher - - If Abbeville - ----- If Good. Nouvion ----- If Bernay ------- 1 Good. Nampont ------ 1 Montreuil If Good. Cormont ------ If Samers - -- -- --1 Boulogne ------ 2 Good. Marquise ------ 1J*. Calais ------if Good. 34f DISTANCES. Turin to Lyon 193f English Miles. Lyon to Paris 300 Paris to Calais 176 J 670 [ 377 ] ITINERARY FROM TURIN TO PARIS, CALAIS, AND LONDON, |"|N Thursday May 31st, 1787, I quitted Turin, and preparing for my departure from Italy, directed my course towards Lyon. A very handsome avenue of elm trees led me to the first post, at Rivoli ; and soon after- wards the country grew more hilly. At Susa, the fourth post,- is a fine triumphal arch, in good preservation: it has been described and engraved by Masazza, as well as by Scipio Maffei, in his Museum Veronense. From the latter work I have copied the following inscription, which was sculptured above the frieze, on the northern facade. IMP . CAESARI . AVGVSTO . DIVI . F . PONTIFICl . MAXVMO . TRIBVNIC . POTESTATE . XV . IMP . XIII . M . IVLIVS . REGIS . DONNI . F . COTTIVS • PRSFECTVS . CEIVITATIVM . QVAE . SUBSCRIPTS . SVNT . SEGOVIORVM . SEGVSINORVM . BELACORVM. CATVRIGVM . MEDVLLORVM . TEBAVIORVM . ADA- NATIVM . SAVINCATIVM . EGDINIORVM . VEAMINI- ORVM . VENISAMORVM . IEMERIORM . VESVBIAN- ORVM . QVADIATIUM . ET , ClVITATES . QVM , SVB ,EO . PR/EFECTO . FVERVNT. [ 378 ] Prom the above inscription we learn, that this arch was erected by Cottius, the prefect of King Donnus, and the towns of his prefecture, in honour of the Em- peror Augustus, in the fifteenth year of his tribunate, and the thirteenth of his empire, which would be in the year of Rome 745, and eight years before the christian sera. The bas reliefs on each side, represent the cere- monies of a sacrifice. In the centre stands the altar; at each end are the officiating ministers, attended by sol- diers, on foot and on horseback. Masazza imagines that the sueovetaurilia were here exhibited, in celebra- tion of the victories gained by Augustus, or on ac- count of the alliance concluded between him aud the Alpine nations. From Susa to Novalese the road winds through a narrow valley, till all passage for carriages ceases ; and a new mode of travelling must of necessity be adopted* By an application to Monsieur le Directeur, I procured mules for the transport of my carriage and luggage over Mont Cenis,* and proceeded with my servants on horseback. At the Tavernette we chang-ed our mode of conveyance, and descended from the Ramasse to Lanslebourg in a chaise a porteurs. In my former journey I was five hours on this passage, but I now completed it in three and a half. The post-horses were good, and as sure footed as mules. As yet the spring had not visited these dreary heights; for the plain on the summit was covered with snow, the lake * I paid for my carriage and luggage sixty-five livres, Piemontesej for the chaise a porteurs, six livresj and for the post-horses two Hvres each, besides the boniu main to the guides. [ 379 ] frozen, and the cold intense. I found at Lanslebourg a tolerable inn, and civil treatment. My carriage did not not arrive till Friday morning*. The following morning I resumed my journey, dined at St. Michele, where there is a good inn, and slept at La Chambre. In the space between Lanslebourg, Bramant, and Villaroudin, the roads are steep, bor- dered with a precipice on one side, and overhanging groves of firs on the other, but the goodness and steadi- ness of the horses remove all apprehension. To St. Andrea the road is less hilly, and from thence to St, Michele descends through a narrow valley or dingle, by the side of the rapid river Arc. St. Jean de la Maurienne is the capital of this part of Savoy, and comprizes many of the neighbouring villages within its jurisdiction. From thence to La Chambre the road traverses a plain, surrounded with lofty mountains. Saturday June 2. Passed through Aypierre to Aiguebelle, a little village, in a picturesque situation; from thence to Montmelian, on the Isere, and finally to Chambery, the capital of Savoy. This town is not large, but well peopled with industrious inhabitants. The gauzes manufactured here are well known in the female world. The valley in which Chambery is situated is extensive and well cultivated, surrounded with mountains, and enlivened with