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 ACCOUNT 
 
 OF THE 
 
 STATUES, 
 Bas-reliefs, Drawings 
 
 AND 
 
 PICTURES 
 
 I N 
 
 ITAL r, FRANCE , &c. 
 
 WITH 
 
 REMARKS. 
 
 ! Sen . 
 and 
 
 Jim. 
 
 The Second Edition. 
 
 LONDON : 
 
 Printed for D. Browne, without Temple-Bar ; J. WhistoN 
 and B. White, at Boyle's Head , and L. Davis, at Lordl 
 Bacon's Heads both in Fleet-Jlreet . MDCCLIV, 
 
Digitized by the Internet Archive 
 in 2016 
 
 
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 https://archive.org/details/accountofstatuesOOrich 
 
THE 
 
 PREFACE- 
 
 By J R . Sen. 
 
 Ergo age. Chare Pater, cervici tmpone- 
 re nofir a : 
 
 Ip fie fiubibo burner is, nec me labor ifie 
 gravabtt, Virg. 
 
 H ether I have done Well, 
 or Not, in Publifhing this 
 Account, I am oblig’d in 
 Juftice to take it upon my 
 Self, and to declare, as I do, that ’tis 
 my Own A<5t. 
 
 I had an Undoubted Right to dif- 
 pofe of thefe Papers as I thought lit. 
 I am well fatisfy’d my Son when he 
 
 A z was 
 
The Preface. 
 
 was Abroad was not Unmindful of his 
 Own particular Pleafure, and Improve- 
 ment from the Sight of thofe Fine 
 things he went to fee; but I am no 
 lefs perfuaded that what he Principal- 
 ly intended in making , and noting 
 down his Obfervations was to gratify 
 Me ; the Cream of which he gave me 
 by Long, and Frequent Letters. From 
 Which, and from his Notes taken up- 
 on the Places, I (with his Affiftance 
 when he came home) collected what 
 was for myPurpofe. 
 
 But tho’ Thefe were Abundantly 
 more than I Expe&ed, or could have 
 Hop’d for, yet being often wrote in 
 Hafte, and when he was greatly In- 
 commoded by Heat, or Otherwise, it 
 muft needs happen that they were 
 not always fo Copious, nor gave me 
 fo Clear an Idea of the Things as I 
 Wifh’d ; in That Cafe I had re- 
 courfe to his Memory ; and I was 
 Surpriz’d to find he had There 
 fo Carefully , and Diftin6tly trea- 
 t’d up fo many Particularities wor- 
 thy 
 
The Preface. 
 
 thy the being recollected, and ad- 
 ded to what he had committed to 
 Writing. I have been ever lince up- 
 on all Opportunities getting Farther 
 Light into Thele Matters,- Chiefly 
 from Him ; but Sometimes from O- 
 thers, and from Books,- comparing 
 his Accounts with Theirs, and mak- 
 ing lome few Improvements by the 
 Hints we thus receiv’d. Befides all 
 this, tho’ I have Throughout ( as it 
 was neceffary) prelerv’d the fame Style 
 as written by my Son, I have Enlarg’d 
 upon the Materials he has given me, 
 and to his Remarks have added ma- 
 ny others of my Own. This latter 
 Article he infilled upon that I Ihould 
 declare if I relolv’d to publilh thele 
 Papers; and particularly that Thole 
 upon the Pictures of Raffaele in that 
 Suite of Rooms in the Vatican which 
 go by his Name are Intirely Mine. I 
 mull add withal, that whatever Mix- 
 ture there is of This kind, the Whole 
 has my Son’s Concurrence, and Ap- 
 probation. 
 
 A 3 
 
 That 
 
The Preface. 
 
 That I fhould write upon what I 
 never Saw, may appear ftrange to 
 fome j Such may pleafe only to ob- 
 ferve that My Remarks are Chiefly up- 
 on the way of Thinking ; which is 
 Teen in a Print, or a Drawing, as well 
 as in the Thing it felf: Thefe I am 
 well furnifh’d with, particularly for 
 thofe famous Works of the Vatican 
 juft now mention’d: Bellon has more- 
 over defcrib’d ’em very minutely, and 
 exactly,- I mean as to the Figures of 
 each Picture. I remark then on what 
 I have Seen ; for the Little that re- 
 mains on which my Remarks are 
 made, Evidence has been to me in- 
 ftead of Eyes, as it muft be in Matters 
 of the greateft Importance. 
 
 Tho’ I had a Right to thele Pa- 
 pers, I fhould not have Publiftied 
 them without my Son’s Confent - y 
 which I Have: But whether ’tis agree- 
 able to his Own Judgment, or in de- 
 ference to Mine, or pure Complai- 
 fance, I cannot tell : He has from his 
 Infancy accuftom’d me to luch an in- 
 tire 
 
The Preface. 
 
 tire Refignation of Himfelf to Me 
 and That in fo Obliging a manner, 
 that I can never tell what his Real 
 Sentiments Are, but by what I think 
 they Should be : However having 
 his Confent; and This being a pro- 
 per Supplement to what I have alrea- 
 dy done, Efpecially becaufe I have 
 here made ibme Illuftrations of, and 
 Additions to what has been laid in 
 thofe Difcourles ; And moreover it 
 being in it Self Ufeful , and Enter- 
 taining to all that Love the Arts, I 
 was induced to make this Publication. 
 
 When I wrote my Firft Dilcourle 
 ’twas All I then had the lead: Thoughts 
 of, but it happen’d to be what ought 
 ,to have been Begun withal, The The- 
 ory of Painting; in That I have laid 
 down what I conceiv’d to be the Prin- 
 ciples of the Art. My Second Volume 
 was an Attempt to drew how to judge 
 of the Goodnefs of a Pidture, to know 
 Hands, and to diftinguilh Copies from 
 Originals ; to which I added a Per- 
 luafive to this fort of Study. This in- 
 
 A 4 deed 
 
The Preface. 
 
 deed is properly a Difcourle on the 
 Condud of the Underftanding, ap- 
 ply’d to Painting; and led me Natu- 
 rally, and Unavoidably into away of 
 Thinking fuch as would have been 
 neceffary in a Philolophical Difcourle 
 upon the Condud of the Underftand- 
 ing at Large ; nor is there any Other 
 way of treating the Subjed as it ought 
 to be treated ; at leaft I know of 
 none. And if here I fometimes Di- 
 grefs’d from my Subjed of Painting, 
 I did not from what was alio my Bu- 
 finefs, the Condud of the Judgment. 
 The prefent Treatife is to Set Before 
 the Reader, and to Apply the forego- 
 ing Rules by Remarking Upon a Col- 
 lection of Pidures, and Statues ; and 
 ’tis the Colledion of the whole World,* 
 for the Principal things of this kind 
 now in being are Defcrib’d, and Cri- 
 ticis’d, and fuch Notices of the Reft 
 are added, (efpecially taking in what 
 are interfpers’d in my Other Difcour- 
 fes) as may give a tolerable Idea of 
 what the World poftefTes of the 
 
 Works 
 
The Preface, 
 
 t 
 
 Works of Painting, and Sculpture. 
 
 I have alio in proper places given 
 an Abridgment of the Hiftory of Our 
 Art, and of the Lives of the Painters, 
 with the Characters of the molt con- 
 
 fiderable of them : All which has been 
 
 * 
 
 done at Large by Other Hands. 
 
 My General SubjeCt I have upon 
 Several Occafions (hewn to be worthy 
 of all the Pains I, or a Better Hand 
 Have taken, or Can take in treating 
 it ; and I know not any particular 
 Branch of it that I have not Confi- 
 der’d, and as Fully as it Ought to be : 
 If any Other fliall think fit to under- 
 take it hereafter, he may lupply the 
 World with lomething Better ; he 
 may Know more, or be Otherwile 
 better qualified as a Writer: But This 
 is All I have been capable of doing: 
 I am Exhaufted as to This Subjed:, 
 whatever the Subject it felf may be 
 thought to be. 
 
 I am never like to be of any Con- 
 fequence to the World unlels in the 
 way I am in as a Painter, and one en- 
 s deavouring 
 
The Preface. 
 
 deavouring to Raife, and Cultivate the 
 Love of the Art by Ihewing its true 
 Ufes, and Beauties. This I have ap- 
 ply’d my felf to as the great Bufinels 
 of my Life, next to what Religion, 
 and my particular Obligations require. 
 And what I have done in the Whole, 
 as well as in what I now offer to the 
 World, is in confequence of This fort 
 of Ambition, and Benevolence. 
 
 We have Variety of Accounts of 
 Foreign Countries, of their Religion, 
 Government, Habits, Cuftoms, Ma- 
 nufactures, and other Particulars, Ita- 
 ly amongft the reft as {he is One of 
 the moft confiderable Spots of Ground 
 in Europe is Thus well known ; but 
 what fhe is very Remarkable for, and 
 wherein (he is Diftinguilh’d from all 
 Other Countries in the World remain- 
 ed ’till Now undefcrib’d, not only in 
 our Own, but in any Other Language. 
 There are indeed Catalogues of her 
 Pictures, and Statues ,• as there are of 
 every Figure in fome of the Pictures : 
 and there are Prints of many, and 
 
 lome 
 
The Preface. 
 
 fome Copies ; but Thefe are as the 
 Names of Towns in a Map, or Views 
 of the Places, neither of which, not 
 even the Latter are fufficient to give 
 an Idea of them : And if Some Writers 
 have accompany’d their Accounts with 
 Remarks they are moflly Extravagant, 
 and Undiftinguifhing General Enco- 
 miums, or Notices of Particulars the 
 leaft considerable. Or they have faid 
 what they Fanfy’d, not what in Rea- 
 lity was to be found: If Thefe give 
 more extenfive Ideas than mere Cata- 
 logues they are Falfe ones : Catalogues 
 are of fome Ufe, fo are fuch Remarks 
 as Show what Ought to be, lo far as 
 they fo Inftrudt: For the reft they are 
 Mifchievous, as leading People into 
 Miftakes, and a wrong way of Judg- 
 ing. We have gone in an Untrod- 
 den Path,- and if we have given a 
 Sufficient Account of thefe fineThings, 
 or whoever elfe will be pleas’d to fur- 
 nifn the World with fuch a one a De- 
 fect will be remov’d, and we fupply’d 
 with what we ought to have had long 
 ago. As 
 
The Preface. 
 
 As every Pi dure, Statue, or Bas- 
 relief, belides what it was intended to 
 exhibit, leaves upon the Mind of him 
 that fees it an Idea of its Self, diftin- 
 guilh’d from every Other of its Kind ; 
 he that would defcribe them fhould 
 endeavour to communicate fuch Di- 
 ftind Ideas. ’Tis true there are Ibme 
 things that Words alone cannot de- 
 fcribe; but Words can go farther a 
 great deal than Any I have yet met 
 withal. They can tell not only that 
 there Is fuch a Pidure, and Where it 
 is, but how Large, in what Situation, 
 and in what Condition ; what are the 
 Thoughts, and how thole Thoughts 
 are Exprels’d; in Ihort, what are its 
 Beauties , and Defeds throughout : 
 And though the Colouring, Style of 
 Drawing, Airs, and lome Attitudes 
 cannot be exadly delcrib’d, Some- 
 thing may be laid of Thele too; and 
 even to one that is Not a Connoiffeur ; 
 but to Such a one the bare faying ’tis 
 of fuch a Mailer gives an Idea of the 
 moll Undefcribable of them; and e- 
 
 fpecially 
 
The Preface. 
 
 fpecially if it be added the thing was 
 done in Such a Time, in Such of his 
 Manners, and is in Such a Degree of 
 Goodnefs of Him. If it can be Com- 
 par’d with lome Work that one can 
 have recourfe to ■, or if there be Prints, 
 Copies, or Drawings of the thing, 
 Thefe fhould by all means be referred 
 to. Such a Defcription Well Made, 
 and Carefully Attended to, may put a 
 Reader Almoft upon a Level with him 
 that Sees the thing ; and in a much 
 Better Situation than thoufands who 
 lee without Judgment of their Own, 
 or the Afliftance of Others to Ihow 
 them what is before their Eyes. 
 
 We have endeavour’d Thus to de- 
 Icribe lome of the moft Confiderable 
 things my Son fawj Others of them 
 have not been fo Fully, and Accurate- 
 ly defcrib’d, as Sometimes not having 
 had Means, or Opportunities to do 
 it but Chiefly from pure Choice, to 
 avoid Tedioufnels , and Repetitions. 
 A great many Fine things are but juft 
 Mention’d, tho’ writing Catalogues is 
 
 not 
 
The Preface. 
 
 not to our Taftej but This we have 
 done as it helps to give an Idea of 
 what is to be feen in luch , and luch 
 Places: Thefe, after Thofe which 
 were more Largely fpoken of, were 
 what ftep’d out of the Crowd, and 
 Touch’d my Son mod: j whether by 
 a certain Degree of Goodnels, or for 
 their Rarity, or other Particularity. 
 There is in Italy fuch a Multitude of 
 Sculptures, and Paintings, that ’twould 
 be Endlels to Take, and Give an Ac- 
 count of All, even of thole that are 
 really very Good; Thofe that have 
 beenThere, and with a Tafte for thele 
 Things, will remember many they 
 have leen of which here is no Notice 
 taken. My Son took large Notes of 
 what he faw in Holland , and Flanders , 
 but little more than a Summary Ac- 
 count is given of Thefe. To have 
 done otherwile than we have done 
 would have been too great a Drudge- 
 ry for Us, and too Tirefome to our 
 Readers ; and our Book would rather 
 have been of that fort that one re- 
 
 curs 
 
The Preface. 
 
 curs to Occafionally only, than what 
 is to be read Through withPlealure. 
 
 We have referr’d to Prints as often 
 as it occurr’d to us that there were 
 fuch of the things we have mention- 
 ed but as we are Not very conver- 
 fant with Thefe, thofe that Are will 
 find that thole References are not fo 
 frequent as they might have been : 
 And if My Colle&ion is oftner men- 
 tion’d than any Other, ’tis Only be- 
 caufe we are better acquainted with 
 It than with any Other. This I hope 
 People of Good Senfe, and Candour 
 would have believ’d, whether I had 
 Thus guarded againft Reflexions on 
 This Article or not ; however I thought 
 it might be proper to do it : Oftenta- 
 tion, or fome fuch Conceal’d Mo- 
 tives, would have prompted us to have 
 found Opportunities enough to have 
 manag’d This matter very different- 
 ly from what we have done. 
 
 The terrible Circumftance that ap- 
 pear’d at Marfeilles whillt my Son 
 was abroad, and which fo juftly a- 
 
 3 1 arm’d 
 
The Preface. 
 
 larm’d all Europe , prevented his fee- 
 ing Naples , Venice , Genoa , and fome 
 Other Places well worth feeing ,• and 
 forbad his Return to Pans, to which 
 he referv’d the Sight of many fine 
 things There j and a more Particular, 
 and Exa£t Confideration of what he 
 did fee. Some Common Accidents de- 
 priv’d him of the Plealure he would 
 have had in feeing, and remarking 
 upon Some things, chiefly the Holy 
 Family of Raffaele in the Royal Col- 
 le<ftion of France. At the Efcurial , 
 and in many other parts of Europe , 
 are many Excellent Pictures which my 
 Son never intended to vifit. But tho 5 
 he had feen All he Defign’d, or even 
 All that are to be feen, the following 
 Account would have been little other 
 than it Is ; lome few Additions indeed 
 there would have been, and but Few, 
 and Thole not of the moft Excellent 
 Things in the World, (I mull except 
 that of Raffaele juft now mention’d) 
 for notwithftanding their great Eclat y 
 I don’t take the Works of Titian , 
 
 Tmtorety 
 
The Preface. 
 
 Tmtoret , and Paolo Veronefe to be of 
 That Clafs j and thofe Places my Son 
 was Prevented from feeing are Chiefly 
 remarkable for the Works ofThefe, 
 or of Inferior Hands, whole Principal 
 Characters are what are Leaf! to be 
 Defcrib’d, and the Leaf! Confidera- 
 ble in Painting, the Pencil, and Co- 
 louring : but they give no Such Ideas 
 as what we have from the Befl: Ma- 
 ilers of all the Other Schools ,- Their 
 People (Generally fpeaking) neither 
 Look, nor Ad with that Grace, and 
 Xhgnity, as thofe of Raffaele , Mich. 
 Angelo , Giulto , Correggio , Guido , &c. 
 As for Statues there are fo few befides 
 Thofe of Rome , and Florence , that I 
 believe Enough has been done as to 
 Them,- unlefs it be by Larger, and 
 more Learned Difcourfes than We can 
 make, and Such as is rather theBufi- 
 nefs of Antiquaries than Ours, 
 
 But whatever my Son Mifs’d the 
 Sight of, he Saw a great deal more 
 than we thought fit to take notice of 
 in thefe Papers, and that for another 
 
 a Reafon 
 
The Preface. 
 
 Reafon than has yet been intimated j 
 And amongft Thele Some are omit- 
 ted, which he that takes his Ideas 
 of from what he may happen to 
 Hear, or Read concerning them, will 
 expert we lliould riot only have Men- 
 tion’d , but Applauded. There are 
 great Works of This kind, as well as 
 Single Pictures ,• fuch are thofe of Va- 
 fart , the Zuccaroes , and fome others 
 the Vatican , thole of Jofepm in the 
 Capitol , &c. 
 
 The Abatements we have made 
 from the Common, receiv’d Opinion 
 with relation to Some Celebrated 
 Works may be Cenfur’d. We Expert 
 it; And yet ’twill be very Unreafon- 
 able. We have often complain’d, and 
 juftly, of the Superficial Accounts we 
 have had of thele Things ; and that 
 they are little other than Catalogues, 
 or Panegyricks ,' We pretend to give 
 a more Diltindfc Idea of them $ ’tis 
 therefore we write. If That be Al- 
 lowable, or Commendable, the Free- 
 dom we have tajcen is So too, for ’tis 
 
 aNe- 
 
The Preface. 
 
 a Necelfary Confequence of it : The 
 great Men who to the Honour of Hu- 
 mane Nature have Bequeath’d thele 
 Works of Theirs to Pofterity were 
 yet but Men, and Fallible as Such. 
 And ’tis no Preemption in Us to fay 
 they were fo, and Wherein,- efpecial- 
 ly confidering ’tis much Eafier to fay 
 what a Picture Ought to be, than to 
 make Such a one: Should Others go 
 upon Our Plan in Confidering thefe 
 Works They would do as We have 
 done,- though as all are Fallible we 
 lhould not Always Agree in our Re- 
 marks; W e lhould be Right lometimes, 
 and lometimes Miftaken ,- and lo would 
 Thole be who lhould aflign the par- 
 ticular Inftances wherein we were So. 
 
 But after all W e do not differ from 
 the General Voice, or Other Writers, 
 fo much as it may be thought at Firffc 
 Sight ; for if we were to give an Ac- 
 count at large of any of thefe things, 
 we lhould fay as Others do that ’tis 
 Fine! ’tis Admirable! Of if we would 
 raife our Style, and Italianize a little, 
 
The Preface. 
 
 we fhould call it Miraculous! Divine! 
 or any thing: There are many In- 
 fiances of this kind in the following 
 Sheets, when we have fiot thought 
 fit to defcend to particular Remarks. 
 A Picture, or Statue may be Excellent 
 in the Main, notwithflanding Some 
 Defeds. However when we do In- 
 deed differ from Others, our Reafons 
 will appear where we have thought it 
 Proper, or it has been Pradicable to 
 produce them, and then the Reader 
 may judge of Thofe where That 
 has Not been done we hope he will 
 give us Credit as we fhall be found to 
 Deferve it. 
 
 I believe my Son has taken great 
 Care as to Fads, and that there are 
 as few Miflakes of That kind as can 
 be expeded , for there are a vafl num- 
 ber of Particulars, and Thofe feen ma- 
 ny times under great Difadvantages in 
 Several ref]5eds. The Remarks have 
 been Confider’d, and Review’d with 
 the utmofl Care, but There too we 
 may be Millaken. However there are 
 
 no 
 
The Preface. 
 
 : no Wilful Mifreprefentations : And 
 what Prejudices we have are in fa- 
 vour of the Works of thole Mailers 
 we fo often mention , and whole 
 Names, and Memories are Dear to 
 Us • as much fo as to any who may 
 happen to blame the Freedom with 
 which we have given our Judgments. 
 
 Let me be permitted to add, that 
 if any One fays we have been Mifta- 
 ken, it ought to be remember’d that 
 (Cater is par thus) His Jpfe dixit is no 
 Better than Ours, tho’ he has Con- 
 fider’d the Matter as Carefully as we 
 have done, nor lo Good if he has 
 Not, 
 
 I flatter my felf that the Principal 
 Obje&ion is that which is ftill be- 
 hind, with the Anfwer to which I will 
 finilh this Preface; (I mean the prin- 
 cipal Particular Objection; for as to 
 the General one with relation to our 
 Abilities for what we have underta- 
 ken, I mull leave That Unanfwer’d.) 
 It will be faid that the Time that my 
 Son fpent Abroad was too Short. 
 
 a 3 When 
 
The Preface. 
 
 When this is faid with regard to 
 his Improving himfelf in Painting, 
 we are prepar’d with an Anfwer to 
 Itieh of our Friends as are intitled to 
 it, that is, Such as we would Conlult 
 withal, or which concern themfelves 
 in our Affairs in pure Friendfliip • 
 but I ought not to trouble the Pub- 
 lick with That. If it be thought he 
 had not time enough for the purpole 
 of the following Account : and This 
 is all a Reader (as Such) is concern- 
 ed about, I freely confefs it might 
 have been Improv’d if he had ftay’d. 
 much longer, or if we had Both gone 
 together, and fpent fome Years upon 
 it : But he ftay’d long enough to col- 
 lect the Materials for what you fee, 
 and fuch as were chiefly wanted. 
 
 Whatever more Complete Work 
 may appear in time to come the Pub- 
 lick has it not Yet: And Our having 
 led the W ay , and done more than 
 Ought to have been Expected from 
 L's (Confidering we have other Bu- 
 ftnefs in the World) is lome fort of 
 
 Meritj 
 
The Preface. 
 
 Merit, at leaft it ought not to be im- 
 puted to us as a Fault that we have 
 done no more ; though a Lover of 
 the Arts may Wilh we had. 
 
 The Time my Son fpent Abroad 
 was indeed not Long, but he made 
 the Moft of it. 
 
 He travel’d in a manner very Com- 
 modious, and Expeditious^ and ha- 
 ving an Excellent Conftitution*, Che- 
 rifh’d, and Preferv’d by Temperance, 
 he cotild endure a great deal of Fa- 
 tigue , and after that with a very lit- 
 tle Refrelhment apply himfelf to the 
 Bufinels he went upon. One Morn- 
 ing in the Month of July he was on 
 the Road by One o’Clock, Travelled 
 the whole Day in that Hot Seafon with 
 the Intermiflfion only of about two 
 Hours at Noon; he then pals’d the 
 Apennines, (a Rough, Tirelome way) 
 came to Florence about fix in the li- 
 vening, faw a Proceffion in the Ca- 
 thedral, the whole Service held about 
 three Hours ; then he went to his 
 Inn, and after a very IhortStay to the 
 
 a 4 Opera , 
 
The Preface. 
 
 Opera , (which begins there at that 
 time o’Night,) the next Morning he 
 was bufy in Seeing, and Obferving 
 what was Curious from one end of the 
 Town to the other. He enter’d Rome 
 about Noon, after having Travelled 
 all that Morning, and the whole pre- 
 ceding Night, and Day, and that in 
 the time of the Heats, confequently 
 without- Sleep, That being Fatal in 
 thofe Seafons in That Campagna j yet 
 the Same Day he vifited the Works of 
 Raffaele in the Churches of S. Agojh- 
 no, and th ePace. 
 
 Nor did he Excufe himfelf from 
 Seeing, and taking Notes of what 
 lie Saw by Difficulties, or Inconveni- 
 encies, nor even by fome Dangers ; 
 and indeed his too much expofing 
 liimlelf to the Heat of the Sun not to 
 lofe time in the firft two or three 
 Days of his being in Rome , and till 
 he had better accommodated himfelf 
 brought a Fever upon him, of which 
 however he foon happily recover’d. 
 Thus heHufbanded his Time; But 
 
 ’tis 
 
The Preface. 
 
 ‘tis not That Only that a Man lpends 
 in Doing any Work, All that it colt 
 him in Preparing himfelf for it ought 
 to be brought into the Account: Ciro 
 Ferrhv as reproach’d as demanding an 
 Exorbitant Price for a Picture, done 
 as they faid in three Days ; You Mi- 
 flake (fays he) I was Fifty Years about it . 
 