numerous houses and churches. Between Chambery and St. Jean de Coux, I once more found myself amidst mountains, and observed a pleasing cascade by the road side. A beau- tiful valley, finely wooded, conducted me to the cele- brated pass of Le Grotte, which was cut through the [ 380 ] rock by Emanuel the Second in 1670, and which I have mentioned in a former part of my Tour. Emerging from this dark and narrow pass, the rich and verdant plain of Echelles burst upon my sight, in the most agreeable and unexpected manner. Sunday June 3. Finding myself once more in the neighbourhood of the Grande Chartreuse, I could not forego the pleasure of paying it a second visit, and re- newing my acquaintance with its hospitable and clois- tered inhabitants. I received from them the same kind attentions as on the former occasion. In other respects I had no cause to regret this second excursion, for it opened to me new local beauties, which had before escaped my notice. The valley was contracted, and the road led me through a thick grove of beech and firs. The mountains above sometimes assumed the most rude and horrific shapes, and by their bold projections seemed to threaten the passenger with instant destruction ; at others their savage features were softened by the rich woods which clothed them to the very summits. Some- times also the road skirted the bank of a furious stream, or ran along the verge of a deep precipice, washed by a foaming cataract, which lost itself in the dark recesses of a thick forest, Per invias rupes, fera per juga, Clivosque prceiKptos, nemorumque noctem. The grand and savage scenery was, however, enlivened and diversified by numerous picturesque bridges, iron forges, &c. scattered along the course of the river, and presenting a constant succession of fine subjects for the L 381 J pencil. Such scenery is highly captivating to the contemplative mind ; and none has more beautifully or feelingly described its effect than our English poet Gray, when visiting the religious recesses of the Grande Chartreuse. Monday, at noon, I returned to the iron forges, and varied my route back to Echelles, where I slept. On the following day I proceeded to Lyon. As far as Beauvoisin the road is interesting, being accompanied with rocks, precipices, and torrents ; but on entering the French territory all the beauties of picturesque nature vanished, and were succeeded by those of a more cultivated and domestic kind, more gratifying to a native than to a foreigner. During my stay at Lyon the excessive heat confined me to my hotel the greater part of the morning. I visited the Chartreuse, which is a handsome building, and deserves the traveller's attention. It possesses a tolerable picture by Luca Giordano, and a figure of St. Bruno, carved in wood. On the opposite hiil are some remains of Roman baths and aqueducts. The environs of Lyon, particularly the borders of the Saone, are ren- dered exceedingly cheerful by the variety of country houses scattered on the declivities of the hills. The heat of the weather induced me to quit Lyon by night. Having, in my former journey, traversed the district of La Bourgogne, I now chose the route through the Bourbonnois, which I deem preferable. The natural appearance of the two is totally dissimilar; the first displaying nothing but vineyards, the latter corn and pastures. The Bourbonnois is sufficiently varied with [ 382 ] gentle inequalities, the verdure in high beauty, and the roads superior to those of La Bourgogne. Friday 29th June. I rested at LaPalice; on the following morning proceeded to St. Pierre, where I dined ; and from thence to La Charite, a small town on the Loire, where I slept. The river is here very broad, and divided by an island into two branches, which are traversed by two bridges. I dined at Briare, and continuing my route to Fontenay, found the comforts of a neat and good inn. Near this place are the remains of an antique bridge, which my landlord assured me was built by Julius Caesar, and originally consisted of fifty arches. Only twelve are now left, but there are vestiges of several more. On Monday I passed through Fontainebleau to Paris, having performed my journey of three hundred miles in fifty-seven hours. Consider- able manufactories of cutlery, glass, buttons, gloves, &c. are established in many of