 Whoever would Travel with Ad- 
 vantage ought to have the Languages, 
 a competent Stock of Learning, and 
 other Gentleman -like Accomplilh- 
 ments. Civility, Good Nature, Pru- 
 dence, and a Becoming, and Inlinua- 
 ting Manner, to which Perlonal A- 
 greeablenels does not a little contri- 
 bute: And before he lets out he ought 
 to know as much of what he goes 
 Chiefly to Oblerve upon, as can be 
 learn’d at home: Add to all this a 
 hearty Love for that particular Stu- 
 dy; and proper Recommendations. 
 Thus he will not only Judge Better, 
 and more Readily of what he lees, 
 but get eafier Admilfion, and have 
 greater Opportunities of feeing. 
 
 If 
 
The Preface. 
 
 If I fhould fay my Son wasThus Pre-> 
 pared I might be fufpe&ed of Partial 
 lity, and Vanity, by Thofe efpecial- 
 Jy that know him leaft : And I feel 
 my le If fo much a Father, and a 
 Friend, that 1 fnould think it rea- 
 fonable to fufpedt my Self if I did not 
 know that he had from his In- 
 fancy, ‘till he fet out fpent his time 
 in fuch a manner as if he thought 
 Thefe Voyages were to be the great 
 Bufinefs of his Life, and that he was 
 fitting himfelf for them $ And if I was 
 not confirm’d in my Opinion of him 
 by the many Favours, and Advantages 
 he had, and the continued Teftimo- 
 nies of Efteem he is (till honour’d 
 with by the moft Illuftrious CoMnotf- 
 feun Abroad, and indeed from All 
 that know him. 
 
 But Whatever my Son’s Diligence, 
 and Qualifications Were, ’tis Certain 
 that in proportion as They are Allow’d 
 to have been what I Affert, or Intimate, 
 the Force of the prefent Objection 
 will be Piminifh’d. Moralifts fay, and 
 
The Preface, 
 
 with great Realon, a Man may dye 
 Young at Foudcore, and Old at For- 
 ty, according as he manages his Time : 
 He may have been Long in Italy who 
 Ipends but a few Months there ; or 
 come home too Soon, after having 
 Liv’d there half an Age. 
 
 ROTTER - 
 
ROTTERDAM. 
 
 M Onfieur FlinckV Colleflion Pag. f 
 
 Monf. Miers, Motif. Van Befool, ,/WW. Seheppeiis, 
 Mod. Van Bellen Lady of Wadinknfeen, Motif. Van 
 Eiinet, t?V. i 
 
 LEIDEN. 
 
 Monf. La Cour j 
 
 // /# G U E. 
 
 Maifoo dn Bois, 
 
 AMSTERDAM. 
 
 Mynheer Vander Schelling ibid. 
 
 Mo»f Am ary . n,id. 
 
 Monf. Tiukatre « 
 
 Van Zomcr ^id 
 
 A N TWER P. 
 
 Monf, Bfedau .the Chanojne de Lycht, the Chev Pee- 
 lers, Monf De Wit, Sign Ferrari, Monf. DeVos, 
 Chamber of tkt Colveniers , and Church of the Be- 
 gaues, Isle. - 
 
 BRUSSEL S. 
 
 Mo»f Fejragcaa, Vet wort, Colart, L.eroons, Franla -• 
 E 4 R is. 
 
 ''The Louvre 
 ?’ rench Acadetwy. 
 
 Ahr/f. Chati£aa,re$ 
 
 JSladj'. Crofcat 
 ihf King's Piftityes vx 
 The King's Drawings, 
 
 The Regent s pii^utes 
 Qd&Ky of Luxt’rn^oorgh 
 
 Famainbleau. 
 
 6 
 
 . .9 
 ibid, 
 ibid. 
 *5 
 
 ibid . 
 
 M i L A N. 
 
MILA n. 
 
 The Monafiry of Dominicans 
 
 
 Ambrofian Library 
 
 , 
 
 ibid. 
 
 Pictures belonging to the Academy 
 
 . ?? 
 
 Drawings 
 
 ibid. 
 
 MODENA, 
 
 The Church of St. Margaret of the Cordeliers 
 
 
 PIACENZA* 
 
 The Church of the Benedi&ines 
 
 29 
 
 PARMA, 
 
 The Dome 
 
 ibid. 
 
 See 530 
 
 BOLOGNA . 
 
 Palazzo Bonfiglioli 
 
 
 The Church of St. Giovanni del Monte 
 
 33 
 
 Academy del Difegno 
 
 . 3S 
 
 Palazzo Magnani 
 
 ibid. 
 
 San Pieri 
 
 ibid. 
 
 Chioftro di San Michel' in Bofco 
 
 36 
 
 The Church 
 
 .38 
 
 Certofa 
 
 ibid . 
 
 A Private Chapel 
 
 ibid « 
 
 infirmary 
 
 3 ? 
 
 S. Giorgio 
 
 ibid. 
 
 The Gapuchins 
 
 4 1 
 
 FLORENCE. 
 
 The Dome 
 
 4 * 
 
 The Baptifiery 
 
 43 
 
 The Great Duke's Gallery 
 
 44 and yo 
 
 A Little Room 
 
 48 
 
 Clofet of Madama 
 
 4.9 
 
 Another Room 
 
 ibid 
 
 ATard 
 
 S3 
 
 The Tribunal 
 
 ss 
 
 The Gallery of the Painters 
 
 60 
 
 Camera di Madama 
 
 ibid , 
 
 A Pajfage out of the Gallery 
 
 6i 
 
 Apartment of the Old Pitturts 
 
 61 
 
 6 
 
 Next 
 
Next Room 
 
 ibidi 
 
 The Great Duke's Drawings 
 
 
 Palazzo de Pitti 
 
 66 
 
 The Garden of Boboli 
 
 . IS 
 
 A Cabinet 
 
 ibtd. 
 
 March. CorfinoV Palace 
 
 .76 
 
 Chapel of the Medici in St, Lorenzo 
 
 ibid. 
 
 Church of Santa Croce 
 
 ibid. 
 
 Church of the Nunciata 
 
 77 
 
 Cortile 
 
 79 
 
 Poggio a Caiano 
 
 80 
 
 The Scalzi 
 
 ROME. 
 
 ** 
 
 St. Agoflino 
 
 98 
 
 Madonna della Pace 
 
 *03 
 
 Piazza Navona 
 
 107 
 
 St. Agnes in Piazza Navona 
 
 108 
 
 The Capitol 
 
 109 
 
 The Lurgara, or Little Farnefc 
 
 117 
 
 Villa Medicis 
 
 124 
 
 The Palace Farnefe 
 
 129 
 
 Monaftry of Carthufians 
 
 ifi 
 
 Pal . Giuftiniani 
 
 IS3 
 
 Pal Picchini 
 
 15-6 
 
 Barberino del Principe di Paleftrina 
 
 ibid. 
 
 Del Duca di Bracciano, which was that of Don Livio 
 
 Odefcalchi 
 
 1 6$ 
 
 Church of St. Marco d«* Veneziani 
 
 17 s 
 
 St. John Lateran 
 
 ibid 
 
 Baptifiery of Conftantine 
 
 176 
 
 Scala Santa 
 
 ibid , 
 
 Church of Santa Croce in Gerufalemme 
 
 ibid. 
 
 ColleHion of Marc Antonio Sabbatini 
 
 I 77 
 
 The Church in Nome di Maria 
 
 ibid. 
 
 Villa Mattel* 
 
 ibid. 
 
 Pal. Mattei 
 
 180 
 
 Borghefe 
 
 i 8 r 
 
 del Cav. del Pozzo 
 
 iS s 
 
 Savelli 
 
 189 
 
 Colonna 
 
 ibid. 
 
 Church of St. Carlo Catinari 
 
 Ibid. 
 
 St. Gregorio 
 
 190 
 
 Palace Spada 
 
 ibid . 
 
 Mafchera d’Oro, and Hottfe of Belloni 
 
 * 9 * 
 
 Villa Palombara 
 
 192 
 
 Palace 
 
Palate Ottobotu ibi'S* 
 
 St. Marino ibid. 
 
 Church of St. Paolo decollate ibid. 
 
 The Foruni Nervas ibid. 
 
 The Vatican i '93 
 
 The Open Gallery % 6 i 
 
 The Velvet Chamber 2 6 % 
 
 Another Chamber ibrd. 
 
 The Library 264 
 
 Capella Siftina 266 
 
 Paolina 274 
 
 Garden of the Belvedere iff 
 
 Apartments of Innocent VIII. 281 
 
 Palace of the Ambaffador of Engl aft d ibid. 
 
 Ghiefa di Sapienza iSi 
 
 Palace Chigi ibid. 
 
 Palace Marchefe Gafferelli ^84 
 
 Villa of Cav. CafTali in Monte Ccelid ibid. 
 
 Church of Trinita di Monte iSy 
 
 Church of St. Lorenzo without the IValts 287 
 
 OvidV Tomb 288 
 
 Drawings of Cav. Benedetto Lutti ibid-. 
 
 Temple of Sibylla Tiburtina at Tivoli 2£o 
 
 Grotta Ferrata ibid. 
 
 Gaprarola 291 
 
 St. Peters 293 
 
 Sty Pietro in Vincoli 295- 
 
 Villa Borghefe 296 
 
 Church of St. Romualdo 29$ 
 
 Palazzo Pamfilia 199 
 
 Lodouifio 300 
 
 Palavictnt 301 
 
 Chiefa de’ Capuccinf 302 
 
 Church of St. Mam Traiftevere 303 
 
 Villa Aldobrandina of the Pr. Pamfilia 30$* 
 
 Church of Madonna del Popolo 30 6 
 
 St* Kidore the Irifh Church 307 
 
 Monte Cavallo, or Monte Palatine ibid. 
 
 The Thermes of Titus 309 
 
 The Trajan Pillar 31O 
 
 The Antonine 31 1 
 
 The Church of St. Pietro in Montorfo 313 
 
 Vigna Rofpigliofi 3 16 
 
 Church of St. Andrea della Valle 319 
 
 * S. Gregorio in Monte Ceelio 320 
 
 Palazzo 
 
Palazzo dell’ Academia 
 Pifa 
 
 Sienna < 
 
 LUCCA. 
 
 Church of S. Giovanni 
 
 S. Maria Corto Landini 
 S. Romano of the Dominicans 
 
 PARMA continued . 
 
 Church of S. Giovanni 
 
 Sant’ Antonio Abbate 
 Gallery of the Duke 
 The Cabinet 
 Gallery continued 
 
 Church of the Madonna della Steccata 
 Palace of the Duke 
 
 MODENA continued . 
 Palazzo Ducale 
 
 MANTUA. 
 
 Palace of T 
 
 VERONA. 
 
 Church of S. George. 
 
 The Theatre 
 
 DUSSELDORP. 
 
 3 ** 
 
 31 l 
 
 3 ^ 
 
 3 2 9 
 ibid, 
 ibid . 
 
 330 
 
 331 
 ibid. 
 
 333 
 
 334 
 336 
 
 ibid. 
 
 33? 
 
 34<5 
 
 349 
 
 3TO 
 
 3Jt 
 
\ 
 
 oga^ooa^^ 0O0QO6e©eto^GOeoO9 
 
 Agoft. Caracci. 
 
 J ~T~'A / 0 Heads , a Drawing 
 JL Cupid and Satyr 
 
 30 
 
 3 1 
 
 Communion of ^.Jerome 
 
 38 
 
 Gallery Farnefe 
 
 143 
 
 Aleffio Bdldouinetti. 
 
 Frefco 
 
 79 
 
 Alb. Durer. 
 
 A Drawing 
 
 28 
 
 Albani. 
 
 God the Father fupporting a 
 
 Dead 
 
 Chrift 
 
 $ 
 
 /oar Seafons 
 
 8 
 
 Venus fitting, and Cupids 
 
 9 
 
 Lot £0 Daughters 
 
 14 
 
 The Virgin IT 'aping Clothes 
 
 20 
 
 A Play of Boys 
 
 35 - 
 
 Refurred ion 
 
 . 39 
 
 Baptifm of Chrift 
 
 ibid. 
 
 Andrea del Sarto. 
 
 A Toung Man , Portrait 
 
 6 
 
 Holy Family round 
 
 7 
 
 Holy Family 
 
 9 
 
 el Head , Dr. 
 
 18 
 
 Two Figures, Dr. 
 <i Canon of Pifa 
 
 26 
 
 27 
 
 His Own Pidure 
 
 60 
 
 jofeph receiving a Golden Chain 
 from Pharaoh 68 
 
 St. Laurence, St. Dominick, &c. 
 
 ibid. 
 
 Madonna in the Clouds 70 
 
 Two Madonna’/ ibid. 
 
 Virgin, Chrift, and St. John 74 
 
 Hijlory of Jofeph ibid. 
 
 Annunciation ibid. 
 
 Madonna del Sacco 77 
 
 Frefco 79 
 
 The Magi 80 
 
 In the Scalfci 82, 
 
 A Saint led to Martyrdom , 182. 
 
 Salutation 1 9° 
 
 Jofeph in the Salutation 
 Hope, > Dr. 289 
 
 Fig. in the Baptifm , j 
 
 a after Raffaele, Leo X. 332 
 Family 337 
 
 Andr. Sacchi. 
 
 Prudentia Divina 14 and 15*8 
 St. Romualdo 156.298 
 
 Allions of Corsftantine 176 
 
 Cupola of Correggio, Dr. 165* 
 
 Mantegna . 
 
 Bark of Giotto, Dr. 2 6 
 
 Capital Picture 27 
 
 The Adoration of the Magi 62 
 ^ Chapel 281 
 
 Andr. del Cajlagno. 
 
 Two Figures 76 
 
 Andr. Orgagna. 
 
 Dante’/ Pidure 43 
 
 Andr. Sanfovino . 
 
 Anne 102 
 
 Madonna 
 
 Andr. Pifano . 
 
 Brafs Gates 43 
 
 b Annibale , 
 
I 
 
 Annibale Caracci. 
 
 A Repofe ' S 
 
 Angel iVorfhipping a Dead Chrift 6 
 A Portrait 9 
 
 7 wo Lands kips ibid . 
 
 The Silence I’6 
 
 The Bacchanaleo/Farnefe, Dr. 19 
 Bacchus on an Elephant , Dr. ibid. 
 
 ibid, 
 ibid. 
 20 
 21 
 
 vtf Painters Head , Dr, 
 Virgin Sewing 
 Diana Nymphs 
 Lands kip 
 Drawing 
 Holy Family 
 Madonna 
 
 Caricatura 1 
 
 Two or three Academy 
 Figures 
 Eight Heads 
 Five others 
 Land skip 
 Slaughter of the Innocents' 
 Triumph 0/ Bacchus 
 Peter’/ Denying Chrift 
 Circumcijion 
 Two Heads 
 Portraits 
 A Frize 
 A Dead Chrift 
 Ecce Homo 
 
 Madonna, St. John, &c. 
 Baptifm of Chrift, &c. 
 Two Madonna’/ 
 
 Dead Chrift, and Dr. 
 Madonna 
 Gallery Farnefe 
 Dead Chrift 
 A Cabinet 
 Angel with the Nail 
 Polyphemus and Galatea 
 Venus and Cupid 
 St. Gregory at Prayers 
 
 3 * 
 
 Dr. ib. 
 
 Dr. 32 
 
 33 
 . 3 ? 
 ibid. 
 
 . 39 
 
 ibid . 
 ibid. 
 
 74 
 
 81 
 
 ibid . 
 
 ns 
 
 HS 
 
 149 
 
 163 
 
 ibid. 
 
 168 
 
 190 
 
 A Pieta 33 * 
 
 Bacchus 333 
 
 Dead Chrift 334 
 
 Copy of the Cupola of Correggio, 
 &c. 336 
 
 St. Roch. 343 
 
 Annibale Fontana. 
 
 Figure in a Vineyard , Dr. 24 
 
 Baccio Ban dine Hi. 
 
 Three Fig. Dr. 24 
 
 Three Graces , Dr. 26 
 
 Polyphemus, Dr. 31 
 
 God with the Dead Chrift 43 
 
 Adam and Eve ibid 
 
 The Lao coon yo 
 
 Woman and Child, Dr. 63 
 
 Baldaffar Peruzzi. 
 
 Virgin going to the Temple 107 
 
 A Cupola ibid . 
 
 Barocci. 
 
 Salutation of SS. Mary and Elifc. 9 
 A Lady , Portrait 14 
 
 A Figure , Dr. 25* 
 
 Virgin Adoring Chrift 27 
 
 Two o/Crayons 28 
 
 AEneas and Anchifes 168 
 
 Another 182 
 
 Fra. Bartolomeo. 
 
 Monk’/ Head, Dr. 2 6 
 
 About 100 Drawings 65* 
 
 Afcenfion 70 
 
 ^SY. Mark /&W. 
 
 Madonna, *&. Seb. ibid. 
 
 Madonna 329 
 
 Madonna de Miferecordia ibid. 
 
 Bafano. 
 
 Two or three Sketches , Dr. 
 
 64 
 
 Fr. 
 
Fr. B afliano del Pi oral o. 
 
 Ritratto, Dr. 26 
 
 Altar-piece 307 
 
 Scourging our Lord 31 y 
 
 Batt. Franco. 
 
 A Frize after Polydore, Dr. 2? 
 Ditro 26 
 
 Valeria, &c. Dr. 32 
 
 Battijla Naldini . 
 
 A Tomb 77 
 
 Battijla Lorenzo. 
 
 A Figure , &C. ibid. 
 
 Begarelli. 
 
 Figures in T erra Cotta. 29 
 
 Benozzo Gozzoli. 
 
 Difpute of the DoSlors , See. 327 
 
 Bernini . 
 
 His Mijlrefs f4 
 
 The Fountain 1 07 
 
 Daphne Apollo I34v 2 97 
 His own Son 1 yy 
 
 Adonis 1 64 
 
 Q. Chriftina, B . 167 
 
 Monument of Urban VIIL 294 
 
 of Alexander VII. 295* 
 
 David 297 
 
 Aeneas carrying Anchifes ibid. 
 
 Statues 307 
 
 Benard. Pocchietti. 
 
 Several Works 78 
 
 Bern. Campi. 
 
 St. John in the IVildernefs^Dr . 16 
 
 Biaggio Bolognefe. 
 Cizcumcifion y fir. 25 
 
 Borgognone. 
 
 Several PiSlures 
 
 68 
 
 More 
 
 282 
 
 Le Brun . 
 
 A Man's Portrait 
 
 14 
 
 Breughel . 
 
 Six Pictures 
 
 27 
 
 Brandi. 
 
 Beata Rita 
 
 103 
 
 Cav. del C air o s 
 
 Prodigal Son 
 
 2 7 
 
 Callot . 
 
 Judas Hanging , Dr , 
 
 t8 
 
 LandskipSy Dr. 
 
 ibid. 
 
 Cangiajfi. 
 
 Mars, Venus, and Cupid 
 
 2r 
 
 Campagnolo. 
 
 Two Landskips , Dr. 
 
 9 
 
 Drawings 
 
 18 
 
 Carlo Cignanis 
 
 Boys with Cartels 
 
 38 
 
 A Praefepe. 
 
 39 
 
 Carlo Marat ti. 
 
 A Nymph purfued , whom Diana 
 
 covers with a Cloud 
 
 6 
 
 St. John 
 
 8 
 
 Salutation 
 
 
 Twelve Apojlles 
 
 464 
 
 Cupids 
 
 ibid. 
 
 A Bacchanale 
 
 168 
 
 Adoration of the Magi 
 
 * 7 S 
 
 A Carton 
 
 263 
 
 Death-Bed of St. Jofeph 
 
 307 
 
 Carolus AlbertuSt 
 
 A Canon 
 
 329 
 
/ 
 
 Ctro Fern. 
 
 A Cupola 108 
 
 St. Ivone 2,82 
 
 Claud. Lorenefe. 
 
 Landskips 189, 282, 30 1 
 
 Correggio. 
 
 Afcenfion, Dr. 
 
 . .4 
 
 A Head 
 
 ibid. 
 
 St. John Baptift, Dr. 
 
 s 
 
 Nymph , Satyr , Cupids 
 The Scnfual Man 
 
 6 
 
 if 
 
 Heroick Virtue 
 
 ibid . 
 
 A Figure 
 
 18 
 
 A Madonna , Pope , and Bijhop , Dr. 
 
 ibid. 
 
 Madonna 
 
 20 
 
 Marriage of SS. Jofeph 
 
 and Mary, 
 
 Dr. 
 
 
 Chrift in the Manger, Dr. 2 6 
 
 Figures in Terra Gotta 28 
 
 Dome of Parma 29 
 
 MadonnaLattante, Dr. 31 
 
 St. John, Dr. ibid. 
 
 A Ripofo, Dr. 33 
 
 Madonna ytt 
 
 Four Doctors of the Church 64 
 
 Madonna in the Clouds ibid. 
 
 Figure with the Head of St. John 
 
 ibid. 
 
 Ten Drawings ibid. 
 
 A Young Man's Head Crayons 8 r 
 Heads 
 
 Madonna and St. Jofeph 
 Noli me tangere 
 Magdalene 
 Boys 
 
 Io 
 
 Danae ibid. 
 
 Mercury teaching Cupid to read 
 
 -v.- ibid. 
 
 Red a ibid. 
 
 Cupid jh.iving his Bow ibid , 
 
 Two Ritrattoes of Cxfar Borgia 
 
 172 
 
 The Muletier 
 
 173 
 
 \jft. Cecilia 
 
 182 
 
 Old Man's Head 
 
 184 
 
 Cupola of the Ch. of St. John 
 
 330 
 
 Madonna and Saints 
 
 ibid. 
 
 Marriage of St. Katharine 
 
 334 
 
 Madonna 
 
 ibid. 
 
 Zingana 
 
 ibid. 
 
 Notte 
 
 338 
 
 Madonna and St. George 
 
 34 * 
 
 Madonna, Bijhop , &c. 
 
 343 
 
 Madonna and Saints 
 
 ibid. 
 
 Magdalene 
 
 34 ? 
 
 Chrijlofero Scult. 
 
 Two Heads 
 
 
 A Head 
 
 . 
 
 ibid. 
 
 Dan. da Volt err a. 
 
 Young Hercules, Model 
 
 IO 
 
 Finding the Crofs 
 
 98 
 
 Defcent from the Crofs 
 
 286 
 
 D. Diego Velafques. 
 
 Innocent XI. 
 
 299 
 
 Domini chino. 
 
 David playing on his Harp 
 
 6 , 
 
 Four Muficians 
 
 ibid. 
 
 St. Cecilia 
 
 7 
 
 TEneas carrying Anchifes 
 
 8 
 
 St. Francis at Prayers 
 
 19 
 
 The R of ary 
 
 3 ? 
 
 In the Gallery Farnefe 
 
 M 3 
 
 Jerome 
 
 iy6 
 
 A Carton 
 
 263 
 
 Mezzo Cupola 
 
 3 19 
 
 St. Nilo, &c. 
 
 290 
 
 Cardinal Lodouifio, &c. 
 
 300 
 
 St. Jerome Dying 
 
 3°3 
 
 AJJumption 
 
 ibid. 
 
 Scourging St, Andrew 
 
 320 
 
 Domtnico 
 
 I 5’4 
 
 T 73 
 ibid, 
 ibid. 
 1 59 
 
Domini co Grill an daio. 
 
 Circumcifion 
 
 49 
 
 Virgin Kneeling 
 
 62 
 
 Donatello. 
 
 
 St. John, St at. 
 The Nunciata 
 
 62 
 
 76 
 
 Doff'o da Ferrara. 
 
 
 St. George 
 
 344 
 
 Elif. Sirani. 
 
 
 Baptifm in Jordan 
 
 3S 
 
 Ere ole Fcrrata. 
 
 
 Fig. Marb. 
 
 ICO 
 
 II Fat tore. 
 
 
 Motes breaking the Tables , Dr. 1 7 
 
 Two Figures , Dr. 
 
 ibid. 
 
 Fede Galicia. 
 
 
 A Portrait 
 
 27 
 
 Fiamingo. 
 
 
 T orfo of the Belvedere 
 
 IO 
 
 Mercury 
 
 1 ss 
 
 Filippo Lippi. 
 
 
 Adoration of the Magi 
 
 49 
 
 Flaminio Vacca. 
 
 
 A Lyon 
 
 127 
 
 Francia Bigio. 
 
 
 Frefco in the Scalzi 
 
 79 
 
 Fed. Zuccaro. 
 
 The Cupola of the Dome of Flo- 
 rence 42 
 
 Several Works at the Caprarola 
 291. See Taddeo 
 
 Gafpar Poujfin. 
 
 Land skips 189 
 
 More 
 
 301 
 
 Ceffi. 
 
 Refurred ion 
 
 39 
 
 Giacomo Pontormo. 
 
 The Deluge 
 
 76 
 
 Frefco 
 
 19 
 
 Giorgione. 
 
 Four Figures 
 
 8 
 
 A R tratto 
 
 10 
 
 Duke of Orleans 
 
 20 
 
 Muficians 
 
 2-7 
 
 FI is Pi dure 
 
 60 
 
 Martin Luther 
 
 73 
 
 Soldiers and Toung Man 
 
 299 
 
 Ritrattoes 
 
 345* 
 
 Giorgio Vafari. 
 
 In the Cupola of the Dome of Flo- 
 
 rence 
 
 42 
 
 Giuliano de Medici Duke o/Ne- 
 
 mours, Portrait 
 
 62 
 
 Chrift bearing the Crofs 
 
 76 
 
 Appearing to the Apoftles 
 
 77 
 
 Giottino. 
 
 Drawings 
 
 64 
 
 Giotto. 
 
 The Bark 
 
 293 
 
 Gio. Bolog. della Marca, 
 A Drawing 
 
 A Drawing 64 
 
 Gio. Andrea Sirani. 
 
 Lafl Supper 38 
 
 Gio. Battifla Bertano. 
 
 Story of Alexander 123 
 
 Gio. Batufta del Cane. 
 
 A Drawing 28 
 
 Beato Gio. da Fiefole. 
 
 Marriage of St. Jof. andlS/luxy 62 
 Virgin Dead ibid. 
 
 o 
 
Gio Battifla de Monte . 
 
 veral Miniatures 59 
 
 In other 6 1 
 
 Gio. Bellini. 
 
 St. John 9 
 
 Gio. da Udine. 
 
 Grotefques 263 
 
 Girol. da Carpi. 
 
 Several Figures o/Mich. Angelo , 
 Dr. 24 
 
 Girol. da Sermoneta . 
 Nativity N 1 07 
 
 D. Giulio Clovio. 
 
 The Pieta of Mich. Angelo 
 
 A Holy Family 
 
 Two Crucifixes 
 
 Ornaments 
 
 Rape of Ganymede 
 
 A B 00k of Miniatures 
 
 Miniatures 
 
 More 
 
 Two or three Mifjats 
 A Mififial 
 A Miniature 
 
 60 
 ibid. 
 
 61 
 64 
 7 f 
 
 177 
 
 2 66 
 ibid. 
 
 354 
 
 Giulio Romano. 
 
 Horatii and Curiatii, Dr. ^ 
 A Bacchanale, Dr. ibid 
 
 Cupid and Pfyche, Dr. ibid. 
 Apollo, &c. Dr. I2 
 
 Turnus ^WiEneas. &c. Dr ib. 
 Fame Crowning a Conqueror , Dr. 
 
 The Magi, Dr. 
 
 Apollo and Marfyas, Dr. 
 A iVomatt afileep , Dr. 
 Pfyche and the Eagle, Dr 
 A Battel, Dr. 
 
 Continence of Scipio, Dr. 
 
 ibid . 
 ibid. 
 
 1 3 
 I§ 
 
 aj* 
 
 2 6 
 ibid. 
 
 Another , Dr. ibid. 
 
 Several Boys , Dr. 
 
 7 Angels, Dr. ibid. 
 
 A Fcaft, Dr. 27 
 
 Five Figures, &C. Dr. 31 
 
 His Portrait 60 
 
 Raft'aele’j Mifircfis 1 
 
 Fitse Cartons , Amours of Jupi- 
 ter 167 
 
 Frizes 281 
 
 Virtue Jhewing the Temple of Fame 
 
 337 
 
 Fall of Phaeton, /V the Pa- 
 lace of T. 317 
 
 Guercino. 
 
 The four Ages of Man 6 
 
 St. Jerome and the Angel \ 6 
 
 St. Bruno, &c. 
 
 St. Gttgiielmo 39 
 
 St. Auguftine 99 
 
 Death of Dido 190 
 
 St. Petronella 294 
 
 Fleaying Bartholomew 192 
 
 Guglielmo della Porta. 
 
 Repairing of Statues 
 St at. a Virtue 
 Plenty and Charity 
 
 Guido. 
 
 St. Peter at Prayers 
 St. Peter 
 Fortune 
 Painting 
 
 Toting Man , Port. Dr. 
 
 Magdalene in Extafy 
 Beheading St. Johh 
 A Drawing 
 
 Madonna, Dr. ^ 
 
 Madonna and two Angels , Dr. ib. 
 
 St. Benedict in the Defart 36 
 
 Crucifix 4 , 
 
 Boys m Gua22o 1 j-g 
 
 St. Andr.Corfino ibid. 
 
 Magdalene 
 
 130 
 
 1 33 
 146 
 
 1 
 
 4 
 
 6 
 
 ibid. 
 
 12 , 
 
 13 
 
 2r 
 
 30 
 
Magdalene 
 
 16? 
 
 St. Bonaventure 
 
 168 
 
 Cardinal Spada 
 St. Peter’j Crucifixion 
 
 190 
 
 192 
 
 Dead Chrift, &c. 
 
 30 1 
 
 Michael 
 
 302 
 
 Aurora 
 
 316 
 
 ^.Andrew going to Martyrdom 320 
 
 AJjumption 
 
 3 2 9 
 
 Madonna, &c. 
 
 Lanfranco. 
 
 ibid. 
 
 Difciples looking into the Sepulchre, 
 
 I0 3 
 
 Annunciation 189 
 
 C h r i ft walking on the Water 2 94 
 Cupola of St. Andr. della Valle 
 
 319 
 
 Lavinia Fontana. 
 
 Her Portrait 80 
 
 Another Portrait ibid. 
 
 he Brun. 
 
 A Portrait 14 
 
 Lionardo da Vinci . 
 
 Madonna 7 
 
 A Saint and two Angels ibid. 
 
 Madonna 9 
 
 The Jocunda 16 
 
 La belle Marefchalle ibid. 
 
 Laft Supper 23 
 
 Book of Me chanicks ibid. 
 
 Another of Caricatures 24 
 
 A Ritratto, Dr. 25* 
 
 A Woman's Head, Dr. ibid. 
 
 More Heads, Dr. ibid. 
 
 Another , Dr. 2 6 
 
 Duchefs 0/ Milan 27 
 
 Adoration of the Magi 49 
 
 Another 63 
 
 A Woman's Head, Dr. 64 
 
 Draperi&s ibid. 
 
 St. Mary Magdalene 74 
 
 Converfation 163 
 
 Led a 184 
 
 Jocunda 189 
 
 ArtusV Head, Dr. 289 
 
 Lodouico Caracci. 
 
 Holy Family and St. Kath. 20 
 Madonna and St. Kath. Dr. 32 
 Nativity of St. John, Dr. ibid. 
 Virgin carry' d to the Sepulchre 3 3 
 Another ibid. 
 
 Lafcivious Women 37 
 
 Chrift crown'd withThorns 38 
 Preaching of St. John ibid . 
 
 Annunciation 39 
 
 St. George, and St. Michael ibid. 
 Affumption 343 
 
 Madonna and Saints 344 
 
 Lodouico Cigoli. 
 
 A Crucifix 176 
 
 Lorenzo Ghiberti. 
 
 Brazen Gates 43 
 
 A Pedejlal 46 
 
 Lorenzetto. 
 
 Two Statues 307 
 
 Lovino. 
 
 Three Boys, Dr. 24 
 
 A Head, ' Dr. ibid. 
 
 Several Pictures 27 
 
 Luca d' Olanda, or Van Leyden. 
 Several Drawings upon Glafs 28 
 
 Luca della Robbia. 
 
 A Frize 8 1 
 
 Luca Salt ore Hi. 
 
 Martyrdom of St. Peter 154. 
 
 St. Luke. 
 
 A Madonna 1 77 
 
 b 4 Marcello 
 
Marcello Mantovano. 
 Annunciation 
 
 Mar cell ini. 
 
 Bujl of Galileo Galilei 
 
 Maffari. 
 
 In St. Michel /wBofco 
 
 Marcello Venufii. 
 
 Copy after RafTaele 
 
 Me cart no. 
 
 Pavement 
 
 Melchior e Caff a Maltefe. 
 
 St. Thomas of Villa Nova, Mar- 
 ble ICO 
 
 St. Euftachms 109 
 
 Melozzo da Forli. 
 
 God Angels , &c. 263 
 
 Mich. Angelo. 
 
 Mofes, a Model to 
 
 Dead Chrift, a Model ibid. 
 
 A Head, Dr. 1 8 
 
 A Sketch , Dr. ibid . 
 
 Two Figures , Dr. 24 
 
 A Figure , Dr. 2 f 
 
 Woman's Head , Dr. 3 1 
 
 Bacchus, St at. 4f 
 
 A Woman, St at. 50 
 
 A Statue ibid. 
 
 Brutus, a Bujl 53 
 
 A Head , Marble. 54 
 
 Madonna j8 
 
 Portrait of a Lady 62 
 
 A Figure fitting 64 
 
 Mo del for the Torfo 
 Figures over Arches 76 
 
 Launus’r Charcoal 124 
 
 /XW Chrift, Marble 15-4 
 
 Annunciation 1 75 
 
 Crucifix 176 
 
 Crucifix 
 
 183 
 
 Prophets and Sibyls 
 
 267 
 
 s O 
 
 judgment 
 
 268 
 
 Converfion of St. Paul 
 
 2 74 
 
 Martyrdom of St. Peter 
 
 ibid . 
 
 Mofes, St at. 
 
 2 9 f • 
 
 Mich. A Kg. Caravaggio. 
 
 
 Gamefters 
 
 16s 
 
 Mola. 
 
 
 Rachel and Laban 
 
 14 
 
 Preaching of 67 . John 
 
 19 
 
 ] Vicolo dell ’ Abb ate. 
 
 
 Ornam. Women, Dr. 
 
 3 2 
 
 Palma Vecchio. 
 
 
 Shepherds Worjhipping 
 
 1 
 
 Old Woman telling Young Id' omen 
 
 their Fortune 
 
 7 
 
 Holy Family, &c. 
 
 T 4 
 
 Parmeggiano. 
 
 
 Portrait 
 
 i 
 
 Beheading of St. John 
 
 ibid. 
 
 The Marriage of St. Jofeph and 
 
 Mary, Dr. 
 
 2 
 
 A Madonna 
 
 s 
 
 A Saint in White 
 
 10 
 
 Romulus and Remus, Dr 
 
 12 
 
 The Marriage of St. K!hrh. 
 
 l6 
 
 A bigure, Dr. 
 
 l8 
 
 Another, Dr. 
 
 ibid. 
 
 Two others , Dr. 
 
 ibid. 
 
 A Sketch, Dr. 
 
 ibid. 
 
 A Woman, Dr. 
 
 2 4 
 
 A Figure, Dr. 
 
 26 
 
 Unknown Story , Dr. 
 
 ibid. 
 
 A Drawing 
 
 ibid. 
 
 Figures in the Dome of Parma 3 0 
 Madonna, Dr. 31 
 
 School of Athens, Dr. ' 32 
 
 A Figure , Dr. 33 
 
 Rape of the Sabins ibid. 
 
 Chriil on a Throne , Dr. 64 
 
 176 
 
 61 
 
 36, 37 
 9 S 
 328 
 
St. John 
 
 9 S 
 
 Saint Beheading 
 
 3 °° 
 
 Madonna, &c. 
 
 33 1 
 
 Lucretia 
 
 •334 
 
 Four Half Cupola's 
 
 336 
 
 Paolo Veronefe. 
 
 Belftiazznr 's Feaft, Dr. 
 
 2 
 
 Finding Mofes 
 
 8 
 
 A Crucifix 
 
 9 
 
 Dead Chrift and Angels 
 
 10 
 
 Rina! do ^WArmida, a Model ib. 
 
 Three Figures , Dr. 
 
 2,7 
 
 Twelve Hi (lories 
 
 174 
 
 Martyrdom of St. George 
 
 349 
 
 Baptifm of Chrift 
 
 3 SO 
 
 Barnabas 
 
 ibid. 
 
 Paolo Farinati. 
 
 Feeding the yooo 
 
 3 SO 
 
 Paul Brill. 
 
 Lands kips 
 
 3 01 
 
 Pelegrino da Modena. 
 
 Virgin , Chrift, and St. John 
 
 7 
 
 Pope giving his Bleffmg , Dr. 
 
 
 Play of Boys and Goat , Dr. 
 
 ibid. 
 
 Pel. Ttbaldi. 
 
 Two Rooms 
 
 3 $ 
 
 Nativity and Shepherds 
 
 181 
 
 Perino. 
 
 A Figure , Dr. 
 
 24 
 
 Frizes 
 
 281 
 
 Pietro CavalUni. 
 
 Miraculous Annunciation 
 
 78 
 
 Pietro da Cortona. 
 
 Ceilings 
 
 67 
 
 A Ceiling 
 
 1^8 
 
 St. Ivone 
 
 282 
 
 v • , . 
 
 Pietro Luc ate Hi. 
 
 Beata Rita 103 
 
 Pietro Paolo Olivieri. 
 
 Amicitia 
 
 180 
 
 Venus 
 
 ibid. 
 
 Pietro Perugino . 
 
 
 A Carton 
 
 28 
 
 Madonna’* 
 
 1 SS 
 
 Madonna, St. Francis, &c. 
 
 181 
 
 Miniatures 
 
 2 66 
 
 Hiflories 
 
 274 
 
 Angel with a Trumpet 
 
 281 
 
 Other IVorks 
 
 ibid. 
 
 Madonna of the Go Cart 
 
 343 
 
 Pinturicchio . 
 
 
 A Mezzo Cupola 
 
 176 
 
 A Library 
 
 181 
 
 Prssfepe, &c. 
 
 306 
 
 Life of Pius II. 
 
 3*8 
 
 Polidore. 
 
 His P id lire 60 
 
 Mufes dancing 74 
 
 Boys with a Cartel 102 
 
 Four Roman "Triumphs i6f 
 
 Paintings on the Mafchera d’Oro, 
 &c. r 91 
 
 Pollaiolo. 
 
 Death of the Virgin 49 
 
 St. Sebaftian 77 
 
 Pomeranci. 
 
 TujoofCUcey&c.Dr. 64 
 
 Pordenone . 
 
 Centaurs ^WLapithae, Prize 9 
 Two Frizes 10 
 
 Fortune pewing the way to Her- 
 cules, Dr. 24 
 
 His own Pidure 49 
 
 Poitjffin . 
 
Poujfm. 
 
 Sacrifice to the Golden Calf 
 
 Holy Family 6 
 
 Woman taken in Adultery 8 
 
 Baptifm of Chrift ibid . 
 
 Clorinda coming to the Shepherds 
 
 ibid. 
 
 Canaanitifh Woman ibid. 
 
 Mofes found ibid . 
 
 Spies with the Grapes ibid. 
 
 \ Time taking up ‘Truth ibid. 
 
 Seven Sacraments 22 
 
 Germanicus 15-9 
 
 0 ur L ord giving the Keys 185* 
 Landskip of the Serpent 1 8 6 
 
 Bacchus and Ariadne ibid. 
 
 Rachel giving the Servants Water , 
 
 ibid. 
 
 A Landskip, W omen ibid. 
 
 Another (Phocion) ibid. 
 
 Sacraments 1 88 
 
 Copy of the Grecian Wedding 1 89 
 Peji 1 89 
 
 Landskips 361 
 
 Primaticcio. 
 
 Hercules and Dejanira, Dr . 2 
 
 The Works of Fountainbleau a 2 
 
 Raffaele . 
 
 Conftantine making an Oration , 
 Dr. I 
 
 Figure on Horfeback, Dr. y 
 
 A Praefepe ibid. 
 
 A RefurreSlion 6 
 
 St. Margaret 7 
 
 Cardinal Pole 16 
 
 Battel of Conftantine 1 1 
 Woman in the Incendio ibid. 
 </ Holy Family ibid. 
 
 Madonna, Chrift, and St. 
 John ibid. 
 
 r Madonna ibid. 
 
 Ifaac on his Bed ibid. 
 
 A Boy Kneeling ibid. 
 
 Figures towing ibid. 
 
 ^V.Paul tearing his Garment 
 
 DrX ^ Thought for St. Peter’/ 
 Church ibid. 
 
 For the School of Athens ibid. 
 Heads for the Carton of the 
 Keys ibid. 
 
 ^ Jo feph ’/ Dream ibid. 
 
 St. George 14 
 
 A Man s Portrait 1 6 
 
 Another ibid. 
 
 fAdam and Eve 17 
 
 A Monument with Conftan- 
 tine on Horfeback ibid. 
 An Old Man Writing ibid. 
 Jofeph’/ Brethren taking out 
 
 Dr.< 
 
 
 the Cup ibid. 
 
 A Madonna ibid. 
 
 Abraham Praying ibid. 
 St. Katharine ibid. 
 
 Pope's Head ibid. 
 
 Ganymede giving the Cup 
 to Jupiter ibid. 
 
 Two Madonna’/ 19 
 
 Madonna and St. Jofeph ibid. 
 »Sy.John in the Wildernefs 20 
 God the Father ibid . 
 
 St. George, Dr. 24 
 
 Dividing the Countrey by Lot, Dr. 
 
 Ganymede, Dr. 2 6 
 
 Two Figures on Florfeback , Dr. ib. 
 Chrift wajhing the Difciples Feet 
 
 2 7 
 
 School of Athens, Carton 28 
 A Madonna 29 
 
 Slaughter of the Innocents , Dr. 30 
 Several Figures, Dr. ibid. 
 
 Feed my Sheep, Dr. 31 
 
 Abraham Offering, Dr, 32 
 
 Bacchante, &c. Dr. 33 
 
 The 
 
The Saint Cecilia 
 St. John 
 Julius II. 
 Portrait 
 
 C St. George 
 
 33 
 
 S7 
 
 y§ 
 
 ■60 
 
 63 
 
 Dr.< 
 
 Woman in the Incendio ibid. 
 Madonna ibid. 
 
 St. Peter deliver'd 
 Virgin dying 
 Another 
 
 Mofes firiking the 
 
 Part of a Hifiory 
 Madonna and St. John 
 Madonna della Pefcia 
 Leo X. two Cardinals 
 Cardinals Head 
 Holy Family and St. Katharine 
 St. Audio 
 Ifaiah 
 
 Prophets and Sibyls 
 Gallery o/Pfyche 
 V Ulcan at his Forge 
 Galatea 
 Madonna** 
 
 Julius II. 
 
 Raffaele’* Mijlrefs 
 Madonna ftandwg 
 Madonna, Carton 
 Cardinal Borgia and 
 
 ibid, 
 ibid . 
 64 
 
 Rock 
 ibid . 
 
 67 
 
 69 
 
 71 
 
 73 
 
 ib. 
 
 IOI 
 
 ibid. 
 
 io 3 
 
 1 17 
 
 I2 3 
 
 ibid. 
 
 iff 
 
 ibid. 
 
 If 7 
 172. 
 176 
 Macniavel 
 183 
 
 Venus dipping the Arrows i8y 
 
 D if pate of the Sacrament 202 
 
 School of Athens 209 
 
 Parnalfus 214 
 
 Law 223 
 
 Heliodorus 228 
 
 Miracle of Bolfena 229 
 
 Attila 232 
 
 Delivery of St. Peter 234 
 
 JuJhfication of St. Leo 238 
 
 Coronation of Charlemain 239 
 
 Incendio di Borgo 240 
 
 Port of Oftia 242 
 
 Conftantine’* Oration, Dr. 24$ 
 
 Battel ibid. 
 
 Baptifm of Conftantine 247 
 
 Donation 248 
 
 Bible 262 
 
 Madonna 263 
 
 Carton of part of the Transfigura- 
 tion ibid. 
 
 Boys 281 
 
 Julius II. 284 
 
 Bartolus avdBMus, Ritrat. 299 
 Hift. and Ornaments 307 
 
 Transfiguration 312 
 
 Life of Pius II. 328 
 
 Madonna 332 
 
 Madonna della Gatta 334 
 
 Madonna 337 
 
 Pad. RameUi. 
 
 Retouching D. Giulio Clovio 165 
 Rembrandt. 
 
 A! Portrait 14 
 
 Woman reading to her Mother 2 1 
 A Portrait 73 
 
 Another 300 
 
 Rinaldo Montovano. 
 
 Story of Alexander 123 
 
 Roffo. 
 
 A Tomb with the four Virtues, &c. 
 
 Dr. 18 
 
 Frefco 79 
 
 Rubens. 
 
 Virgin and Chrift in the Clouds 7 
 Fame crowning a Conqueror, after 
 Giulio, Dr. 12 
 
 A Portrait 1 4 
 
 A Woman's Portrait ibid. 
 
 Man in Armour, Portrait 21 
 
 Gallery of Luxembourg 22 
 
 His own Portrait 60 
 
 His Wife 81 
 
 Battel 
 
Battel of the Anmons 
 
 3 S l 
 
 Fall of the Angels 
 
 ibid. 
 
 Ajjumption 
 
 ibid. 
 
 Salvator Rofa. 
 
 Witch of Endor 
 
 
 Several Pictures 
 
 More 
 
 282 
 
 Land skips 
 
 301 
 
 Sandro Botticelli. 
 
 Adoration of the Magi 
 
 49 
 
 Another 
 
 62 
 
 S chi done. 
 
 Madonna 
 
 333 
 
 Scipio Gaetano. 
 
 Madonna 
 
 .. 2 7 
 
 Scarcellino da Ferrara. 
 
 Holy Family 
 
 10 
 
 Seb. del Piombo. 
 
 
 A Madonna 
 
 9 
 
 Altar-piece 
 
 307 
 
 Flagellation 
 
 3 T T 
 
 Simone Machelli. 
 
 Alexander Farnefe, &c. , 
 
 Statue 
 M S 
 
 Snyders. 
 
 Wild fowl kill'd 
 
 301 
 
 Sofonisba Angufciola. 
 
 Her Pi dhire 
 
 333 
 
 Taddeo Zuccaro. 
 
 A Room of the Hifiory of Alexan- 
 
 der Farnefe 145- 
 
 Seafons of the Tear 291 
 
 Birth of Jupiter 292 
 
 Hiftories ibid. 
 
 Several Aftions of the Ifoufe of 
 
 Farnefe ibid . 
 
 One gathering Fruit 293 
 
 Americus Vefpufius ibid. 
 
 Ferdinand. Magellanicus ibid. 
 
 Tim. da Ur bin. 
 
 Salutation , Dr. x 2 
 
 Prophets andS \ by 1 S 106 
 
 Titiano . 
 
 A Portrait , Half-Length 1 
 
 The Marriage of St. Katharine 6 
 Fr a n ci s I . Profile ibid. 
 
 Holy Family 8 
 
 A Pofl-Man 9 
 
 Cardinal PaHavicino 14 
 
 Madonna with the Rablet 16 
 
 Merry-Making , Dr. 1 8 
 
 Another ibid. 
 
 Ariadne and Thefeus 20 
 
 Lands kip. Dr. 26 
 
 His Portrait 60 
 
 Charles V. Phil. II. 73 
 
 Eight Half-Lengths ibid. 
 
 A Lady , Portrait I f6 
 
 Venus 15-8 
 
 Sixtus IV. 168 
 
 IV ornan taken in Adultery ibid. 
 
 Mercury teaching Cupid to read 
 
 ibid. 
 
 Twelve Hifl. and Port. 174 
 
 Cardinal Borgia and Machiavel 
 
 i8 3 
 
 Titian’/ School- mafier 184 
 
 Venus 184 
 
 1 itian and his Mifirefs 1 8 f 
 
 Pope Paul HI. 331 
 
 Copy of Magdalene of Correg- 
 gio 334 
 
 Ritrattoes ibid . 
 
 Van Dyck. 
 
 Duke 0/Ormond 6 
 
 Ifabella Clara Eugenia 7 
 
 Portraits 
 
Portraits 
 
 8 
 
 A Woman's 
 
 9 
 
 Lord Pembroke 
 
 14 
 
 King Charles I. and Family 
 
 21 
 
 His Portrait 
 
 66 
 
 Cardinal Bentivoglio 
 
 7 * 
 
 Van Oefi . 
 
 Holy Family 
 
 M 
 
 Ugo da Carpi. 
 
 Pifcina Mirabilis, Dr. 25*. 
 
 285- 
 
 Vincenzo de ’ Rojfi. 
 
 Statues 
 
 106 
 
 Unknown. 
 
 Dante’j Picture 43, 14 ft If6 
 Another 61 
 
 Adam and Eve, Marble 75* 
 
 Globes and Table 128 
 
 Two Heads , Frefco 1 54 
 
 Cupola of Correggio 1 f7 
 
 Old IV oman fitting 1 59 
 
 jBo0/6 0/ Miniatures 177 
 
 Copies of Drawings 184 
 
 Venus, Vulcan, Cupid 185* 
 
 Joconda of Lionardo da Vinci, 
 
 189 
 
 ANTIQUES, 
 
ANTiaUES. 
 