the towns and villages on this road; and the different articles are pressed on the traveller at each halting place. At Moulins is the greatest steel manufactory in France. Here is also a fine tomb erected to the memory of the Due de Mont- morency. La Charite contains a handsome building, appropriated to ^e button manufactory. My residence at Paris was short, and my researches of course were very superficial. The results will, there- fore, appear in my journal as mere recollections. I began in imagination to inhale my native air, and felt the maladie du pays, a very natural complaint for an Englishman after an absence of nearly two years. [ 383 ] Manufacture des Glaces. — The process very simple, and intelligibly described. The glass is cast in large plates in Picardy and Normandy, and only finished and polished for sale at Paris. Its thickness is reduced by means of sand, formed from a species of stone found at Fontainebleau ; and the polish is given with the dregs left after the distillation of spirits of wine. The quick- silver is then run over it. Five thousand men are em- ployed by the conductors of this manufactory. The Bastille. A strong building, flanked with eight towers. I penetrated as far as the first court. — The Gobelin manufactory of tapestry is brought to great perfection. The piece is suspended perpendicularly, and the workmen carry on their operations behind it. r— Royal Botanical Garden. The plants well arranged by the celebrated naturalist Buffon. Notre Dame. A Gothic cathedral, the towers of which command a fine view of Paris. — Church of St. Genevieve, now building, of the Corinthian order, highly ornamented. A double dome in the centre of the cross. No paintings, but only bas reliefs. The idea of the portico seems to have been taken from the Pan- theon at Rome. — The Church of Les Carmelites con- tains a picture by Guido, and the famous Magdalen, which is deemed the master-piece of Le Brun. — The Val de Grace is a large and handsome building. — In the Church of the Benedictines lie the bones of our English King James II. His bust modelled in wax is shewn, as is the night-cap he wore at the time of his decease. — St. Nicholas du Chardonet contains the tombs of Le Brun the painter, and of his mother. The design of [ 384 ] the latter is impressive; she is represented in the act of rising out of the sarcophagus at the sound of the last trumpet, which is blown by an angel; but the figure of the angel being carved in wood much diminishes the general effect of the monument. In the chapel is a painting by Le Brun. The Observatory, and caverns under it. — The Halle du Bled, circular, and lighted from above. — The pictures in the palace of the Louvre are chiefly by modern artists. — Some good paintings in the Hotel de Toulouse by Guercino, Guido, Poussin, Pietro di Cor- tona, and Carlo Maratti. I visited the celebrated manufactory of Seve china at St. Cloud. Three hundred workmen are employed. I saw two beautiful vases between five and six feet high. Versailles. Gardens ornamented with numerous statues, vases, &c. copied from the best antique models. The palace contains some fine pictures, among which I was particularly struck with the exquis'ite portrait of Charles the First, lately engraved by Strange. Here is also a grand saloon, the dome of which is painted by Le Brun. Marly. Placed in a rural and retired situation. The mills employed to raise water from the river Seine are curious in their construction. Nexjilly. A handsome bridge of five arches. The design seems to have been taken from the beautiful Ponte della Trinita at Florence. The Luxembourg Palace should be visited by every lover of painting. It contains a series of large pictures, by Rubens, representing the history of Mary [ 385 ] of Medicis, and Henry the Fourth. \ was sorry to observe that many of these excellent performances were damaged. The Bibliotheque du Roi , is spacious, and rich in literary treasures. It is open twice a week for the benefit of the literati. On Tuesday July 10, 1787, 1 quitted Paris, and slept at Chantilly. On Wednesday dined at Breteuil, and slept at Bernay ; and on Friday the 13th arrived safe at Dover, after a passage of five hours, and an absence from England of twenty-two months. BATH, PRINTED BY RICHARD CRUTTWELL, A. D. 1815. . f trawl c^u ^ .