 B. Buft or Head, S. Statue , B.R. Bas-relief. 
 
 A Grippa, B. 4f 
 
 Alexander, B. 167,180 
 Alexander dying, B. 47, 167 
 Alcibiades, B. 113 
 Anacreon, B. 14 
 Antinoiis, B. 46. S. yy, ibid. 148, 
 iy6, 164, 167, 180, 280, 284 
 Antonia, 13 . y2 
 Antonine Pillar, 31 1 
 Antoninus Pius, B. 46 
 Amalthsea/eet//^ Jupiter, B. iy6 
 Apollo, B.R. 47. S.76. B. 115-,$. 
 126, 127, 128, ibid. 132, 146, 
 15-4, 146, 178, 192. (a Torfo) 
 S. 275*. 
 
 and Faunus, yy 
 and Mufes , 1.66, l8l 
 and Marfyas, 284 
 Auguftus, B, 14. S. 116,148 
 
 Bacchus, S. 45*, 46, 127, 132, 283 
 and Satyr, 163 
 Bacchanale, 167 
 Bacchante, B.R. 75'. S. 282 
 Bas relief, unknown Story, 15-3, 
 i8y, 189 
 
 Berenice Titi, B. yi 
 A Boar, y2 
 
 Boar- hunting, B.R. 327 
 
 Caius Martius *WVeturia, 296 
 Caligula, B. 283 
 A Camillus, : iiy, iyo 
 Caprone, 15-4 
 
 'Two Captives, 126 
 Caracalla, B. yo, 1 5*0,282 
 Caftor and Pollux, 109, 166 
 Cap , 18,32 p, 35-1 
 Chimera, 46, 61 
 Cicero, S. ny. B. 178 
 Cleopatra fleeping, i6y 
 dying, 61, 126 
 the Mother of Ptolemy, 
 S. iyi 
 
 Clelia, a Painting , 309 
 Clitias, 166 
 Clodius Albinus, B. yi 
 Columna Milliaria, no 
 Commodus, B. 114 
 Conftantine, B. yo. S. 112 
 Coriolanus, Painting, 309 
 Cupid and Pfyche, 6.46 
 Cybele, S. 10 
 
 Dacian Kings , 130 
 Diana, 282 
 another , ibid. 
 
 Didius Julianus, B. yt 
 Didia Clara, B yi 
 Diogenes, B. 113 
 Domitian, B. yi, 114, 116 
 
 Earth, Air, &C. B.R. 74 
 Earth, a 14 om an, B. R. 3yO 
 Eagle , 1 80 
 ./Egyptian Kings, m 
 Idols , 1 12 
 Emperors , lyi 
 
 Endy- 
 
Endymion, S. fi 
 Euripides, B. 75*'] 
 
 Fafti Gonfulares, 114 
 Faunus, Head, 1 ff. S. 284 
 with a Goat, 1 67 
 dancing, f 7 
 
 Fauftina, or Venus, 46 
 Fauftina/««. or Livia, 133 
 Feet and Hand, 1 1 4 
 Flora, S. 61, 130, 131 
 Foot, 11 3 
 
 Fortune-teller, S. 1 13 
 
 Galba, or Nerva, B. fi 
 Ganymede, S. 47, f2,i28. 
 Germanicus, B. 4 
 Gladiator , S. 46, 131* ibid. 283, 
 298 
 
 Globe, 1 28 
 Grinder, 57 
 Gyfjie, 113 
 
 Hadrian, B. 46 
 Hannibal, S. f2 
 Hercules, S. iif, 175* 
 
 Farnefe, 130, 131, Gof. 
 
 127, 1 28, 1 if, 192 
 Aventinus, 113,114 
 Young, 179 
 and Dejanira, 1 3 2 
 Hermaphrodite, 75*, 134 
 Hiero, B. 113 
 Homer 's Head, 132 
 Horfes, 307 
 
 Infcriptions, 74, 290 
 Juliu* Caefar, B. 4f. S.i6f, 180 
 Julia Msefa, 28 f 
 Juno, 285* 
 
 Jupiter’/ Head, If4 
 
 Laocoon, 276 
 Lares, &c, 5-2, 282 
 Leda, f 2, 282 
 
 Livia or Fauftina, jun, 132, 177 
 
 Lucius Jun. Brutus, B. 114 
 Lyon tearing a Horfe , f9, 114 
 Lyons , 127, 189 
 
 Marcus Aurelius on Horfehack , 
 
 110 
 
 Pont. Max. 180 
 B.R. hi 
 M arforio, S. 112 
 Marius, S. 113 
 Marfyas, S 47, 128 
 Mars and Venus, $*4 
 Masks, 179 
 
 Medallions of Sept. Severus, ifi 
 Meleager, S. ifo, iff, 1 f6 
 Mercury, 132, ibid. 28f 
 
 and the Earph, B.R. 3^0 
 Minerva, S. iff, 283. aYerm^ 
 
 111 
 
 her Works, B. R. 192 
 Miniatures of Virgil, 264 
 Mithridates, B.R. Head, 114 
 Model for the T r imalchio, 3 f 
 -of a Woman's Head, 177 
 Morpheus, f} 
 
 Mould of the Venus, 66 
 My r mi Bo dying, 301 
 
 Narciftus, S. f3 
 Nerva, B. fi 
 
 or Galba, B. ibid, 
 
 Nile, 109, 27f, 281 
 Niobe, 124 
 
 Orpheus, S. 4S 
 Otho, B. 4f, ft 
 Ox and Cow, idf 
 
 Paintings, 309 
 Pan, B. f4 
 Pavement Mofaic, 163 
 Perfeus and Andromeda, 300 
 Pertinax, B. fi 
 Philofopher, S. f2 
 Pillars, no 
 
 Trajan, 310 
 
 Antonine, 
 
 3 
 
Antonine, 311 
 Plautilla, B. 52. 
 
 Plato, B. 1 1 3. a Painting 164 
 Plotina, 180 
 Pompey, S. 191 
 Poppxa Sabina, S. 113,151 
 Portrait of a Lady , S. 1 5*1 
 Ptolemy, B 1 52. S. 167 
 Pyrrhus, B. 167 
 
 Roma Triumphans, 109,114 
 Painting , 164 
 Romulus and Remus, ny 
 Rojlral Pillar, 116 
 
 Sabina, 127, 164 
 
 Salult, B. 14 y 
 
 Sappho, B. 1 1 3 
 
 Satyr , &c. 127, 164 
 
 Scipio Africanus, B.R.Head, ny 
 
 Seneca, B. 45*, 132. S. 167, 296 
 
 Sepulchral Cheji , 1 1 2 
 
 Silenus, 15*4, 163, 178,283 
 
 iS/wr taking out the Thorn, I [ y 
 
 Socrates, B. 1 13 
 
 A Statue, 178 
 
 Suite 0//^ Emperors, 1 yi 
 
 Table inlaid, 128 
 Term of a Minerva, 112 
 The Toro, 146 
 T^eTorlo, 281 
 Two Torfoes, 149 
 Trajan Pillar , 310 
 Trimalchio, Model, 35* 
 
 Trophies of Marius, or Trajan, no 
 Triumph of Love, B.R. 181 
 T ufcan Orator^ S 48 
 Tyber, 109,275* 
 
 Vafe Sacrifice ^flphigcnia, 1 26 
 Venus, a Picture, 164 
 Venus, 134, 283, 285 
 
 taking out a Thorn, 53 
 Urania, ibid. 5-7 
 Victrix, 5-6 
 Cailipygis, 134, 144 
 Crouching, 145* 
 
 Afleep, 164 
 
 0/Medicis, yy, 133. Co- 
 pies, 110,127,151,163, 
 166, 185,283, 284 
 Clad, 166 
 and Mars, 46, 54 
 and Cupid, 280 
 Two Venus’/, 167 
 Vefpafian, B. 192 
 Vefial's Head, 132 
 ViClory, 52 
 
 Virgil, S. iiy. Head, 164 
 Urn of Cxcilius Metellus, 131 
 the Septizonium , 280 
 Humane Life, 287 
 Foliage and Anim . ibid. 
 Trimalchio, 327 
 
 Wedding, Painting. 305 
 Wolf with Rom. and Rem. ny* 
 
 Works of Minerva, B.R. 192 
 Wreftlers, 57 
 
 ROT E RT> A M. 
 
( * ) 
 
 ROT E R T)A M. 
 Monjieur F l i n c k ’s Collection. 
 
 in. 
 
 Quantity of Antiques, Butts, Bas- 
 reliefs, and Figures : Pictures all 
 Italian , except one or two of 
 Rembrandt , one of John Of 
 Clove, aDifc. of Rajfaele , and 
 one of Rotenamer ; two of Roujfin , one of pouffa 
 which is exceeding fine, the Sacrifice to the 
 Golden Calf, much larger than a Half-length 
 long ways. Here is a Portrait, anfl a Hiftory 
 (the Beheading of St. John ) by Tarmeggiano ; Parmeggiano , 
 St. Teter at Prayers, by Guido ; a Half-length Guido. 
 Portrait by Titian ; Shepherds worfhipping, a Titian. 
 very Capital Picture, by Old Talma. With fe- Old Palma, 
 veral others of Giorgion, Lodou: Carracci , &c ‘ 
 Guercino , Andrea Schiavone , Caftiglione , &c. 
 
 Drawings. 
 
 His Collection of thefe is truly Noble, Nu- 
 merous, and well chofen, of the Greateft Ma- 
 tters. He has very near 30 of Rajfaele , fome 
 very Capital; particularly Confiantine making 
 an Oration to his Soldiers, painted in the Va- 
 tican. It has 16 or 17 Figures looking up a£ 
 
 B the 
 
Paolo Vero- 
 nefe. 
 
 ( 1 ) 
 
 the Sign appearing in the Heavens ; ’Tis a Fo- 
 lio, inLength, Pen and Wafh upon a brownifli 
 Paper, Heightned, the White as if juft done, and 
 all of Perfect Prefervation. This is thatwhich 
 was Ibid at Sir Refer Lely's Sale for i oo /. Mr. 
 Flinck has near xo of Giulio Romano , about a 
 Parmzgiano. Dozen of Rarmeggiano : One of thefe laft is 
 exceeding Capital, the Marriage of SS -Jofeph 
 and Mary, the fame as the Print: Pen, Waffl’d, 
 and Heightned ; highly Finifli’d. He has one 
 of the moft Capital and Perfect Drawings that 
 can be feen, of Raolo Veronefe ; it has 98 Fi- 
 gures, and as many different Faces and Acti- 
 ons : ’Tis the Story of the Feaft of Be It bazar , 
 upon a Greenifli Ground, Waffl’d, and Height- 
 ned ; admirably Preferv’d. There is another 
 Primiticcio. like perfeCt Drawing of Rrimiticcio , onlyThat 
 has but 10 Figures : ’Tis of Hercules and©?- 
 janira in the Grotto, in two feveral Beds, as 
 preparing to celebrate the Feaft of Bacchus , 
 Figures with Lights, &c. He has other Capital 
 Drawings of feveral Excell ent Mafters. 
 
 There are other Collections of Pictures at 
 Roterdam : Thofe of Monfieur Meirs , Mon- 
 fieur VanBefom, Madam Scheepens, Madam 
 V an Bellen Lady of JVadinkn feen, &c. where- 
 in are fome few Italian Pictures, chiefly of the 
 later Mafters ; two or three of the Rouffin's ; 
 fome of the Borgoguone^ Le Sueur ^ Seb. Bour- 
 don ; and feveral of Van DycL Rubens^ndiQ- 
 v , ther Dutch , and Flemijh Mafters. 
 
 Mr. Van Elmet has fome few Antique Bufts. 
 
 LEIDEN. 
 
LEIDEN. 
 
 Monfieur La Cour has a fine Collection of 
 Dutch Pictures, all Capital ; Dow, Scalken , 
 Rembrandt ,8cc. and amongftthefe fome thing 
 of Rubens. 
 
 HA GD E. 
 
 Maifon du Bois. 
 
 Some few of Van Dyck, Rubens, &c. 
 
 AMSTERDAM. 
 
 Mynheer Vander Schelling has feveral Pi- 
 ctures, but chiefly of Dutch, ^diFlemiJh^Azr 
 tiers. 
 
 Drawings. 
 
 Several fine ones of Raffaele, and Giulio 
 Romano, but not many others of that Age, nor 
 of the Bell Matters, tho’ fome there are very 
 Good. 
 
 N. B. Dander Schelling is fince dead, and 
 his Collection dilpers’d. 
 
 Monfieur Amory. 
 
 Has fome few good Pictures, Flemijh and 
 Italian ; and a few Antiques. 
 
 Drawings. 
 
 He has a finall Collection, and two or three 
 of Giulio Romano , as many of 5P armeggiano ; 
 fomething of Lodouico, Annibale, Domini - 
 chino, &c. few others of fuch Matters, 
 
 B ^ 
 
 Monfieur 
 
( 4 ) 
 
 Monfieur T i n k at r e. 
 
 Drawings. 
 
 Several of Rajfaelle^ Giuho, c Parmeggiano y 
 Annibale , and other of the Beft Matters, to- 
 gether with more of Inferior ones; but few 
 Capital, or very remarkable. Some there are; 
 Correggio. as one of Correggio , an Attention, 9 Fig. Dark, 
 Waftfd and Heightned. Highly Finilh’d. 
 
 He has a Young Germanic us , an Antique 
 Butt, with Cafts from a great many of the 
 Beft Antiques ; and two very fine Heads of Fl- 
 amingo. 
 
 Van Zomer has a vaft Number of Drawings ; 
 I did not look over all the Books, tho’ a great 
 many I did. There are abundance of good 
 Ones, and fome of the Beft Matters : But I 
 law none very Capital, or exceeding Touching, 
 elpecially of fuch Hands. 
 
 ANT WE R jP. 
 
 In feveral Private Collections, as of Mon- 
 fieur Bredau , the 3 Chanoine de Lycht ; the 
 Chevalier Reefers, Monfieur de IVit^ Signior 
 Ferrari , Monfieur de Vos , &c. As alio in 
 the b Chamber ofthe Celveniers near th zMeer, 
 the c Church of the Beganes, and in feveral o- 
 ther Churches are many Good Pictures, chief- 
 ly of Rubens , and Van "Dyck , and other Fie- 
 mijh Mafters. But there are fome few Itali - 
 Correggio. an : A fine a Head of Correggio of a Madonna 
 looking up /Profile \ Bright and Beautiful, the 
 Colouring of which made avaftlmpreflion on 
 me atfirftSight,andI lhall ever retain the Idea 
 
 of 
 
( 5 ) 
 
 of it. A b St.Teter, and a c St. Francis at Pray- 
 ers of Guido, &c. Guido, 
 
 Drawings. 
 
 Monfieur de Vos has good ones, efpecially 
 of Rubens. Several Italian ; a fine one of a 
 Figure on Horleback by Raffaele ; one of Giu- Rafale, 
 lio , th zHoratii and Curiatii in the Pal. of T 
 one of Correggio , a St. John Baptiff &c. Correggio. 
 
 BRVSSELLES. 
 
 Here are foveral Collections of Pictures, as 
 of Monfieur Ferrageau , Monfieur Verwort , 
 
 Monfieur Colart-> Monfieur Lemons ^ Sec. con- 
 fiding of fome few Italian Pi&ures, and many 
 of VanFjyck and Rubens^ with other FlejniJh 
 Matters ; not without fome of Bouffin , the 
 Borgognone , &c. But the Beft Collections here 
 are of Monfieur Fraula. , and his Son ; who 
 befides many good ones of the Beft Flemijh 
 Matters, have foveral very fine Italian Pi- 
 ctures ; together with fome of Bouffm , and 
 the Borgognone. 
 
 A Brtefepe of Raffaele , highly finifh’d in Raffaele. 
 Small ; the Light comes from the Child. 
 
 Two of Giuho Romano, one a Bacchanale^ Giull ° R° m *~ 
 the other Cupid and BJyche , drawn by two no ' 
 
 Swans, guided by little Loves, &c. 
 
 A moft Capital Picture of Albani: God the Mbanu 
 Father fiipporting his Dead Son, 9 Angels, and 
 Cherubinis, &c. 
 
 A Madonna by Tarmeggiano ; an Angel is Rarmegg^m. 
 pulling down Palm-Branches ; ’tis about one 
 Foot lquare. 
 
 A Ripoff by Annibale. J p&ai e. 
 
 B 3 A ve« 
 
'Annibale. 
 
 Guido. 
 
 Raffaele. 
 
 Poujfin. 
 
 Guercino. 
 
 Carlo Marat • 
 ti. 
 
 (•« ) 
 
 A very Capital Picture of an Angel wor- 
 fhipping the Dead Chrifi> , by Annibale. 
 
 A Fortune, as big as the Life, by Guido ; ve- 
 ry Beautiful, and an Excellent Picture. 
 
 Another of Raffaele , but his firft Manner; 
 ’tis a Refiirredion, five Soldiers are afleep. 
 
 Holy Family of Poujfin, as big as the Life: 
 an Excellent Picture. 
 
 The four Ages, by Guercino \ very Fine. 
 
 A Nymph purfu’d , whom Ftiana covers 
 with a Cloud : an Admirable Picture of Carlo 
 Maratti. The Thought is Delicious. 
 
 &c 
 
 U The LOW RE. 
 
 Dominichin. 
 
 Ditto. 
 
 Titian. 
 
 Ditto. 
 
 Guido. 
 
 Van Dyck. 
 Correggio. s 
 
 And. del Sar- 
 to. 
 
 Some of the Principal Piclures. 
 
 \ David playing on his Harp, and two An- 
 gels on his Left-hand; the fame Taft as the 
 St. Agnes of thisMafter, at St .James's. 
 
 Four Muficians. 
 
 The Marriage of St. Katharine ; his fineft 
 Manner. 
 
 Francis I. a Profile ; Half-length , Ex- 
 ceeding fine. He has an ErminCap on, with- 
 out any Ornament. 
 
 Painting : My Lord Burlington has one of 
 the fame ; there is another at Sir Henry Ox - 
 enden's in Kent. 
 
 T>. Ormond, three Quarter and Hand; Ex- 
 ceeding good. 
 
 Nymph with a Quiver afleep, uncover’d by 
 a Satyr; two Cupids alfo afleep, marvelloufly 
 colour’d, but Incorred ; of a Size between a 
 Half-length, and Whole-length. 
 
 A Young Man’s Portrait, mighty natural, 
 and exceeding fine. Virgin* 
 
( 7 ) 
 
 Virgin , Chrifi , and St. 5^0; my Father Pel da Mod. 
 has the Drawing. 
 
 St. Cecilia playing on the Fiddle, an Angel Dommichin . 
 holds the Book; lame Manner as thofe above. 
 
 St. Margaret, lame as the Print in D .Leo- 
 fold's Gallery. A very dark Picture, not ex- 
 tremely good, nor his lalt Manner. The Pi- Lhnardo da 
 dure of which my Lord Pembroke has a Vin ' 
 Drawing: k Madonna holding theC^^and 
 the Chrifi a Lamb. I have feen fe veral of thefe, 
 but none that plealed me ; they are all of a 
 hard, ItifF manner, and not good. Probably 
 they are all, or fome of them at leaft, of Luini. 
 
 I have feen leveral of him much in this man- 
 ner which are in the Style, but Inferior to thole 
 of Lionardo . 
 
 A Saint between a Angels, Heads and Shoul- Ditto; 
 ders; about the Bignels of a three Quarter, ex- 
 tremely fine, but his ulual darkilh Colouring. 
 
 This has a Delicacy which the other has not. 
 
 The Virgin, Chrifi-) St. Elizabeth, and S t. -An. del Sarto: 
 John , in a Round, exceeding fine ; the fame, 
 or near, as the Print. 
 
 IfabellaClara Eugenia, the lame as that of van Dyck , 
 the Duke of E) ev on Jh ire's-, Original too. 
 
 The Virgin and Chrifi in the Clouds in a Ruben*. 
 Heaven of Angels, a large Altar-Piece ; a 
 Bright, Noble Pid'ure. 
 
 The Gallery. 
 
 The Witch of Endor ; the finelt I have e- salvat. v.ofa: 
 ver feen of this Mailer ; the Exprelfion of 
 Horror and Witchery is in Perfection. 
 
 An Old W oman telling a Y oung one her For- Old Palma, 
 
 B 4 tune j 
 
X, Pou(fin. 
 
 Ditto. 
 
 Ditto. 
 
 Ditto . 
 jllbano. 
 
 Titian. 
 Poujfin . 
 
 Carlo Marat. 
 Ditto. 
 
 Paulo Veron . 
 Poujfm. 
 
 Giorgion. 
 
 Van Dyck. 
 Domiiiichin. 
 
 poujfin. 
 
 ( 8 ) 
 
 tune ; wondrous fine ! The Cunning and Cheat 
 of one, and the Folly and Credulity of the o- 
 ther, is admirably exprefs’d. 
 
 The Woman taken in Adultery, painted ve- 
 ry Strong, and finely Colour’d ; a Yellowilh, 
 warmTind, not in the leaftFade, or Hard, as 
 the Sacraments (the Regent has) are. 
 
 TheBaptifm oiCkrift^ where is the Woman 
 that kneels as in the Sacrament of Baptifm ; 
 the Bell; Colouring. 
 
 Giorinda coming to the Shepherds, from 
 Tajfo ; his F ade Colouring. 
 
 The Canaanitijh Woman ; finefl manner. 
 
 The four Seafons, very fine; but the Figures 
 fomething Hard againft the Ground, which is 
 a Fault very common with this Matter. 
 
 Holy Family. 
 
 Mofes found ; of the Bell and Gentileft Style 
 of this Matter. 
 
 Si. John. 
 
 Two or three other Pidures, very good. 
 
 Finding Mofes ^ very good. 
 
 The Spies bringing the Grapes, his belt man- 
 ner : My Father has two Drawings of this. 
 
 Four Figures, Bright manner, well prelerv’d. 
 
 Several Portraits. 
 
 sEneas carrying Anchifes , with Creufa: 
 Divinely fine! th cCreufa has her Head wrapt 
 up, which has an excellent Effed. They all 
 walk in a Hurry ; and little Aftyanax runs in a 
 Fright, finely exprefs’d. 
 
 Time taking up Truth; as the Print, S tis a 
 Cieling in a Round, but much fpoil’d by Rain. 
 
 3 
 
 The 
 
The French Academy. 
 
 A Madonna ; Size a Imall three Quarter. Lion: da vm. 
 
 A Woman’s Portrait, faid there to be Chri - van Dyck. 
 Jiina Queen of Sweden. 
 
 Collection of Monfieur Chatignaret. 
 
 A Portrait 4 , a Man with his Hand in his Annibale car, 
 Bofom, Black manner, but a fine Pidlure. 
 
 A fine Madonna, well prefer v’d. Seb. Piombc. 
 
 Venus fitting, and avail Number of Cupids; Albano. 
 they have the Arms of Mars , and fome come 
 to the Goddels to Ihew themfelves drefs’d in 
 them ; fome are putting on the Helmet, &c. 
 very fine. 
 
 Two Landskips; Great Style, finely Co- Annih • 
 lour’d. 
 
 Two other Landskips. campagnolo. 
 
 A Salutation, St. Mary , St. Elizabeth, and BaroccU . 
 four Figures; his fine gentile manner. 
 
 A Crucifix, Magdalen at the Foot of the p. veron . 
 jCrofs. 
 
 A Holy Family. An. del sane, 
 
 A Poll-man Handing in a Landskip, with a Titian. 
 
 Dog by him ; a very large Picture, Whole- 
 length, very finely painted. 
 
 St.John . Gio. Bellini. 
 
 Monfieur Crozat’j* Collection. 
 
 Centaurs ^ndLafitha^ a Frize in Colours Pordenons. 
 feveral Foot long, and two Foot high, as fine 
 as ‘Polidore. 
 
 So call’d here : a Ritratto , the lame that Sir Giorgion . 
 Thomas Hanmer has, call’d T)om. Beccafumi. 
 
 jfhave 
 
Rajfaele. 
 
 Scdfcellino da 
 perrara. 
 
 Parmeggtano. 
 
 P. Veronefe. 
 Pordenone. 
 
 Mich. Ang. 
 Dan. da Volt. 
 Piamingo. 
 Antique, 
 
 V. Veron. 
 
 '^Si c h An l* 
 
 ( 10 ) 
 
 I have feen two others, one in the Duke of 
 Florence's Apartment, next the Gallery in the 
 Palace Fitti\ and the other in the Gallery of 
 TDujfeldorp. See the Notes of thofe Palaces. 
 
 Cardinal Foley Half-length, he fits in a 
 Chair, large Beard, drefs’d in White, with the 
 fhort Red Cloak, and a Cap on : The Attitude 
 Graceful, and Noble ; Colouring Brownilh; a 
 very fine Picture. 
 
 Holy Family; the Taft is a kind of Mix- 
 ture of Vanni , and Farmeggiano ; a good Pi- 
 cture. 
 
 A Saint in White upon her Knees, very 
 Graceful, and full of Devotion, well colour’d ; 
 a Delicacy as in his Drawings. 
 
 A Dead Chrift lupported by Angels ; Gra- 
 ved by Ag. Carr at s. 
 
 Two other Frizes as that above, but other 
 Subiecfts. 
 
 In the Room built in Imitation of the Tribu- 
 nal of the Great "Duke. 
 
 AModel of the Mofesy in Clay, fmall. 
 
 Young Hercules killing the Lyon, a Model. 
 
 Th oTorfo of the Belvedere. 
 
 A Oybele, or elfe the Tutelar Goddefs of Fa- 
 risy which the ancient Gauls reprefented much 
 as a Cybele. This was found under one of the 
 Gates of Far is. 
 
 Rinaldo and Armiddy a Model, Clay. 
 
 Another of aDeadG6ri/?: My Father has 
 the Drawing, only the Legs wanting. 
 
 to 
 
('** ) 
 
 In this Room are feveral other fine Things, 
 befides the 
 
 Drawings. 
 
 The Battel of Conftantine , Pen, Walh’d and 
 Heighten’d, well preferv’d; the White much 
 the fame Pencil as my Father’s S t.Jofeph. 
 
 This appears to be undoubtedly right upon a 
 nice Oblervation of the Feet, Hands, Airs of 
 the Heads, &c. ’tis about 1 8 Inches long, and 
 12 broad : Of fiich Perfedion, that every Part 
 is done with equal Care as any one Figure, or 
 Air of a Head: tho’ ’tis not fo highly Finish’d, 
 as that the Particularities of Arms, Armour 
 and Ornaments are inferred ; thole are left to 
 be done in the Painting. ’Tis in a Frame with 
 a Glafs. 
 
 This Drawing, which I believe may be con- 
 fider’d as the molt Capital in the World, was 
 at the Head of the Colledion of Count Mai- 
 va/ia, who (peaks of it in the Life of Antonio 
 Carr ache*, it came afterwards to Signior Bof- 
 chi of Bologna^ whole entire Collection Mon- 
 fieur Crozat bought in his Paflage thro’ Lom- 
 bardy. Bellori in his Delcription of this Pi- 
 dure, makes ufe of this Drawing (and the 
 Authority of Andrea Sacch. as to the Origi- 
 nality of it) to decide the famous Queftion, 
 whether Rajfaele had given the Defign of it, 
 cxGiuliohad painted it of his Own Invention. 
 
 The Woman in th tlncendie del Bor go car- Ditto. 
 rying the Pitchers, RedCh. Dr. Mead has a 
 Drawing of this Figure, Pen andWalh. 
 
 The Holy Family of the King of France $ vitto. 
 i Sketch, RedCh. but the Virgin is fuiifh’d.' 
 
 Dante 
 
Ditto. ‘Dante in th tTarnatfus, broad Pen, a very 
 
 fine Drawing. 
 
 Ditto. A Madonna, Chriji, and St .John, extreme- 
 
 ly good; and on the back fomething as bad as 
 the Slave pulling the Thorn out of his Foot on 
 the back of the Drawing of the Camillas my 
 Father has of this Matter , but doubtlels of 
 Rajfaele ; which alfo is the Judgment of Mon- 
 fieur Crozat. 
 
 phto. Madonna fitting, holding the Chriji in her 
 
 Hand, he {landing by her ; a large Reed Pen, 
 extremely fine. 
 
 Ditto. Ifaac upon his Bed with Jacob and Efau. 
 
 Ditto. A Boy kneeling as big as the Life, a Carton, 
 
 Bl.Ch. 
 
 Guido. 
 
 Jim. da Ur - 
 bin. 
 
 Parmeggiano. 
 
 Giulio. 
 
 Ditto. 
 
 Ditto. 
 
 Rajfaele . 
 Giulio Rom ■ 
 
 A Young Man, half Fig. as big as the Life, 
 Bl.Ch. 
 
 Salutation, Virgin, and St .Elizabeth^ feve- 
 ral Angels in the Clouds. 
 
 j Romulus and Remus taking the Augury , the 
 fame as my Father’s, but more finifh’d. 
 
 Apollo killing his Matter Linus, Calliope 
 behind a Tree, with her Finger on her Lips. 
 
 The Battel of Turnus and FEneas ; "Diana 
 in the Clouds, ten Fig. a beautiful Drawing. 
 
 The Original of that done by Rubens, which 
 Ts/lx.RoJfe has: Fame crowning a Conqueror 
 in a Chariot. 
 
 Figures Towing; the Original from whence 
 Battijla Franco did that my Father has. 
 
 The Magi) a large Drawing, his ufual man- 
 ner, but not very touching, highly finilh’d, 
 Pen and Walh. 
 
 Apollo 
 
( *3 ) 
 
 Apollo and Marjias, large, the lame as my Ditto, 
 Father’s ; a fine Drawing. 
 
 Monfieur Crozat has about 60 Drawings of Correggio, 
 Correggio , the moft Capital of which is Wafh’d 
 and Heightned, as the Notte my Father has. 
 
 This (as fome others) is parted into Paftboard, 
 and cover’d with Ifinglafs, which preferves 
 them without taking off any of their Beauty 
 or Force. 
 
 Another Tor to Folio-> all 0/Raffaele. 
 
 St .Paul tearing his Garment, a Sketch on- 
 ly ; on the Rev. is a Drawing of Alb Usurer. 
 
 A Thought for the Church of St. ‘Peter's at 
 Rome. 
 
 Firft Thought for the School of Athens , 
 
 Pen, Sketch ; behind is a Study in RedCh. of 
 leveral Fig. 
 
 Seven of the Heads in the Carton of giving 
 the Keys; that of St. John Divine! and much 
 as the Carton. RedCh. 
 
 >y?/^’sDream, different from that in hts 
 Bible, C §c. 
 
 The Gallery. 
 
 A Magdalen in Extafie in the Clouds, her gM». 
 Face encompafs’d with Glory, and almoft 
 loll in, and united with it : flic is fitting, an 
 Angel by her. Rembrandt in a Drawing of 
 the LaltSupper my Father has, feems to have 
 had the lame fine Thought as Guido in this 
 Magdalen ; the Head of th eCbriJl is as it were 
 envelop’d with Brightnels ; ’tis almolt hid, 
 lurrounded with Palpable Glory. 
 
 Tdark with ExceJJive Bright Milton. 
 
 A 
 
Rarocci. 
 
 Rajfaele. 
 
 Le Bran. 
 
 JMola. 
 
 Antiq. 
 
 Rubens. 
 
 And. Sacchi. 
 
 Rembrandt , 
 Van Dyck . 
 Titian . 
 Albani. 
 
 Van Oefl % 
 Old Pa’ma. 
 Rubens . 
 
 ( *4 ) 
 
 A Lady Half-length, a Portrait ; herLeft-fiand 
 upon a Dog, her Right-hand hanging down, 
 holding a Handkerchief : his uliial Colouring. 
 
 St .George, which was done for an Anceftor 
 of my Lord Pembroke , and by him parted 
 with to YAngCharlesl. The Armour, and Feet 
 of theHorfe, poor ; but the Airs of the Heads 
 very good: Particularly there is a great Sweet- 
 nefs in that of St. George. 
 
 A Portrait of a Man, three Quarter, extreme- 
 ly fine, and well colour’d, with a prodigious 
 Force; the beflMonfieur Crozat had leen of 
 this Mailer. 
 
 Rachel and Laban., a fine Picture, ftrongly 
 painted, and well colour’d. On each fide of it 
 is an Antique Marble Head, (there are a few o- 
 thers in the Gallery) and over it is 
 
 A Portrait. 
 
 The Prudentia Divina , a finifh’d Sketch 
 for the large one in the Palace Barber ini. O- 
 ver this, 
 
 A Portrait, fine. 
 
 ’LorAPembroke, a Portrait. 
 
 Cardinal Pallavicino. 
 
 Lot and his two Daughters; not very good. 
 Over it 
 
 A Holy Family, well colour’d. 
 
 Holy Family, and St. Katharine. 
 
 A W Oman’s Portrait. Over this, 
 
 Two Antique Heads, one of Augujlus, and 
 the other of Anacreon. 
 
 Thele are fome of the Principal Things of 
 Monfieur Crozafs Noble Collection. As for 
 his Drawings, he has of moft of the confidera- 
 
 ble 
 
( *5 ) 
 
 ble Matters; Rajfaele , Giulio , Tarmeggiano , 
 Correggio , Rubens , Van 'Dyck, and Fouffin , 
 pretty numerous : Few of L.daVincij Mich. 
 
 Angelo , Batt. Franco , &c. many of the Gzr- 
 racci^ and that School; as alfo of Barroc- 
 ci and TW/fl Veronefe. In ttiort , his Colle- 
 ction of Drawings is I believe the Greateft 
 in the World; and though it has (as all o- 
 ther) many flight and many fmall things, all 
 are Good. 
 
 The French King's Fixtures in Coypel’j* 
 
 Houfe. 
 
 The Senliial Man bound by the Paflions Correggio. 
 (reprefented by leveral different Figures) and 
 bitten by Remorle (Serpents) ’tis in Guazzo ; 
 near as large as a Half-length, much Height- 
 ned. At the bottom appears a Boy’s Head, he 
 is eating Grapes. ’This is particularly admira- 
 ble! ’twas an After-thought, for my Father has 
 the Drawing, but without this Boy. 
 
 Heroick Virtue, the Fellow to it. A Miner- Ditto. 
 w-like Figure, fits on a flain Dragon, holding 
 her Helmet in one Hand, and a broken Spear 
 in the other; Victory crowns her, and Angels 
 with Mufick: Both are over her Head. On 
 one fide is a Figure reprefenting the 4 Cardi- 
 nal Virtues, as having the Infignia of them all ; 
 on the other is a Woman with her Hand on a 
 Globe, mealuring with a Pair of Compafles, 
 and pointing towards the Lontanezza-, a Boy 
 looks upon you, directing you to take notice 
 of what fne is doing. This may have feveral 
 Meanings, which every one may chufe as he 
 £ pleafes. 
 
Raffaele. 
 
 Ditto . 
 AnmlaU° 
 
 L. da Vinci. 
 
 Ditto . 
 
 Parmeggiano. 
 
 Titian . 
 Guercino . 
 
 (■o 
 
 pleales. Both thefe Pidures are in the finelt 
 Style of Correggio. They have Looking-glafs 
 Plates before them. 
 
 A Man’s Portrait, a vaft deal of Nature, but 
 prodigioufly hard, and black Colouring. 
 
 Another, colour’d like Titian. 
 
 The Silence, in Oil, very fine. ’Tis a Ma- 
 donna, the Child being afleep in her Lap, lhe 
 makes a Sign that there be noNoile to difturb 
 him ; a gentile pretty Thought. 
 
 The Jocund a Ipoken of at large by Vafar't 
 in the Life of this Mailer. I confider’d it with 
 the utmoll Attention, Landskip, and every 
 Part, and find it the lame as my Father’s in e- 
 very relped ; the fame Particularity in the Co- 
 louring of the Hands, as dillinguilh’d from that 
 of the Face : lo that at that dillance I could re- 
 member no difference, nor can I tell which I 
 Ihould chule. 
 
 The Belle Marefchallc is over this Picture, 
 ’tis in ^Profile, and is the better Pidure ; more 
 Flelhy, but not lb highly finilli’d. No Hands. 
 
 TheMarriage of St. Katharine , very excel- 
 lent. There is St. Jerome in it, of which my 
 Father has the Drawing. 
 
 Madonna with the Rabbet, as the colour’d 
 Drawing my Father has. 
 
 St. Jerome and the Angel, the lame as Dr. 
 Mead’s. Mr. Flinck has one too. 
 
 Several of the King’s Pidures ; and particu- 
 larly that famous one of Rajfaele , the Holy 
 Family (of which my Father has the fine Co- 
 py) were in the Pofleffion of the Duke d’An- 
 tin. Thele I could not poffibly get a Sight of, 
 
 tho’ 
 
( \7 ) 
 
 tho’Mr ‘.Crozat was lo kind as ro go with me. 
 
 The Duke was not in Baris, and had the Key 
 with him. 
 
 The Kings 'Drawings. 
 
 A Book of which they boaft much) laid to Mtch - 
 be of Mich. Angelo. 
 
 Adam and Eve, Red Ch. the fame as theBi- Rafale, a 
 ble. Booli - 
 
 Mofes breaking the Tables of the Law, Pen, 
 
 Walh, and Heigh tned, exadly the manner of 
 my Father’s Drawing of Jofeph. This is af- 
 cribed to the Fattore. H Tattore* 
 
 A large Monument, with aBas-relief of Con- 
 (iantine on Horle-back, the fame Figure as in 
 the Battel. 
 
 An Old Man writing on a Board that a Boy 
 holds on his Head ; undoubtedly right. 
 
 Jofeph’s Brethren taking the Cup out of the 
 Sack, i x Fig. undoubted. 
 
 A Madonna of Raffaele's lecond manner. 
 
 Abraham praying to God , his Back turn’d 
 as in the Bible ; a Drawing with a Pen, the 
 llame manner as that of my Father where the 
 Vefta is. 
 
 A St. Katharine , half Fig. and half as big 
 as the Life, Bl.Ch. exceeding good. 
 
 TheHead of the fame Pope my Father has, 
 ivery good; ’tis half as big as the Life. 
 
 Ganymede giving the Cup to Jupiter in 'the 
 Feaft of the Gods; Undoubted. 
 
 Another Book. 
 
 Two fine Figures, a Salutation, the fame Th tiattprr 
 
 C manner 
 
An. del Sarto . 
 Ginlio Rom. 
 
 t 
 
 Rojfo. 
 
 Parmeggiano. 
 
 Ditto. 
 
 Mich. Angelo. 
 Correwio. 
 Parmeggiano. 
 Correggio. 
 
 Mich. Angelo. 
 Parmeggiano. 
 
 Titian. 
 
 Ditto. 
 
 Catnpagnolo. 
 
 C allot: 
 
 Ditto. 
 
 ( 18 ) 
 
 manner as thofe we alcribe to this Mailer, 
 
 A fine Head, Bl. Ch. 
 
 A Woman afleep, fine. 
 
 There are about ioo Drawings in this Book, 
 
 Another Book. 
 
 TheTomb where are the four Cardinal Vir- 
 tues ; the King Kneeling at the top. 
 
 A fine little Figure. 
 
 Another. 
 
 A Head, Bl.Ch. very good. 
 
 A little Figure, very good. 
 
 Two Figures, fine. 
 
 A Madonna Pope, Bp. lame as my Father’s $ 
 Exquifite. 
 
 A fine Sketch, Bl.Ch. 
 
 A pretty Sketch, both Tides. 
 
 Another Book faid to be of Car rat's and 
 his School. 
 
 Another Book. 
 
 AFeail, or Merry-making; Pen, admirable. 
 Three Sheets of very large Paper. 
 
 The Tame kind of Subject. 
 
 All the reft of the Drawings in this Book, 
 which are very Numerous, are of Campagno- 
 lo , or Copies after him, oxTitian. 
 
 Another Book. 
 
 Judas hanging upon a Tree, and his Purfe 
 hanging by him upon another Tree ; the PurTe 
 hangs as if in Imitation of the Man, and the 
 Strings as the two Legs. 
 
 Fifteen or fixteen fine Landskips. 
 
 x Another 
 
( *9 ) 
 
 Another Book . 
 
 The Bacchanale of Farnefe , but much al- AmibaU. 
 ter’d. 
 
 Bacchus upon an Elephant, and Ariadne Ditt0 - 
 Handing at a diftance on a Chariot: Several of 
 the Figures the fame as in this Story in the 
 Farnefe . 
 
 A Painter’s Head, big again as the Life. Red Ditt0 * 
 Ch. the lame manner my Father has a Imall 
 Frofile of a Half-length, Painting ; his Name 
 not known. 
 
 There are leveral other good Sketches of 
 Annibale in this Book. 
 
 The Regent’s Pi&ures. 
 
 Fir ft Apartment. 
 
 Over the two Doors two Madonnas, both Ra tf ael ** 
 of the fecond manner, but extremely fine. 
 
 Madonna and Si.Jofeph , lame manner. vino. 
 
 Preaching of St. John-, the finelHevetlaw. MoU - 
 
 St. Francis at Prayers, the other Monk, and Dominick. 
 three Angels in the Clouds ; Excellent. 
 
 The Virgin Sowing, S t.Jofeph at work, and Ann ' lhals ' 
 the young Chrift helping him to ftrike a Line. 
 
 If nothing farther was to be confider’d in a Pi- 
 <fture than the Hiftorical Truth, this might be 
 a very good one ; but there is a Choice of 
 Truth as well as of Nature : A Portrait may 
 be very Like, tho’ the Man be reprefented as 
 juft come out of his Bed, or off a Journey, but 
 luch a Choice would be certainly wrong. The 
 Humility and Poverty of our Lord’s Circum- 
 ftances, which the Golpel lets forth in order 
 
 C z to 
 
Rajfaele. 
 
 Titian. 
 
 L. Caratts. 
 
 Called Raffa- 
 ele , Doubttul. 
 
 Giorgion. 
 
 Allani. 
 
 Annibale. 
 
 Correggio. 
 
 ( io ) 
 
 10 excite proper Sentiments in Us, ought alia 
 to appear in Painting ; but the Rules of the Art 
 forbid what is too Low, and V ulgar . Pairiters 
 indeed oftner err in the Other Extreme ; That 
 is no Excufe howler for a Fault on This fide. 
 
 The St.John in theWildernefs, big as the 
 Life, vaft great Style. Ilook’d uponitanHour: 
 ’tis colour’d like Titian, or Correggio. There 
 is a Wood Print of it. 
 
 (Another of thefe is in the Great Duke’s Col- 
 lection a t. Florence-, Which is beft they dif- 
 pute.) 
 
 Ariadne, and Ter feus, as big as the Life, 
 his very beft manner : Colour’d "as fine as pof- 
 fible. 
 
 Holy F amily, and St .Katharine afleep ; Ex- 
 cellent. 
 
 Holy Family, Size of a Half-length; Deli- 
 cious! 
 
 God the Father lupported by the four Evan- 
 gelifts ; very fine. 
 
 The Duke of Orleans, of which my Father 
 has the Copy, by Bologne I’Aine , the lame 
 Size, and finely Copy’d. 
 
 The Virgin warning Clothes, and Angels 
 drying them as they fly about in the Air. St. 
 Jofefh is plucking Fruit for the little Chrift. 
 An Excellent Picture, tho’ theThoughtisodd. 
 
 Diana, and the Nymphs with Calif o. 
 
 The Madonna with her Face put to the 
 Child’s : A Print of this. ’Tis a moft celebra- 
 ted Picture here ; Doubtful. 
 
 The 
 
( 21 ) 
 
 The Cabinet of the Te How Bed. 
 
 A Woman reading to her Mother, while the Rembrandt. 
 Old Woman nods in rocking the Cradle where 
 her Grandchild fleeps : The fame Size as the 
 fmifh’d Drawing my Father has, and exactly 
 the fame, as far as a Drawing and Picture can 
 be. All the good Properties of a Pi&ure (of 
 this Subject) are here in a very high Degree, 
 and fome as high as one can conceive ’tis pof- 
 fible to raife them. They are plain People, and 
 in a Cottage ; and Nature, and Humour muft 
 be inflead of Grace, and Greatnefs ; the Ex- 
 preffion is exquifite ; the Colouring warm, and 
 tranfparent; a vaft number of Parts put toge- 
 ther with the utmofl Harmony ; and for the 
 Clair-Obfcure it may (land in Competition 
 with the Not te of Correggio , or any other Pi- 
 cture. 
 
 In a Salon. 
 
 Over the Chimney, YAngCharlesl. and his ran Dyck. 
 Family. 
 
 Mars and Venus with Cufiid^ all Naked, cangiafii. 
 Extremely good , and well enough Colour'd ; 
 and there appears nothing of the Squaring that 
 is feen in his Drawings. 
 
 Landskip with a Bark. Annibale . 
 
 Portrait of a Man in Armour ; great as Ti- Rubens . 
 tian . 
 
 The next Chamber. 
 
 Beheading of St-John^hvg as the Life, feven Guide, 
 Fig. a prodigious fine Picture. 
 
 C 3 In 
 
In another Room. 
 
 The feven Sacraments in his Strongeft, 
 Warmeft, Bell Manner ; the Expreflion very 
 good: but thole of Cav.Tozzo, tho’ Inferior 
 in other Relpe&s, are rather Better in this. 
 Perfectly well preferv’d. 
 
 Here are other fine Things of this Mailer, 
 &c. 
 
 The Gallery ^/Luxemburg. 
 
 The Hiltory of Mary of Medicis by Ru- 
 bens, is fo well known by the Prints and other- 
 wile, that a particularDefcription is unnecef- 
 fary. Thefe Pictures are about ten Foot high, 
 fome more ; Figures as big as the Life. The 
 Colouring is of the Belt of this Mailer, and 
 holds well ; only they are not lo well Pre- 
 ferv’d as one would wilh, the R ain having got 
 in, and ran down, and left its Marks on the 
 Pictures ; for they are painted on the Walls 
 at the ends, and between the Windows on 
 bothfides of the Gallery ; which has the other 
 Furniture jult as it was in the time of the 
 Queen who built it. 
 
 FOVNTAINBLEAV . 
 
 Thele famous Works of this Mailer are al- 
 moll lpoifd ; the Colours off in a great mea- 
 lure, and the reft in many places hardly Vifi- 
 ble. There appears however fomething of that 
 Gentilenels which was the Charadler of 'Pri- 
 maticcio ; but the Colouring Blackilh, Bricky, 
 and Difagreeable. 
 
 There 
 
( n ) 
 
 Here are feveral Courts adorn’d all round 
 with Antiques, tho’none particularly remark- 
 able. 
 
 MILAN. 
 
 The Monaftry of the Dominicans. 
 
 In theRefedory over a very high Door, is tion.dav'm 
 the famous Pidure of the Laft Supper, Figures 
 as big as the Life ; it is excefTively ruin’d, and 
 all the Apoftles on the Right-hand of the 
 Chrift are entirely defaced; the Chrift and 
 thofe on his Left hand appear pretty plain, 
 but the Colours are quite faded, and in feveral 
 Places only the bare Wall is left; that which 
 is next but one to the Chr if is the beft prefer- 
 ved,(he that erodes hisHandsupon his Bread) 
 and has a marvellous Expreffion, much ftron- 
 ger than I have feen in any of the Drawings 
 Armenini (who wrote about the Year 1580) 
 fays, this Pidure was half fpoil’d in his time 
 That Story of the Head of the Chrift being left 
 unfinifh’d, Lionardo conceiving it impoffible 
 for him to reach his Own Idea is certainly falfo, 
 becaufe one part of that Head which remains 
 entire is highly finifh’d in his uiiial manner. 
 
 They have nail’d the Emperor’s Arms over the 
 Chrift § Head fo low that it almoft touches 
 his Hair, and hides a great part of the Pidure. 
 
 Ambrofian Library. 
 
 "Drawings belonging the Academy of 
 Tainting. 
 
 The famous Book of Mechanicks; the Dr. Dim. 
 are patted upon large Imperial Paper ; there 
 
 C 4 are 
 
Liotoa'hlo. 
 
 Bern. Lou'tno, 
 Ditto. 
 
 Gir. da Carpi. 
 
 Parmeggtano. 
 
 Torino. 
 
 Raffaele-Age. 
 
 Raffag'e. 
 
 Taccic. 
 
 Pordenonc. 
 
 An. Ton tan a, 
 [thus writ- 
 ten on.] 
 
 Mich. Article, 
 
 { 2 4 ) 
 
 arc 399 Leaves, and 175*0 Drawings, all un- 
 doubted Originals, with Remarks and Expla- 
 nations, writ with his Left-hand backward, 
 but which one reads eafilwwith a Glals they 
 have for that purpofe : The Hand throughout 
 is the fame exactly as that on a Drawing my 
 Father has of him. 
 
 Another Book confifts chiefly of Caricatu - 
 raes , or Droll-heads. I believe near 200, a- 
 mongft which a very fine one of Artus*> with 
 the lame Account under it as Father Reft a’ s 
 on the Drawing my Father has. Cav.Bened, 
 Luti at Rome has one or two oiArtus, the 
 lame Face, but all are in different Attitudes. 
 
 Here are five other Books of well chofen 
 excellent Drawings, the Principal, or moft re- 
 markable of which are 
 
 Three Boys, fine, like Leonardo. 
 
 A Head upon redPaper, fameTafte. 
 
 Several Figures after Mich. Angelo exqui- 
 fite. 
 
 A Woman highly finifli’d, neat Pen, red Ink. 
 
 A Figure, fine. 
 
 Virgin in the Clouds and two Saints; Pen, 
 Walh.Wh. Admirable. 
 
 St. George, Bl.Ch. 
 
 Three Figures, fine. 
 
 Fortune mowing the way to Hercules ; the 
 fameDefign my Father has. 
 
 Several Figures in a Vineyard ; he man pro- 
 pria de Mejfter Anihal Fontana int agitato 
 in Grift alio* Very good Pen. 
 
 Two Figures, Reed Pen, very fine. 
 
 Marriage 
 
( M ) 
 
 Marriage of SS. Jofeph and Mary, feveral Correggio* 
 other Fig. ChiaroScuro , fomething heavy, but 
 however very fine; one Foot and a quarter 
 long, and three quarters broad. 
 
 Dividing the Country by Lot; there is Jo- Raffaeie or his 
 Jhua fitting, his Hand under his Chin, the High Schooi * 
 Pried by him; a young Figure taking Lots out 
 of a Jar, &c. as in the Bible; Pen, Waili and 
 White. Afcrib’d to Rajfaele. 
 
 Circumcifion, very fine. Bo 
 
 The c Pifiina Mirahilis^ the fame my Fa- ugo da carpi. 
 ther has, which is alfo afcrib’d to this Mailer. 
 
 Pope giving his Bleffing to a Young Man ; p *i- da Mod . 
 feveral Figures, fine. 
 
 A FrizeafterPfl/i^r^where they are carry- Ban. Francs. 
 ing theBarrels : Innumerable Figures, Capital. 
 
 Play of Boys and Goat. [P el. Modena ©i pd. da Mod. 
 Conpagnia^ lo written on the Drawing in an 
 old Hand.] 
 
 Two Heads, ancient manner, like L. da Vin- Cri fcf er g 
 ci , a little hard, but good: underwritten di 
 Crijiofero Scultore detto il Gohho. 
 
 A fine Figure. Barocdo. 
 
 Another. M^ich.Ancdh 
 
 Ritratto di Franc' Melzo, [lb written] l. da vinci. 
 Prof, red Ch. fame manner as a Prof my Fa- 
 ther has. 
 
 A Woman’s Head, big as the Life; Bl.Lead Dltt0 > 
 Pencil, Bl.Pap. highly finilh’d. 
 
 More fine Heads ; amongd which a mod %***- 
 noble one of an Old Man. 
 
 Rjyche and the Eagle. Giulio. 
 
 A Head, Bl.Ch. as good as Mich . Angela ; c.rifiofero. 
 Written Criftofero Sol . . Gobbo Scultore. 
 
 A Head, 
 
Leonardo. 
 
 Parmeggtano. 
 
 Rafaele. 
 
 B. Franco. 
 Rafaele. 
 
 Parmeggtano. 
 
 Correggio. 
 
 Ber. Catnpi. 
 
 Titian. 
 
 Parmeggiano. 
 
 B. Band. 
 
 Fr. B del 
 P'tomb. 
 
 G. Romano. 
 
 A. del Sarto. 
 A. Mantegna. 
 Fr. Bartol. 
 Giulio. 
 
 Ditto. 
 
 Ditto . 
 
 Ditto. 
 
 ( i* ) 
 
 A Head, Bl.Ch. prodigioully fine, highly fi- 
 nilh’d. 
 
 A Figure a Foot long, RedCh. fine. 
 
 Ganymede pouring our, the lame Figure as in 
 theFeaft of the Gods. Origin i' mo z RedCh. 
 
 A Capital Drawing. 
 
 Two Figures on Horfeback,fecond manner; 
 Pen andWalh Divine. 
 
 A moll Capital Drawing, nine Figures; un- 
 known Story. B1 . Pap. W alh and W h . 
 
 Chriji in the Manger; fine Clair Obfc. Pen, 
 Walh,Wh. Divine. 
 
 St.John in the Wildernefs, one Foot and a 
 half long. 
 
 FineLandskip. 
 
 Fine Drawing. 
 
 Three Graces; Gentile. 
 
 Ritratto di Mercant 0 Colonna , Bl. and Red 
 Ch. bigger than the Life ; Exquifite! 
 
 A Bottle with a Handle to it ; the large part 
 of the Bottle is the Belly of aTurk; the Head 
 exquifite. 
 
 Two Figures, Bl.Ch. Admirable. 
 
 Copy of the Bark of Giotto. 
 
 Monk's Head ; the bell I ever law of him. 
 
 Continence of Scipio. 
 
 Another Drawing. Both the fame manner 
 as the Zeleuchus my Father has; exquifite. 
 
 Several Boys in an Ornament ; fine. 
 
 Two Angels a Foot long, Bl.Pap. Pen and 
 Waft; fine. 
 
 Several Old Drawings, and others, but none 
 befides thele very considerable. 
 
 ‘Paintings 
 
( *7 ) 
 
 t Paintings belonging to the Academy , and in 
 the Room next to the Library, 
 
 Duchefs of Milan ; Prof, fine. 
 
 Six fine Pictures. 
 
 Several Pictures. 
 
 A Canon of Fifa ; Bellijfimo. Though 
 there is a Beauty in the Tout-enfemble of the 
 Hiftory-Picftures of Andrea , and a certain 
 Grace in his Figures, yet not having a remark- 
 ably Good Expreflion, and fuch a Modern 
 Talte, particularly in his Draperies, it were to 
 be wilh’d he had apply'd himfelf moretoi?//- 
 rattoes , for which Nature feems to have de- 
 fign’d him. 
 
 Prodigal Son and his Father; goodTafte. 
 
 The famous Picture of Chriji walhing his 
 Difciples Feet, which they lay was begun by 
 Ferino , and finifh’d by Rajfaele. Figures as 
 big as the Life. It is very good ; but I am a- 
 fraid ’tis not of Rajfaele. 
 
 Virgin adoring Chriji \ Exquifite. 
 
 A Capital Picture. 
 
 A Portrait : Fides Gallicia Virgo pudicijji- 
 ma<> JEt. 1 8 . opus hoc Frat. Fault Morigii ji- 
 mulacrum An. 7 z. grati animi ergo ajfnxit , 
 An. 1 5'9<5. Nature! Admirable! 
 
 Virgin Mary y Head and Hands big as Life; 
 neat, and goodTafte. 
 
 Giorgion Singing, and other Muficians. 
 
 Drawings. 
 
 Three Drawings in one Frame, viz. 
 
 Feaft. 
 
 Three Figures, fine. 
 
 L. da Vinci : 
 Brenghel . 
 
 Louino. 
 
 A. del Sarto . 
 
 Cav.delCairo , 
 
 Rajfaele , fo 
 faid to be. 
 
 F. Barrocci. 
 
 A. Mantegna, 
 Bed. Gallicia.. 
 
 Scipio Gaeun* 
 Giorgion . 
 
 Giulio. 
 
 P. Veron . 
 
 A fine 
 
yllb. Durer. 
 
 JBaroccto. 
 
 Gio. Batt. del 
 Cane» 
 
 Luc.Oland . 
 
 Rafaele. 
 
 P. perugino. 
 
 Correggio. 
 
 ( ) 
 
 A fine Drawing. 
 
 Two finePaftiles. 
 
 A Drawing in a Frame and Glafs ; (with a 
 Dog at the bottom of it, which they fay he al- 
 ways put in his Pictures,) ’tis of a very good 
 Tafte, and feems to be of the School of Raf 
 faele . 
 
 Several Drawings uponGlals. 
 
 In the next Room. 
 
 Gafts of all the bed Antique Statues. 
 
 The Carton for the School of Athens^ Bl. 
 Ch. I believe ’tis right : It was at fo great adi- 
 flance that I could not be Certain, but I think 
 I had never feen any thing finer : Tis pretty 
 well preferv’d. 
 
 ]3y it is another large Carton; GreatTafte, 
 and not Stiff 
 
 MODENA. 
 
 In the Church of St. Margaret of the Corde- 
 liers. 
 
 On the Right-hand of the Altar of this 
 Church is an Opening as into a Room, which 
 if you would go into , you muft climb as at a 
 Window; for this Room is but to be Look’d 
 into. 
 
 Here is the Virgin fupported by the three 
 Mary's at the foot of the Crucifix betw een the 
 two Thieves in Terra Cotta , (See Vzdriani.) 
 Thefe Figures are made, and beautifully co- 
 lour’d in their proper Colours by Correggio 
 himfelf, as feme of the Ancients are laid to 
 have painted their Statues. They are rnarvel- 
 kmfly fine, The 
 
( *9 ) 
 
 The Crucifix and Thieves, and feveral of Btgdrelli. 
 the Apoftles which are here alfo are of Terra 
 Cotta, and painted ; thefe are of Be gave lit . 
 
 BIACENZA. 
 
 In the Church of the Benedictines. 
 
 A Madonna . Rtffaeie. 
 
 BARM A. 
 
 The Dome, where is the famous Cupola of Correggio. 
 Correggio , is as bigas St. Raul sin London: 
 
 This Cupola is fo high that ’tis difficult to fee 
 it very exactly. The Virgin is about the Cen- 
 tre of it, and fomething damaged ; the reft is 
 well preferv’d, and the Colours very beau- 
 tiful. The Heaven is a’ top, the Apoftolick Fi- 
 gures round the bottom of the Cupola ; and as 
 ’tis fupported by four Pillars which are join’d 
 by Arches, thefe make Angles, in which (as I 
 remember) are painted the four Saints with 
 Angels in the Clouds. One of thefe (the Saint 
 John) my Father has the Drawing of, and the 
 Drawings of half, if not two third parts of the 
 Cupola ; and of the Principal Figure, the Vir- 
 gin, two in different At tituaes; one of which 
 is that he refolv’d on. He has alfo fomeofthe 
 Apoftolick Figures at the bottom looking up. 
 
 The Ornaments round the Cupola have not 
 been Grav’d, where there are Angels, amongft 
 which two or three are of the Hand of Cor - 
 reggio , which are comparable to the fineft 
 Greek Antiques \ the Marble is imitated with- 
 out Blacknefs in the Shadows, and with great 
 Tendernefs, 
 
 The 
 
Partneggiano. 
 
 Rajfaele. 
 
 Ditto, 
 
 Jigojl. Carr . 
 Guido. 
 
 ( 3 ° ) 
 
 The others are by Tarmeggiano , and are 
 Dry, compar’d with thofe of Correggio. 
 
 Monfieur Crozat ' s MS. 
 
 This Cupola being printed, is well known 
 as to thofe Particulars of which Prints can in- 
 form us. ’Tis famous among!! other things for 
 the fore-lhortnings of the Figures, fome of 
 which are indeed Extravagant, and Ungraceful; 
 the Principal of them the Blefled Virgin was 
 once| fo defign’d ; the Drawing of it is one 
 of tht>le I Ipoke of juft now : But neverthelefs 
 that Beautiful Colouring, thole J oyous Counte- 
 nances; that Angelical Air thatfhines through 
 whatever Defedts may otherwife be found in 
 this great Man’s Works, is what Gave, and will 
 Preferve their Sublime Character. 
 
 BOLOGNA. 
 
 In the Palace Bonfiglioli. 
 
 Drawings. 
 
 The Drawings here mention’d are lbme 6f 
 thofe in Frames and Glafles hung in the Apart- 
 ments ; Signior Bonfiglioli has many more in 
 Books, but he being out of Town, I loft the 
 Sight of them. 
 
 Slaughter of the Innocents, firft lightly 
 sketch’d out in Bl.Ch. and then finilh’d. 
 
 Several Figures in Red Ch. manner of my 
 F ather’s Zoroafier. 
 
 Two fine Heads, one of them his own Pi- 
 cture, which is the fame my Father has, and 
 Mr. Flinch, and others have, and which is al- 
 ways call’d the Gobbo . 
 
 A fine Drawing. 
 
 Another, 
 
( ) 
 
 Another. 
 
 Feed my Sheep, an Excellent Defigndfi&s^ 
 faele\ Sketch Red Ch. manner of the Baptilin 
 my Father has. 
 
 Holy Family, a moft prodigious fine Draw- 
 ing! large Bl. Ch. heightned. Bl.Pap. 
 
 Bolyphemus , much theTafte of Mich. An- 
 gelo. 
 
 YintCaricatura of Women. 
 
 Woman, Head Prof, with a Helmet, odd ; 
 Reed,Pen,feemsto be one of the Orlando Fit- 
 riofos . 
 
 Madonna , Bl . and Red ; ( T)iviniJJimo. 
 
 Two or three fine Acad. Figures. 
 
 Eight Prodigious fine Heads, Red and Bl.Ch. 
 bigger than the Life. 
 
 Madonna . , fine Drawing. 
 
 Five other fuch Heads as above. 
 
 Madonna , noble. 
 
 Landskip. 
 
 Another Room. 
 
 Madonna Lattante, half Life; Red andBL 
 Ch. Incorredt, Well prefer v’d, Divine! A Car- 
 ton Drawing in aGlafs. 
 
 St .John, two Foot and a half fquare. 
 
 Fine Madonna , two Angels holding a Crown 
 over her Head ; Drapery confufed, one Foot 
 and a half long, a Foot broad. 
 
 Five Figures and a Cradle; two pointing up 
 to a Boy lying on a Ruin, Other Figures in the 
 Sky, the lame as one Dr .Mead has of this Ma- 
 tter, and that of Biaggio Bolog . my Father 
 has. 
 
 Annibale. 
 
 Rajfuele. 
 
 Annibale . 
 Baccio% 
 
 Annibale. 
 Mich. Angelo, 
 
 Annibale . 
 Ditto. 
 
 Ditto . 
 
 Parmeggiano , 
 Annibale. 
 Guido . 
 
 Annibale . 
 Correggio . 
 
 Ditto . 
 
 Guido. 
 
 Gtiilio. 
 
 Ahrahatrt 
 
Rajftiele. 
 
 Annibale . 
 Ditto. 
 
 Ditto . 
 
 Ditto . 
 
 Ditto. 
 
 L. Carr. 
 
 Batt. Franco. 
 Parmewiano. 
 
 Lod. Car. 
 Nice. Abb ate. 
 
 ( 3 1 ) 
 
 Abraham offering lfaac\ Angel bringing 
 down the Lamb, manner of Jto/T before 
 
 (my Father’s) fomething different from 
 the Print. 
 
 Slaughter of the Innocents ; Pen,Wafh.Wh. 
 
 The" Defign for the Triumph of Bacchus , 
 sketch’d,and fhadow’d withBl.Ch. and the Out- 
 line mark’d with a large Pen ; five Foot long. 
 
 Denying of Chriji by St. Beter , feveral Fi- 
 gures ; the manner of the Prodigal Son my Fa- 
 ther has. 
 
 Circumcifion, ftill nearer to the manner of 
 the Prodigal Son, and the very fame Poverty 
 in fome Parts, both are undoubted. 
 
 Two fine Heads, larger than the Life, Red 
 Ch. 
 
 Madonna , and St. Katharine. 
 
 Martyrdom of St. Urfula^ and nooo Vir- 
 gins; fine. 
 
 Another Room . 
 
 Valeria , &c. coming in the Camp to Corio- 
 lanus ; a Prize two Foot long, call’d her zBoli- 
 dore> but ’tis after him ; fine. 
 
 School of Athens.) moft exquifitely copy’d, 
 and perfectly well preferv’d : Pen, Walk one 
 Foot and a half long, one Foot broad : ’tis in 
 the fame manner, lightly touch’d with a fmall 
 Pen, as the V ? nus , Mars , &c. which my Fa- 
 ther has. 
 
 Nativity of St .John Baptift, Bl.Pen, Walk 
 Height. ImallPen. 
 
 Ornament. Women, the manner as my Fa- 
 ther’s yellowilliTint of this Mailer. 
 
 4 A fine 
 
* ( 33 ) 
 
 A fine Ripofo, St. Jofeph, and feveral An- Correggio. 
 gels. Pencil withAqitarella ofBl.Ch. 
 
 The Virgin carried to the Sepulchre, fine. l. Carr. 
 
 Another, fine, and in the middle of it ( At- Ditto, 
 taccato ) is a W oman, fine Figure. Parmeggiano. 
 
 Bacchante , and two other detach’d Figures, Ratfaele. 
 Rea.Ch. manner of my Father’s Zoroafer. 
 
 Pictures. 
 
 A Picture in Oil : On the Fore-ground is the Parmeggiano, 
 Mediation of the Sabin Women, the Men be- 
 ing engag’d in Battel with the Romans. At a 
 diftance, and (which had happen’d a good 
 while before, kcLivyJ is the Rape of the*5W- 
 bins. There is the Profile of an Old Man, of 
 which my Father has the Drawing; and the 
 three Women running away, of which he has 
 alfo the Drawing; and which is without com- 
 panion finer than in the Picture, which is not 
 agreeable. ’Tis as big, or bigger than a Half- 
 length. 
 
 A Room full of Pictures, many of themPor- Annib. 
 traits ; but thefe are in a dark, hiftorical man- 
 ner, not very proper tor Portrait-Painting. 
 
 In the Church of ^.Giouanni del Monte 
 Capella Benti vogli. 
 
 The famous St. Cecilia; Figures as big as Rajfaeie. 
 the Life, and (lands where ’twas firft placed: 
 it has never been removed fince : There is the 
 old, plain, Gold Frame, that teems to be what 
 it had at firft. ’Tis very well preterv’d, except 
 a Line of about half a Foot in breadth quite 
 crofs the Picture, overagainft the Candles which 
 
 D are 
 
( 34 ) 
 
 are light up before it during Divine Service, 
 and here the Colours are perfedtly fry’d. At 
 other times ’tis always fhut up as in a Box. It 
 is not in his laft manner (as ’twas done feve- 
 ral Years before his Death) but rather fome- 
 thing Dry and Stiffs and theTindt a little Dark. 
 ’Tis not properly a Hiftory, but the Pictures 
 of five lev eral Saints; Of thefe St. Cacilia^ St. 
 YW/, and St. Mary Magdalen^ (land next the 
 Eye ; Ihe from whom the Pidture is denomina- 
 ted in the midft ; over her Head are Angels with 
 Mufick, to which Ihe feems attentive ; thefe 
 take up but little room, and enrich theTidfure : 
 In the two Spaces between thefe three Saints, 
 come in the upper parts of S t.John, and St. 
 Anjlin. Perhaps thefe five Saints were the Pa- 
 trons of thofe for whom the Pidure was made, 
 or for whom they had a particular V eneration : 
 the Airs and Attitudes of each are Proper, and 
 Beautiful, tho’to me that of S. Cecilia is leaft 
 lb : they are all a little hard, and not elegant- 
 ly drawn ; but at a diftance they are much 
 iweeter, and the Colours are very frelh* and 
 pleafing : So that upon the whole this Pidture 
 has a certain je ne J fay quoy that puts it with 
 me on a level almoft with any, hardly except- 
 ing the Transfiguration. 
 
 I fliould have laid above, that theDefign is 
 not altogether the fame with the Print Mar - 
 cantonio has graved, nor I think fb good. 
 There is not fo much of that Noble Simplici- 
 ty, more Mufical Inftruments at the Saints 
 Feet ; the Attitudes of every one of the Fi- 
 gures are vary’d fomething : (St. Cecilia the 
 
 leaft> 
 
( 3 5 ) 
 
 leaft) the Light comes in on the other fide, &c. 
 
 My Father has a Remembrance of it by a Bad 
 Drawing. 
 
 Over againft this is the Rofary y a very Gay Dominiquin. 
 and LightfomeFidhire.. 
 
 Academia del < Difegno« 
 
 Two Rooms painted much in th z Michael Pel ‘ Ti ^ ald ^ 
 Angelo Tafte; the Colouring not confidera- 
 ble, nor the Manner agreeable ; though ’tis 
 much efteem’d here. 
 
 In another Room. 
 
 An Antique Clay ; a Bas-relief, a Model for Antiq. 
 xhzTrimalchio fupported by a Faun; the Legs 
 broke off 
 
 Falazzo Magnani . 
 
 A Frize round the Hall ; proper Colours ; not Annibale. 
 very touching. 
 
 A Cupid driving with a Satyr ; in Frefco ; Agojlino . 
 the bell I have feen of him. As fine a Tafte as 
 that of Lodouifi , or any other Antique, 
 
 Fal. San Fieri. 
 
 A Dead Chrift , the fameDefign entirely as AnnibaU. 
 that at Foggio dChiano , (of which my Father 
 lias the Drawing;) this alfo is Original. 
 
 A Play of Boys; the moft celebrated Picture Albam, 
 of this Matter in Bologna \ ’tis a finall Round: 
 there is a fine foft Sky, and a little Nymph- 
 like Figure lying along, and turning her Face 
 killing a Cupid. Thele Figures are in the Air, 
 
 But no Clouds , nor any thing elfe to lupport 
 
 D % them ; 
 
Guido, 
 
 Maflari , 
 zio, &c. 
 
 Lodouico, 
 
 ( 3 « ) 
 
 them ; but being very Light and delicate on 
 this Sky-ground, produces a lovely Effed; the 
 Landfkipis foft,and fine; the Boys throughout 
 are colour’d as well as Correggio , and unite with 
 their Ground excellently ; tho’ Albani is com- 
 monly inclin’d to a little Hardnefs and Stiff 
 nefs in that Particular. The Large Pictures of 
 this Mafter are the Reverie of his Little ones; 
 the former are ulually Black and Heavy, Hard 
 and Sti ff; whereas the other are more Soft and 
 Delicate, tho’ not to the degree of This ; for 
 even in thele the Out-lines are ulually cut a- 
 gainfl the Ground : His Pictures are bright and 
 ftrong indeed, but this Fault hurts the Eye. 
 This in particular is the Cale of ali thofe of 
 this Mafter which the King of France has. 
 
 Chiofiro di San. Michele inBofco. 
 
 St. Benedict in the Defert ; it is called La 
 Turbantina^btcmk of a Woman in the Picture 
 with a T urband, a moll graceful Air of a Head, 
 and fine Attitude, and which is one oLthe bell 
 preferv’d, as the whole Picture is of any here. 
 ’Tis in Frefco ; the Colouring probably is 
 chang’d from what it was, however that of 
 this Pidture, and in general of all in this Mo- 
 nallery, of whatever Mailer, is Ibme what Bric- 
 ky, and Thick, and confequently not agreea- 
 ble. This Pidlure was almoll perilh’d in Guido's 
 time, and reltor’d by himlelf by re-painting it, 
 as appears by anlnfcription under it. 
 
 Bri’ Moft of the Pictures painted by Majfari , 
 Brizio , &c. are entirely perilh’d : Thole by 
 Lodouico were well enough prelerv’d, as to 
 
 any 
 
.( 3? ) 
 
 any other Decay, but they are all over fcratch- 
 ed, and in Ibme places the Eyes put out, and 
 Peoples Names writ everywhere, even on the 
 Faces. The fineft of all thole of Lodouico , is 
 that of the Lafcivious Women lent by the Flo- 
 rentines to tempt the Saint in the Garden, and 
 it is the bell prelerv’d. The next to this, if it Lodouico , 
 is not as line, is the Mad Young Woman that 
 runs to find the Saint, the Exprefilon in her 
 Face is wonderful. 
 
 That of Majfari, when the dead Nuns come Ma Jl ari - 
 out of their Tombs to hearMafs, is I think as 
 fine as that of Guido , or any of Lodouico. 
 
 Moft of the other Pictures are fo perifh’d, 
 that one cannot tell what elle to fay of them. 
 
 There is a Book of the Prints of all thele 
 Works. 
 
 I will on this Occafion let down an Obler- 
 vation I could not make ’till afterwards ; ’tis 
 that (generally Ipeaking) the Monks, as they 
 know very little of Pidures, they are exceed- 
 ing carelefs of them, fo that thofe that are in 
 Monafteries are for the moft part horridly ill 
 us’d. Another piece of Gothicifm I muft not 
 omit, which is, that ’tis very common in Ita- 
 ly to lee a finePidure of the Bleffed Virgin cut 
 to let in a Glaring, Tinfel Crown over her 
 Head to attrad the Eyes of filly People, even 
 though a Crown had been already painted ; 
 
 Thus I have feen the Arms of a God the Fa- 
 ther, and zChriJithux. were crowning the Vir- 
 gin half cut ofl^ to make room for a vaft great 
 Crown of this foolilh kind. 
 
Carlo Cipria- 
 ni. 
 
 Guercino. 
 
 Lodouico. 
 J go {line . 
 
 Eli/. Sirani. 
 
 Gio. And. Si- 
 rani 
 
 Lodouico. 
 
 { 38 ) 
 
 In the Church . 
 
 Fine Boys fupporting Cartels; Bright Co- 
 louring, and a Noble Style. 
 
 CERTOSA. 
 
 St. Bruno upon his Knees, with the Virgin 
 above ; ’tis a fine Picture. 
 
 Chriji Crown’d with Thorns, and Scourg’d. 
 
 On the great Altar ; the famous Communion 
 of St. Jerome . My Father has a Drawing of 
 this in the manner of Guido , if ’tis not of him. 
 There is alfb aPrint of it: the Figures, are big- 
 ger than the Life, the Colouring dark, but good ; 
 ’tis finely Painted, and has great Force. One 
 Thought I cannot but take notice of, as parti- 
 cularly pleafing me, becaufe ’tis not only Good, 
 but not fo Obvious as thofe EfTential to the 
 Story : A Monk hides himlelf behind other 
 Figures, and is writing the Laft Dying Words 
 of the Saint. This finely expreftes the Regard 
 had to him, and the Importance of the thing. 
 
 On the Sides, over againft one another, are 
 two Pictures. 
 
 One the Baptiftn in Jordan^ by Elifabett a 
 Sirani ; and the other, the Laft Supper, by her 
 Father. Her’s is a ftrong Manner, fomething 
 Dark, and in Spots, but lome good Airs, and 
 Attitudes. His is better. 
 
 In one of the pri vate Chapels . 
 
 The noble Preaching of St .John in the Wil- 
 dernefs : this was done prefently after that of 
 the Communion of St. Jerome by Agoftino^ 
 
 and 
 
( 39 ) 
 
 and in a kind of ‘Pique for the great Praife he 
 had got. 
 
 Affine Picture of the Refurre&ion begun by Gegi. 
 
 Gejfih and finilh’d by Albani. Aibam. 
 
 In the Infirmary . 
 
 Over the Door a wEcceHomo. Annibale. 
 
 S. GIORGIO . 
 
 The Baptifm of Chrifi , with th ePadreE- Albani. 
 term above , fiirrounded with Angels ; a fa- 
 mous Picture; ’tis very Black. Indeed ’tis not 
 in a good Light. However I think his Large 
 Works are not his Bell. 
 
 The Annunciation, a moil Beautiful Picture, loAohko \ 
 though Dark. 
 
 [Almoft all the Pictures of th eCaracci are 
 Dark.] 
 
 TheVirgin with the Chrifi , which a little St. Annibale , 
 John embraces with great Tendernefs, and a 
 St. Katharine ; a molt excellent Pi&ure. 
 
 A fine Prafiepe in Frefico , a Noble, Bold carlo Cigna 
 manner, and Bright Colouring, which is the nit 
 general Chara&er of his Pictures. 
 
 The Baptifm of Chrifi , with God the Father Annibale . 
 above, fiirrounded with Angels. 'Tis the firft 
 of his Works in which he was afiifted by Lo- 
 douico : A Noble Compofition, and well Co- 
 lour'd. 
 
 St George and the Dragon, with St. Michael Lodouico. 
 falling upon the Rebel Archangels, and God 
 the Father above in the Clouds : A moft Mi- 
 raculous Pidture! But the Lady that flies in a 
 Fright has the moft Noble and Gentile Atti 
 
 D 4 tud? 
 
( 4 ° ) 
 
 tude imaginable ; drefs’d all in White. In this 
 Picture are two feveral Subjects, but fubordi- 
 nately managed ; that of St.Georgeis the Prin- 
 cipal apparently, and of That the Lady is upon 
 the Fore ground, and immediately commands 
 your Attention ; Ihe (as I laid) runs away, Ihe 
 is in a fright, her Back is towards you, but her 
 Head turning over her Shoulder, Ihows a Pro- 
 file exquifiteTy beautiful , and with a fine Ex- 
 preffion. The Figures are as big, or bigger 
 than the Life, and confequendy ’tis a very 
 large Picture. 
 
 There are feveral great Examples of this 
 Doubling the Aflion in a Picture ; as that of 
 the Mediation of the Sabin Women, and the 
 Rape, which was a great while after, by Tar- 
 meggiano before fpoken of ; feveral parts of 
 the Story of the Prodigal Son I have feen in 
 one Picture by Titian ; and of Jofeph in one 
 of Andrea del Sarto ; even the famous Tranl- 
 figuration by Raffaele , and the Delivery of 
 S t.Teter of the lame great Mailer, are of this 
 Kind; but this of Loaoiiico is the mod remark- 
 ably Licentious in this Particular of any I re- 
 member to have feen. Some Reafons there 
 might be for thus breaking the Unity of Time 
 and Adlion, but none can juftify it in Gene- 
 ral, for Ms certainly choqing ; ’tis like hear- 
 ing two People talk to you at once ; it di- 
 videsthe Attention, and takes off much of the 
 Plealiire to be had from a Pi&ure, by a fort of 
 Perplexity this mull neceffarily occafion. 
 
 I he St Gugltelmo ; prodigioully ftrong, and 
 finely colour’d, (the Lights) but the Shadows 
 
( 4 1 ) 
 
 are gone Black ; perhaps they were too much 
 fo at firft. ’Tis a vaftly large Picture, my Fa- 
 ther has the Drawing of the upper part of it; 
 where is a Madonna. , Angels, &c. 
 
 The Capuchins on the top of the Mountain 
 beyond St. Mich. in Bofco. 
 
 One goes alcending from Bologna to the 
 Monaftry of St .Michael through a fine Wood, 
 where one commonly fees a Monk or two 
 reading, or at Prayers, or bolting out of a 
 Thicket. The Capuchins is ftill higher, and 
 the Prolped nobler ; for from their Garden is 
 feen all the flat Country of Bologna that looks 
 like a Sea, and the City appears almoft under 
 you. The whole Country is fcatter’d with lit- 
 tle Towns and Villages, and the Prolped: ter- 
 minates with the Mediterranean. 
 
 Here is the famous Crucifix, one of themoft Guldo * 
 fo of any in thisWorld ; there is only the Chrifl , 
 the Virgin, and St.John , which lafl: is a mod 
 celebrated Figure, and much the fame as one 
 of Ago ft mo Caracci , of which my Father has 
 a Drawing. ’Tis in a Sacrifty behind the 
 Church, the Figures as big as the Life. There 
 is a proper Solemnity in the General Tind of 
 the Pidure ; but withal a Brightnels, Strength, 
 and Beauty in Perfedion. The Body of the 
 Chrift has a moll exquifite Sweep, and the St. 
 
 John looks up upon him with an Air, and At- 
 titude of Sorrow, as fine as can polfibly be 
 imagined. 
 
 F L O- 
 
( 4 * ) 
 
 FLORENCE. 
 
 The Home. 
 
 SanTta Maria del Fiore ; this Church is 
 half as big again as St. Haul's in London , as 
 Galileo the Great Dukes’s Architect allured 
 me, having theMeafures of both. The Cupola 
 built by Filippo di SerBrunelefchi is the lar* 
 geft, and the utmoft Stretch of Art in its kind 
 that ever has been produced in the World 
 f. zuccaro . ’Tis painted by Freaerico Zuccaro , of whom 
 my Father has the Drawing of three of theDi- 
 vifions, the whole being divided into eight : 
 The Thought is fine, and given him (as ’tis 
 laid) by one H. Vincenzio Borghini : On the 
 top in each Divifion are Angels, w ith fome of 
 the Inftruments of the Paffion, and a Heaven 
 at a diftance, as well as near the Eye, where 
 fit Saints remarkable for certain Virtues ; over 
 their Heads is held by Angels Books open , 
 which may be fuppoled to be the Records of 
 their Good Works ; under thefe Saints fit three 
 Figures reprefenting the feveral Virtues; un- 
 der thefe, and at the bottom of the Cupola, are 
 the Damn’d Tormented according to their fe- 
 veral Vices, feverally reprefented by lome 
 Beaft, or Monfter ; and over their Heads an 
 open Book is alfo held, but by Devils, their Ac- 
 enters : there are more Figures about theCir- 
 vafari. cie of the Lantern by Giorgio Vafari. The 
 Cupola is fomething Dark, and the Painting 
 not very Touching. The Tribunal is a large 
 Chapel in the midft of the Church , built of 
 Marble, and adorn’d all round with Bas-reliefs 
 
 of 
 
( 43 ) 
 
 ofalmoft all the old Florentine Mailers, 'Do- 
 natello, Brunelefiki , &c. ’tis Multangular, 
 
 The Sculptures are only of one Figure, but al- 
 moft every one by a different Hand. At the 
 Head of this Tribunal is the High Altar, with 
 God the Father holding a Dead Chriji , larger 
 than the Life, of Baccio Bandinelli ; and oe- b. BandineM . 
 hind the Altar is his famous Adam and Eve ; 
 fhe is taller than her Hufband. There are 
 many more Statues and Paintings in this 
 Church. I was particularly plealed with Dan- 
 te's Picture done by Andr. Orgagna ; he is Andr - °n a £- 
 reading, and walking in the Fields by his own na ' 
 
 Houfe, a View of Florence at a diftance ; ex- 
 tremely well preferv’d,and of a lively Colour- 
 ing. 1 believe this is the moft Authentic Por- 
 trait of that Poet, and has entirely the fame 
 Face as the Drawing my Father has. TheBap- 
 tiftery was a Temple of Mars , now ’tis dedi- 
 cated to St. John Baptifl. Here are the fa- 
 mous Gates of LorenzoGhiberti , which Mi - Lorenzo Ghi - 
 chael Angelo laid deferv’d to be the Gates of bertL 
 Paradife. The Church has three Entrances, 
 the Gates of the Principal of thefe were made 
 by AndreaTifano : Lorenzo was afterwards And.pifano. 
 employ’d to make thofe for another ; and 
 laftly, thofe of Andre a were remov’d to make 
 room for others, by Lorenzo : they are very 
 large, all of Brafs, of a very high Relief; feme 
 of the Principal Figures being almoft round: 
 theBrafe is almoft turn’d blackifli, excepting 
 where it has been accidentally rubb’d, as be- 
 low, where Peoples Clothes are continually 
 brulhing againft it. The Gates of Andrea are 
 3 in 
 
( 44 ) 
 
 in the Gothic Style of his time ; but the other 
 are of a much better Tafte than one would ex- 
 ped to find in a Work ioo Years before Raft 
 faele . There is a little Gothicifm in the Dra- 
 peries, but the Naked has aBeauty and Excel- 
 lency like the Antique, not much Inferior to 
 Mich. An g? lorn Any thing, and of a Purer and 
 more Pieafmg Style : One Pair of thefe Gates 
 is divided into 20 Squares, in each of which is 
 aHiftory of our Saviour, with Ornaments and 
 Borders round them ; and at the bottom the 
 four Evangelifts, and the four Dodors of the 
 Church : the other, and which was the laft 
 done, is divided into ten Squares, in each of 
 which is four Stories of the Old Teftament, 
 relating however to one another. The Borders 
 of thefe are full of Figures, and Ornaments, and 
 more Rich than thole of the other Gates. See 
 farther in Vaftari , and Cine 11 'u, which laft Wri- 
 ter fays, and I think with Reafon, E di vero 
 quefte due Porte di Lorenzo fe ft vedefftero 
 di rado , e non ad ogni ora , come avviene , egli 
 non hd dubbio che non foffero a ragione tra 
 le piu pregiate maraviglie del mondo anno - 
 iterate. Thefe Gates were made in Imitation 
 of thofe ancient ones of the Dome of ‘Pi fa of 
 RonannoPiftano^ though the Work of thofe is 
 extremely rude and Gothic ; It appears by the 
 Infcription that thefe were made in one Year, 
 a jiz. 1180. 
 
 The Great Duke's Gallery. 
 
 ’Tison the upper Floor of the Palace, avail 
 Height from the Ground; very light, Win- 
 dows on both Tides in fome parts. 
 
 'Julius 
 
( 45 ) 
 
 Julius Ca far ; Brafs. - 4 
 
 Agrififa. 
 
 Seneca ; wants the Nofe. 
 
 Cicero. j> ^ ue 
 
 Otho, wants theNofe. Rare,becaufe there ' u s ‘ 
 are very few of him, and thofe as this, not 
 good, being all done in the Provinces. j 
 
 Bacchus , the Statue which Mich. Angelo Mick Ang . 
 made in Concurrence with that fine Antique 
 one which Hands near it, and then broke off 
 the Hand, and pretended it to be an Antique 
 juft dug up ; one fees evidently where ’tis fa- 
 tten’d on : there is a Faun behind him in a fine 
 Attitude eating Grapes : both are Drunk, ’tis 
 I feen in their Faces, and all their Limbs. This 
 Group is of a very excellent Gout , but differs 
 from the other as Mafculine does from Femi- 
 nine, for This is Mich. Angelo, and That has 
 all the Delicacy of the famous Venus, as a Bac- 
 chus ought to have. Bifcop has given us a 
 Print of this Statue of Mich. Angelo in three 
 feveral Views. N°. 52, 53, 54. 
 
 The Antique Bacchus is Handing, about as The follow- 
 big again as the Life, as that of Mich. Angelo J?® An ~ 
 is : He holds a Cup in his Left-hand, and leans 
 upon a Young Faun who kneels, and turns al- 
 moft backward, looking up in his Face. The 
 Drawing of Raffaele my Father has, and 
 which he made a little St. John of, is this ve- 
 ry Head. This Groupe is the beft I think in 
 the Gallery, and the neareft inTafte and Deli- 
 cacy to the Venus of Medicis. 
 
 Hadrian , 
 
Lorenzo Ghi- 
 berti, 
 
 ( 46 ) 
 
 Hadrian , a Buft. 
 
 Gladiator ; big again as the Life ; black Stone, 
 likeTouch-ftone. 
 
 Antinous, wants the Nole, a Buft ; Divine ! 
 
 Antoni mis Pins, a Buft. 
 
 Venus and Mars, (commonly call’d Faujli- 
 na, and a Gladiator.) 
 
 Chimara, a Lyon with a Goat coming out 
 of his Back, and a Tail like a Serpenr; (what 
 remains of it, for a great part is broken off) 
 the hinder Legs have l'omething on them like 
 the Fins of a Serpent. It anfwers the Delcri- 
 ption of Homer tranflated by Aufonius. 
 
 Aroma Leo pofirema 'Draco media ip fa Chi- 
 mara. 
 
 and may be leen on leveral Corinthian Me- 
 dals of M. Aurelius and others. See V ullant 
 on the Roman Colonies. 
 
 ’Twas found in the Year x 5^48 near Arez- 
 zo, in the time of Cofimo I. and uled to be al- 
 ways in his own Chamber, as I was told by 
 Bianchi. 
 
 Cupid and BJyche, moft exquifite! only the 
 Legs and Thighs are too lhort. 
 
 Bacchus , a moft Noble Figure in Hammer’d 
 Brals, (without the Feet) it has a magnificent 
 Pedeftal, made by Lorenzo Ghiberti', with Bas- 
 reliefs upon it as fine as the Statue it felf 
 Thde Bas-reliefs are not of fo great a Relief 
 as thole of the Gates of St.John, but of a bet- 
 ter Tafte, and equal to any Antique. On one 
 fide is the Triumph of Ariadne, and on the 
 
 other. 
 
( 47 ) 
 
 other, a Sacrifice to Bacchus. On the Front is 
 this Infcription : 
 
 VT POTVI HUC VENI DELPHIS ET 
 FRATRE RELICTO. 
 
 I came here as well as I could (being 
 Drunk ) and left Delphos , and my Brother. 
 [the Apollo of the Belvedere.] 
 
 All the Ornaments about it areVine Leaves ; 
 at the Corners are Ram’s and Tyger’s Pleads, 
 and the Bacchus it felf is fupported on the 
 Back of a Tyger. 
 
 Ganymede ; Head added. This Figure is as 
 fine as the Venus of Medicis , and feems to be\ 
 F'Jelh. 
 
 Apollowith the Tripos, and Griffon upon it 
 in Bas-relief; Lyre in his Hand. 
 
 Marfas ; amazing Air of a Head, but the 
 Arms leem to be too Ihort : the Feet are 
 crack’d almoft through with Age : the Figure 
 hangs mighty weighty, and natural, and is in 
 extreme Pain from his Fingers ends to his 
 Toes. 
 
 Alexander the Great Dying ; a Buff three 
 fc times as big as the Life; Great andVaftTafte, 
 Greek : the Nole does not come ftrait down 
 from the Forehead, but the joining is much 
 fwell’d; hisMouth is a little open. He is Dy- 
 ing throughout without Agony, except what 
 thatSwelling, and a little turn of the Eyes ex- 
 prefires, which at the lame time gives a Gran- 
 deur to the Whole : ’tis of a fine Yellowiffi 
 Marble. 
 
 Tufian 
 
( 48 ) 
 
 Tufcan Orator, a great Tafte, and fine Ex- 
 preffion of Energy. The Arm that ftretches 
 out is well drawn, and eafy : there are no Eyes, 
 but Holes where they had been, probably of 
 Silver, as was ufual. Sandals upon his Feet; he 
 holds one Hand down, which is in an Action 
 as if he held Snuff between his Finger and 
 his Thumb; he has a Ring upon one of his 
 Fingers. It is hollow Brafs, and in feveral pla- 
 ces behind not broken, but rotted and decay- 
 ed by pure length of time. ’Tis certainly ve- 
 ry ancient; the Tafte though great is hard, 
 and very different from that of the Roman , 
 Greek , ^Egyptian , or any other, and is a Spe- 
 cies by it lelf, as the Habit is, and truly He- 
 trufcan : befides there are Tufcan Characters 
 upon the Fimbria of the Garment. 
 
 See Mont fa Icon. 
 
 This Figure is commonly faid to be Scipio 
 Africanus , I know not why ; nor for what 
 Reafon Others fay ? tis much more ancient 
 than the firft Foundation of Rome: ’tis hard 
 to know what was the Tafte of thofe Times; 
 neither are the Characters on the Garment an 
 Argument that ’tis Tufcan Work. 
 
 In a little Room going out of the Gallery. 
 
 Among infinite Lares , Idols, Lamps, &c. 
 Orpheus playing upon a Fiddle, Brafs. This 
 Statue is not quite a Foot long; inftead of 
 a Stick he has a large, thick, brute Inftru- 
 ment. Bianchi allur’d me ’tis of undoubt- 
 ed Antiquity, and indeed it feems to me to . 
 be fo; and not at all the lefs for the Badnels 
 
 of 
 
( 49 ) 
 
 of the Work; for the Ancients had Indifferent 
 Hands as well as we. This feems to be in the 
 Hetrufean Tafte. If ’tis really Genuine, ’tis 
 exceeding Curious upon the account of the In- 
 ftrument, the only one of the kind I remem- 
 ber to have feen, or heard of in any Antique. 
 
 Another fmall Room , fClofet 0/Madama.) 
 
 Paintings. 
 
 Adoration of the Magi ; the Angels, and Sandro Botti- 
 feveral other things, heighten’d with Gold. celU ' 
 
 Death of the Virgin, better than the laft ; Pollaiclo . 
 painted in like manner with Gold. 
 
 Circumcifion, the Virgin, and two other Dom.Grii- 
 Women; fine Airs, and noble Attitudes ; very lartdai °- 
 Simple, and Gentile. 
 
 Another Room . 
 
 Adoration of the Magi, good Exprefiions, Filippo Lippi . 
 but very (tiff and hard. 
 
 Same Subjedf, and the fame Size, i.e. be- LhnMvind. 
 tween a Half, and a Whole-length, fomething V V 
 longer than high. Very good, but not finifh’d 
 at all, except two or three Figures in the mid- 
 dle. 
 
 His ownPi<flure. This is the very fame Sir Pordenone, fo 
 Thomas Hanmer has, and which is written callci * 
 upon B^om. Beccafumi: There is another at 
 Baris in the Apartments of the Regent, very 
 good ; and another yet, but not fo good, at the 
 i TZIzOloxB alatine’s ztBDuff'eldorft. But it can- 
 ;i not be Bordenone’s Pi&ure, as ’tis call’d here, 
 if Vafari has given us a right one of him, for 
 that is very different, and is the fame Face as 
 
 E that 
 
( 5 ° ) 
 
 that of my Father’s Drawing of him. Neither 
 is this Baldajfar Teruzzi’s , or Beccafumi' s, 
 (one of which Sir Thomas Hanmer’s is laid to 
 be, I forget which) for this has no Refemblance 
 with either of thofe Mailers in that Author. 
 How this is chrifien’d in France, and Germa- 
 ny, or whether it has any Name in either, I 
 do not remember : None is in my Notes. 
 
 The Gallery again. 
 
 B. Blandinelli. The Laocoon copy ’d from that at Rome (my 
 
 Father has the Head done with a Pen) the 
 Back of this is finiih’d, which ’tis not in the 
 Original, being to Hand in a Nich, or againft 
 a Wall. At Florence they fay This is as Good 
 as that at Rome ; if ’tis not, ’tis io near being 
 lb, as to juilify thofe that lay it is. 
 
 Mich. An^u. A Woman unfinilh’d, and which could ne- 
 ver have been made Good ; ’tis an ill Attitude, 
 and too ihort ; it feems to be hew’d in the 
 manner defcrib’d by Blaife de Vigenere, in 
 the Notes on Bhilojlratus ; There are great 
 Slices {truck off with theChiflel, and in ibme 
 places, particularly at one Ankle lb deep, as 
 that it muft have been repair’d, had the Sta- 
 tue been finiih’d. 
 
 In a Tard of the Houfe by the Dome. 
 
 Ditto. Another unfinilh’d Statue of Michael An- 
 
 gelo. 
 
 Conjlantine , aBull; the Nole has been off 
 but put on again. 
 
 Antiques. Caracalla ; this Bull is the fame as that o 
 Farnefe: And ’tis remarkable that all His 
 
 the 
 
( J 1 ) 
 
 tho’ undoubtedly Antique, are in the fame At- 
 titude, but the Nofe in This is longer than 
 the reft. 
 
 Clodius Albinus , of Antique Alabaftcr ; 
 Rarijf mc ! 
 
 'Didius Julianas , Bertinax^ and 'Didia 
 Clara , Bufts alfo ; very Rare, and perhaps U~ 
 nique. 
 
 Nerva , a Buft, larger than the Life ; Ex- 
 ceeding Rare. 
 
 Bomitian^ ’tis a young one ; not good. 
 
 Endymion looking back at the Moon, and 
 holding his Dog ; not a goodTafte, 
 
 Berenice Titi with a Diadem, and Hair in 
 Ringlets j after the manner of the ^Egyptian 
 Kings: the Air, and Features Beautiful to Per- 
 fection. There is a Gold Medal fhewn with 
 it; the Face of Titus , and Berenice on the 
 Reverfe. 
 
 The Buft of Otho with a Peruke, a very 
 fhort Bob, as fhort behind as before; very 
 Rare, if not Unique. 
 
 Galba ; not fo good a Head by much as the 
 Galba my Father has. Bianchi own’d ’twas 
 not a good one* but faid he believ’d it might 
 be a Galba ; and if it was, that ’twas the on- 
 ly one in Italy. Ficaroni allured me there 
 Was none in Rome , as indeed all the Suites I 
 faw of the Emperor’s wanted This. However 
 afterwards uponDifeourfe, and comparing the 
 Head with the Medals, Bianchi was convin- 
 ced This was not a Galba-> but a Nerva done 
 in the Provinces, 
 
( p ) 
 
 The Leda of which Cinelli fpeaks : ’tis ex- 
 tremely Gentile and Delicate, in the Attitude 
 of the famous Venus of Me diets, only that 
 the Swan is added, and which looks more like 
 a Goole than a Swan. 
 
 Ganymede almoft over-againft it : ’tis as 
 fine a Figure as any in the World; but his 
 Eagle is as bad as Leda' s Swan ; the Body and 
 Legs only of this Ganymede are Antique , of 
 ‘Parian Marble ; the reft is added. What is 
 Antique, has the fame Character of Delicacy 
 as the Venus. 
 
 Antonia the Wife of Claudius, aBuft, and 
 extremely Rare. 
 
 A Boar of an Amazing Tafte, Greek : A 
 Caft of it in Brafs makes a fine Fountain in 
 the City. 
 
 Hannibal , generally fo call’d, becaufe it 
 has a Punic k Air, and is not either Greek or 
 Roman entirely, but of an exquifite Tafte and 
 Spirit. 
 
 Victory withoutWings, grav’d by Bifcop, 
 holding out a Laurel with her Right-hand ; 
 very good Tafte. 
 
 Plautilla , Buft, very young, and a natural 
 pretty Air : This is not common in the An- 
 tique, which is generally Manierato. 
 
 Philofbpher; a Noble Figure, as big again 
 as the Life ; his Hand under his Chin, hold- 
 ing a Scroll of Paper ; the Drapery in Great 
 Folds, and Simple: his Air very thoughtful, 
 and Ibmething like Homer ; the Pofture Grand, 
 and Unaffected. Greek. 
 
 Narciffui 
 
( 53 ) 
 
 Narciffus kneeling down, and leaning over 
 with a wonderful tender Air, his Right-hand 
 lifted up, amaz’d at his own Beauty ; and he 
 has Reafon. For Delicacy it approaches the 
 Venus of Me die is. ’Tis of ! Tarian Marble. 
 
 Ovid feems to delcribe this very Figure. 
 
 Adflupet ipfe fibi : vuituque immotus eodem 
 Hoeret , ut e pario formation marmore fignum 
 Speftat humi pojitus gemintm , fua lumina , fidus 
 Et dignos Baccho , dignos & Apolline crines ; 
 
 Impubefque genas £ 5 ? eburnea colla , decufque 
 Oris - 
 
 His Left-hand lies flat upon his Back with 
 the Palm out. It is one of the moft Pleafing 
 Figures in the Gallery. 
 
 Venus fitting and taking a Thorn out of 
 her Foot; very fine, but without any great 
 Delicacy. 
 
 Venus 'Urania ; has an exquifite piece of 
 Drapery. 
 
 Brutus , a Bufi: left unfinifh’d, but has a No- Angelo. 
 
 ble Air, turning over his Left Shoulder. It has 
 this Infcription upon it, made by Cardinal 
 Bembo. 
 
 Dum Bruti effigiem Sculptor de Marmore ducit 
 
 In mentem fceleris venit £ 5 ? abftinuit . 
 
 Morpheus afleep, a Boy, in Touch-flone, Antique, 
 (hines very much; the Face is bell, but no- 
 thing very Good, only that the Parts are large. 
 
 Mr. Addifon in his Remarks, fpeaking of 
 this Figure, fays, amongft other things, 
 
 “ ’Tis probable they chole to reprefent 
 E 3 “ the 
 
Bernini 
 Antique* 
 Mich. Ang. 
 
 ( 54 ) 
 
 * God of Sleep under the Figure of a Boy, 
 u contrary to all our Modern Defigners , be- 
 “ caufe it is that Age which has its Repofe 
 “ the lead broken by Cares and Anxieties. 
 u Statius , in his celebrated Invocation of 
 “ Sleep, addreftes himfelf to him under the 
 “ fame Figure. 
 
 <c Cfimine quo merui , juvenis placidijjime Divum 
 Quove err ore mifer , donis ut folus egerem 
 a Sotnne tuis ? facet omne $ ecus jvolucrefqs feraq\ & c. 
 
 Silv. Lib. f . 
 
 u Tell me thou beft of Gods, thou gentle Youth, 
 Tell me my fad Offence* that only 1, 
 
 ? c While hufh’d at Eafe thy Drowfy Spbje&s lie, 
 cc In the dead Silence of the Night complain, 
 f* Nor tafte the Bleflings of thy peaceful Reign. 
 
 “ I never faw any Figure of Sleep that was not 
 of Black Marble, which has probably fome 
 “ relation to the Night, that is the proper Sea- 
 “ fon for Reft. 
 
 A Beautiful Head of his Miftrefs GoJIanza 
 di Narelli . 
 
 Pan, a Head, Greek ; the very Greateft 
 Style: fine Humour. 
 
 In the Study there is one like it by Mich. 
 Angelo muds at eighteen Years old, as appears 
 by the Inlcription behind it, and that it is the 
 firft thing he ever did in Marble. It is how- 
 ever I think as good as thole Mafques in the 
 Chapel of St .Lorenzo, which is one of the 
 Greateft of his Works. 
 
 V ?nus engaging Mars to ftay with her ; Ex- 
 preffion fine. Hegives Redons with his Hands, 
 4 * an4 
 
( 55 ) 
 
 and yields with his Face ; fhe holds her Left- 
 hand over his Shoulder, the other is on his 
 Breaft. This Groupe, and an 
 
 Apollo and Faun, which is over-againft it, 
 are as fine as any. 
 
 Antinoiis^ his Hair comes over his Forehead 
 within half an Inch of his Eyes, (no Apples in 
 them) Hair a la Romaic which was a man- 
 ner more petit than the Greek. 
 
 Another; a SteddyLook, not Delicate. 
 
 The Tribunal . 
 
 Going out of the Gallery on one fide by a 
 thick Door full of great Iron Nails, you come 
 prefently to another like it, which opens into 
 the Tribunal. It is Octangular, about 15 or 30 
 Foot Diameter, with the Windows at the top, 
 and a round Table in the middle. The Figure 
 fronting the Door is the 
 
 Venus of Medicis , of clear White Marble 
 turn’d a little Yellowiili ; a Beautiful Colour ; 
 the EffeCt of Time : When the Sun Urines on 
 it, (for I have feen it at all Hours of the Day, 
 and in all Accidents of Light) ’tis almoft tranf- 
 parent : the Hair feems to have been Gilded, 
 and is now very dark: the Head is fomething 
 too little for the Body, efpecially for the Hips 
 and Thighs ; the Fingers exceffively long, and 
 taper, and no Mark for the Knuckles, except 
 for the little Finger of the Right-hand: It is 
 let upon a Pedeftal (Modern) about half the 
 height of a Man, and inclines a little forward, 
 fo that probably ’twas at firfl intended to {land 
 at a greater height. I confefs, before I faw this 
 
 E 4 Statue, 
 
 Antique. 
 
( 5 * ) 
 
 Statue, I had fome Prejudice againft it, from 
 what I had obferv’d in the Cafts ; and it has 
 Faults; but it has too fuch a Flefhy Softnefs, 
 one would think it would yield to the Touch. 
 It has fuch a Beauty, and Delicacy; fuch a 
 Lightnefs; ’tis fuch a Leggiadra Figure, that 
 by it the other two Venus s look Robuft ; e- 
 ven the Faun is Heavy, tho’ he is leaping off 
 hisBafis. When I had fpent above ten Hours 
 in this Gallery, confidering the Beauty of the 
 Statues there, and perpetually found fome- 
 thing new to admire, ’twas yet impoflible to 
 keep my Eyes off of this three Minutes whilft 
 I was in the Room. 
 
 This wonderful Statue has been broke in 
 feveral places, but well put together again ; lb 
 that fome of the Fractures are not feen, unlefs 
 one examines it well. Both the Thighs, the 
 Legs juft under both the Knees, and juft above 
 the joining of both the Feet, have been broke ; 
 and the middle of the Right-leg ; both the 
 Arms have been of£ juft below the Arm-pits. 
 
 Maffei , in his Notes on this Statue in Rof- 
 JPs Book, fays, that the Ears are bor’d : I con- 
 fefs that Particular Tcap’d my Obfervation; 
 and Sandraat't fays it flood in xhzTantheon, 
 but quotes no Authority. 
 
 On each fide of this are two other Venus's. 
 On the right is 
 
 V ?nus ViEtrix,, near as large again as this, 
 which makes this look the lefs; it is a charm- 
 ing Figure, and holds the Apple in the Right- 
 hand ; the Left-hand and Arm is added. This 
 F igure has fome Drapery. On the other fide is 
 
 Venus 
 
( 57 ) 
 
 VenusUrania , which, except the Delicacy, 
 is not in any thing inferior to the Venus of 
 Medicis. 
 
 Dancing Faun ; a mofl beautiful colour’d 
 Marble, but has been changed in two or three 
 places by Moulding, specially the Face, which 
 is the reafon that none are allow’d to be taken 
 off now ; the Duke of Marlborough' s Venus , 
 and other Statues, were not caft off thefe in 
 Moulds made exprefs, but in old ones ; the 
 Venus has never been call off fince the Duke 
 of Florence had it. Bianchi. 
 
 This Figure is, I think, take it all together, 
 the bell in the Tribunal; and (aslfaid above) 
 
 ’tis fb light, ’tis leaping off itsPededal. It does 
 not fliine as the others, not being polifhed; 
 but ’tis very fmooth. 
 
 Grinder : the Head in particular is fine, the 
 Hair the bed I have feen of the Ancients, 
 rough, and finely tumbled, but fliort. This Fi- 
 gure fhines very much, and is almod White. 
 
 Wredlers ; fine Airs of Heads, and earned. 
 ThisGroupe fhines extremely; but when the 
 Curtains are drawn, all but of one Window, it 
 makes a fine Effedt. 
 
 Next this dands the Venus Viffirix already 
 defcrib’d ; and all thefe dand in a Circle round 
 the Tribunal. 
 
 Pictures. 
 
 Here are alfo fine Pidfures. Amoned the 
 red, 
 
 The St.John of Rajfaele^ the fame as at Rafaels 
 thzRegent's. I faw this near, That I could not. 
 
 This 
 
Correggio. 
 
 Raffaele. 
 
 Mich. Angelo. 
 
 ( 58 ) 
 
 This is amazingly fine; a fingle Fig. naked, 
 fitting, holding out his Right-hand, Face fore- 
 right; in the Wildernefs: ’tis much browner 
 than the Regent’s : Which is the Original, is 
 greatly difputed. As I did not lee them both 
 near, I cannot judge precifely, and perhaps 
 could not if I had ; but I muft incline in fa- 
 vour of This. 
 
 A Madonna preferv’d , as when ’twas firft 
 done : She kneels, and adores the Chrijl which 
 lies upon the Ground, her Hands a little afun- 
 der, and her Face nearly Profile ; the Figure, 
 if Handing, would be about two Foot high. I 
 have feen many Copies. This, as moll of this 
 Amiable Mailer, has with its Beauties great 
 Faults. The Drapery is certainly Invention ; 
 but neither Ihows the Limbs well, nor is in 
 Beautiful Folds ; part of it is over the Virgin’s 
 Head, and falling down on the Ground ; on the 
 end of which the Child is laid lb that Ihe can- 
 not rile, or hardly flir till he is remov’d. But 
 the Beauty ! the Morbidezza ! the Thought 
 and Exprelfion ! Good God ! 
 
 Julius II. extremely fine; aBrownPidlure; 
 the Head the fame as the Duke of c Devon- 
 Jh ire’s Drawing; the fame Likenefs, and I 
 think of equal Spirit. I have mention’d one or 
 two of thefe in the Collections of Rome , 
 which are Ihewn for Originals. 
 
 A Madonna , the Colouring exceedingly 
 bright, and the Reflexions flrong, the reverie 
 of all the other Pictures I have feen of this Au- 
 thor; the Mafies of Colours want Union, and 
 leem to be placed by hazard, like the moll 
 
 part 
 
( 59 ) 
 
 part of An. del Sarto's , but more fo ; the Flefli 
 is bright, but not tranlparent, and mellow 
 like Andrews * , to whom I imagine he had an 
 Eye at this time, fince he was a great Admi- 
 rer of him, as appears by other things, and by 
 what he faid of him to Raffaele. See Cine Hi , 
 ^>.461. This Pi&ure is in perfect Prefervation. 
 It’s round, and (lands fronting the Door be- 
 hind the Venus of Med. By Cine Hi's Defcrip- 
 tion of it one would believe ’twas 
 
 rather of Raffaele than Mich. Angelo, fo lit- 
 tle has he confider’d the true Character of the 
 Mafter. But he tells the Story of his demanding 
 at firft 70 Crowns for it ; but 40 being fent him, 
 he then increafed the Price to 100; the 70 be- 
 ing then fent, he went on to demand double 
 what was at firft afk’d, and ’twas given him. 
 
 Round the Tribunal is a Shelf full of little 
 Figures. 
 
 A Lyon tearing a Horfe, Marble, much fi- 
 ner than that famous one in the Capitol, which 
 is Marble too, but much bigger than the Life ; 
 different Attitudes. This laft of the Capitol is 
 more grofs, and of aTafte like thofe of Mon- 
 te Cavallo. 
 
 A Venus , the fame as the famous one ; ’tis 
 very good, but much inferior to that which is 
 juft by it. 
 
 Here alfo are a great many Miniatures of 
 Fra.Gio.Batt.de Monte, (aMonaftery about 
 five Miles from Florence \) amongft which is 
 the Correggio, and St.John of Raffaele above 
 mention’d to be here. He has alfo done the 
 
 Ado- 
 
 Ant. 
 
 Miniatures. 
 
 Fr. Gio. Batto 
 de Monte . 
 
Titian. 
 
 A . del Sarto. 
 
 Giulio Rom, 
 
 Poltdore. 
 
 Giorgion. 
 
 Rajfaele. 
 
 Rubens 
 
 Van Dyck. 
 
 DokJuI. Clo - 
 vio. 
 
 ( 60 ) 
 
 Adoration of the Shepherds by Titian ; and 
 the Andrea del Sarto in the Apartments of 
 the Great Prince. The Miniatures ofthis Monk, 
 are Finer, more Correct, and better Colour’d, 
 than thole of Don Julio Clovio that the Great 
 Duke has. He wrought about 5-0 Years ago, 
 and always after Pictures of other Mailers ; 
 never did any of his Own Invention, but imi- 
 tated the leveral Manners perfectly well. 
 
 The Gallery of the Painters. 
 
 ’Tis lluck as full of Pictures as it can hold 
 from theCieling to the Ground. Thole of 77 - 
 tian, And. del Sarto, Julio Rom. Polidore, 
 Giorgion , &c. very fine ; Rajfaele ' ’s is one of 
 the worlt of the whole Set of good Mailers , 
 but ’twas when he was very young, he don’t 
 leem to be above 18 Years old. Rubens's, and 
 Van Dyck's are fine ; lo is Guido Rein's, of 
 which my Father has the original Drawing. 
 
 The Chamber of the Great Princefs Dow- 
 ager ; Camera di Madama. 
 
 The Pietd of Mich. Angelo, ’tis written 
 upon by himfelf Julius Clovius Macedo fa- 
 cie bat, as he has writ upon moll of his Things. 
 This is not comparable to thole Miniatures 
 laid to be of him of the Life of the D. of Dr- 
 bin in the Vatican. ’Tis hard, and flat, and 
 the Colours not Gentile, the Colouring is Lan- 
 guid. There are five Figures, ’tis defcrib’d by 
 Vafari. 
 
 A Holy Family of the fame Character en- 
 tirely. 
 
 Two 
 
 X>itto. 
 
( 61 ) 
 
 Two Crucifixes; one has a vaft Number of Ditto. 
 little Figures at a diftance ; the other, a Wo- 
 man embraces the Crofs, and this is all the 
 Difference, they are elfe the fame : Both have 
 fine, neatLandlkips, but Hard. 
 
 A Portrait of a Woman refembling Raffa- 
 f/^sMiftreft. 
 
 A Picture of "Dante in Oil, the lame Size, 
 Refemblance the fame as my Father’s Draw- 
 ing, but the Attitude different : this is in the 
 common Portrait way, a three Quarter Face. 
 
 TheTafte too is the lame. 
 
 A finall Cleopatra Dying, Egyptian. Antiques. 
 Bronze ; a Grofs Inelegant manner, but a fine 
 Expreflion. 
 
 The famous Flora of Farnefe ; Antique, 
 
 Bronze ; entire, and well preferv’d; left than 
 my Father’s Model of this Figure. It rather 
 leans backward, whereas the Great one in- 
 clines fomething towards you. 
 
 A {mail Chimera like that in the Gallery be- 
 fore delcrib’d, Antique ; Intire. 
 
 A Miniature of a Picture of BaoloVeronefe^ Tra . Giovan - 
 which is in the Prince’s Apartment. This has 
 none of the Faults juft remark’d in thole of 
 ‘Don Julio Clovio : the Subject is the Madon- 
 na, and St. Katharine. 
 
 In the Pajfage out of the Gallery to the Old 
 
 ‘Palace. 
 
 ABuft, and Hand of Galileo Galilei ; Ex- 
 tremely great Tafte. Mich elange lefc o ; ’tisby Marulliriu 
 Marcellini, not quite finilh’d ; nor would he 
 ever finilh any thing in his Life, nor work 
 
 while 
 
Donatello. 
 
 B. Gio da Fie - 
 foie 4 
 
 Sand Botti- 
 celli. 
 
 A. Mantegna . 
 
 Dorn. Grillan - 
 daio. 
 
 Giorgio Vafa- 
 
 ri. 
 
 Mich. Angelo'. 
 
 ( 61 ) 
 
 While he had any Money. He died about four 
 or five Years ago. 
 
 St.John a whole Figure, more dry than that 
 Bull in Marble of the lame Hand and Subject 
 which my Father has, but the Particularity of 
 the Air extremely like it, with the fame Flat- 
 nefs of the Bread: ; the Eye-balls are here mark- 
 ed. 
 
 The Apartment oftheOldFittures , Mofi , or 
 All of which were done for this Family. 
 
 Two fine Pictures ; One, the Marriage of 
 SS.Jofeph and Mary, the Other, the Virgin 
 dead ; both very Gentile. A great deal of Gold 
 about the Clothes, and Ornaments : the lame 
 Tafteas the Drawings we have feen, and have 
 of him. 
 
 The Adoration of the Magi; much in the 
 manner of two others of Andr. Mantegna 
 that are here. 
 
 The Virgin kneeling to the Child lying on 
 the Ground, his Finger at his Mouth, an Angel 
 by : the Pidure is round. 
 
 As I was allured by Bianchi. ’Tis the Pi- 
 dure of Giuliano di Medicis D. of Nemours ; 
 a Half-length; Style like Titian, otGiorgion. 
 He has a Cap on, and holds one Hand upon 
 t’other; in the uppermoft is a Letter. This, 
 with the carrying the Crofs in the Church 6f 
 SanffiaCroce , Ihews, that Vafari was a great 
 Man fometimes. 
 
 Next Room. 
 
 A Portrait of a Lady, very fine, not hard, 
 8 but 
 
( *3 ) 
 
 but bright enough, and without any Extrava- 
 gance : She is not handfome. 
 
 A fine Adoration of the Magi , unfinifh’d. Lion, davirt. 
 
 At a diftance Horfts, and Horlemen : Theft . 4 1 
 my Father has the Studies of in ftveralDraw- c v 
 ings (fmall ones) and one large one of a Horfes 
 Skull, which is here juft as in the Drawing, 
 only in Oil, as this Picture is painted. Proba- 
 bly this was a Whim of Lionardo which he in- 
 tended to cloath with Flefli, and Skin ; but a 
 bare Skull could have no Meaning in this place. 
 
 The Head of one of the Figures here as big as 
 the Life, is that of Artus of this Mafter, 
 which my Father alfo has. 
 
 The Great Duke’s Drawings. 
 
 In a Room belonging to the Gallery. 
 
 St. George ; That done for an Anceftor of Raffaete. 
 my Lord "Pembroke ; fame Size. M. Crozat 
 has the Picfture. 
 
 Woman and Child, another Woman Draw- b. Band. 
 ing a Curtain; Grav’d by Bifcop. 
 
 Woman with the Water in th tlncendiodel Rafaele . 
 
 Bor go : Red Ch. fame Tafte as that my Father 
 has, a Copy oftheBanq. of the Gods, allow- 
 ing only for the difference between a Copy 
 and an Original. 
 
 Madonna, and Child in the Holy Family ; Ditto, 
 
 Grav’d by Ede link (the French King’s) fame 
 manner as the laft. 
 
 St. Peter deliver’d from Prifbn. Ditto. 
 
 Virgin dying, full of fine Exprefllon: Pen, Ditto . 
 
 Wafli. 
 
 Another 
 
Ditto. 
 
 Ditto. 
 
 Mich. Angelo. 
 
 Tarmeggiano. 
 
 Correggio. 
 
 Ditto . 
 
 Ditto. 
 
 Pomeranci . 
 
 Giottino. 
 
 Gio. Bolog. 
 Baffan. 
 
 Lion, da Vinci. 
 D.Jul.Clovio. 
 
 Lion, da Vin. 
 Correggio . 
 
 ( <54 ) 
 
 Another Drawing, the fame Subject; Bl.Ch. 
 Heighten’d. 
 
 Mofes {hiking the Rock. 
 
 A Figure fitting, Arms folded, Finger in his 
 Mouth : Reed Pen, fine. 
 
 Chriji on a Throne preaching. 
 
 The four Doctors of the Church, two Foot 
 high, one Foot and a half broad; Pen, and 
 Walh. 
 
 Madonna in the Clouds, S x..SebaJiian, and 
 another Saint. 
 
 Figures going up Stairs, and in a Gallery 
 with the Head of St. John Baptiji after Julio^ 
 the fame as the Duke of ‘Devonjbire has, and 
 a Drawing which my Father has of Trima - 
 ticcio. That this is of Correggio I am very 
 certain, and ’tis as fure that theDefign is not 
 of him : A Noble one it is, as will be eafily 
 believ’d from its being Copy’d by fo many 
 great Matters. 
 
 Two of Circe , and two more Drawings: 
 All thefe of Niccholo Ciccignani detto il To- 
 meranci. 
 
 Twelve Drawings. 
 
 A Drawing of Giovan.Bologna dellaMarca. 
 
 Two or three pretty good- Sketches. 
 
 A moft Beautiful Woman’s Head, highly fi- 
 nifh’d , inlerted in an Ornament of D. Julio 
 Clovio , Grotefque, colour’d upon a Gold 
 Ground. 
 
 Three or four Draperies in Gnazzo, fuch as 
 my Father has of this Mafter. 
 
 Ten Drawings of Correggio , but flight, and 
 
 not very confiderable. 
 
 8 
 
 Part 
 
( 6 ) ) 
 
 Part of the lameDefign my Father has with Rafail*. 
 a Pen, where one Fig. in great Devotion puts 
 his Face dole to rhe Ground ; not fo Good. 
 
 Landfkips of various Hands. 
 
 About ioo Drawings of Fra. Bartolomeo, f ™. Eartol. 
 
 Thefe are the Principal Drawings of all 
 thofe which were Ihewn me as rhe whole Col- 
 lection of the Great Duke. As for thole Capi- 
 tal onesfaid to be o {Raffaele^ and not above- 
 mention’d, I take them to be all Copies. Here 
 are none of Giulio Romano Bolydore , An- 
 drea Mantegna, &c. nor any Good of77- 
 tian, Andrea del Sarto , Tint or et , the Carac- 
 ci , &c. There are about 20 Books, and abun- 
 dance of Drawings, and leveral of Hands we 
 are little acquainted with, and Inconfidera- 
 ble. ’Tis not an Old Family Collection, but 
 one made of late Years. Nothing is more apt 
 to deceive than Copies from known Works of 
 a Mailer, Raffaele in particular, becaufe there 
 are Beauties in Him, which tho’ but copy’d, 
 will Ihine, and dazzle the Eyes in proportion 
 as the Copyer happens to be : there will be 
 the Thoughts, the Attitudes, the Airs, and Ex- 
 preffions of Raffaele in Pome degree ; and 
 whether fufficient to be judg’d his Own, is 
 oftentimes not eafy to be known : for which 
 realon a Connoiffeur Ihould be careful that 
 this counterfeit Glitter does not deceive him. 
 
 He Ihould confider the thine abltraCted from 
 
 o 
 
 thofe Properties, and oblerve the Hand only: 
 would he have found That to be of Raffaele, 
 had he not known the Painting was of him? 
 
 Would he have judg’d it to have been his 
 
 F Hand 
 
( 66 ) 
 
 Hand at that Time when the Painting was 
 done ? (luppofingThat to be alio known.) In 
 ihort, does he lee That in it that ’tis impofti- 
 ble for a Copyer to do ? That Liberty, that 
 Spirit, that true Beauty, and Excellence, as 
 would have recommended it without thinking 
 of Rajfaele , or any Character which a Copy 
 cannot but have in fome mealiire ? and which 
 confequently cannot be any Argument in fa- 
 vour of its Originality ; nor fhould in the leaft 
 incline our Judgments that way. One may err 
 on the other hand, and be too fcrupulous in 
 this Particular : A Drawing may be right that 
 has not all that is expected, when one confi- 
 ders the Mafter at his Belt ; for no Man is al- 
 ways fo. Both Extremes fhould be avoided in 
 judging, but Connoiffeurs very often err in 
 both. 
 
 'Am, In this Room is a great deal of curious Lum- 
 
 ber, amongft the reft an Antique Mould of the 
 V mils of Mcdicis. 
 
 Ralazzo de Ritti. 
 
 At the upper end of the Portico on the Left- 
 hand is a Monument of the Gratitude of Mef- 
 fer LucaRitti who built this Palace, the Bas- 
 relief in Black Marble, of the Mule that had 
 been lerviceable to him in bringing the Mate- 
 rials. ThisDiftich is underneath ; 
 
 LeEticani, Lapides , & Marmora , Ligna , Co- 
 lumnas 
 
 Vexit, con dux it) traxit , & ijia tulit . 
 
 Oyer the Mule in a Nich is a Hercules , the 
 
 fame 
 
( 6 7 ) 
 
 fame as that of Farnefe ; extremely good. 
 
 About four or five of the Cielings of the P.da Cortona, 
 State Rooms in this Palace are Painted by 
 da Cart ona. 
 
 Madonna and St.John , the fame as the Co- «*/.*/*. 
 py my Father has, the lame Size (a three Quar- 
 ter) in a Round, the Corners alio Painted ; ’tis 
 done in Oil , a Glafs over it ; the Air of the 
 Virgin is particularly fine; the Chriji a pretty 
 Boy, but not of fo fiiblime a Character as in 
 lbme of this Matter, and ought to be in all his, 
 and of every other : However there is a fort 
 of Tout , a kind of Scornful DifdainingLook, 
 which gives it that fort of Dignity as fuch an 
 Air will give. Here is a judicious Clair Obfc. 
 and fine Colouring throughout ; particularly 
 the Arm of th cChriJi in the Light has a great 
 Variety ofTind:s,and very delicate ; the Hand 
 of the Virgin that is uppertnoft, and the fore- 
 moft Foot of the Chriji Dijfagreeably, if not 
 Wrong Drawn. Highly finifh’d, and hatch’d in 
 the Shadows in many places ; the Hair of the 
 Chriji comes over his Forehead in fingle 
 Hairs, or a few flicking together as if he fweat- 
 ed. ’Tis well preferv’d, but that the Out-lines 
 of the Legs of the Chriji , and fome other 
 Places appear at a diflance White by the Co- 
 lour having parted, for it has crack’d in feve- 
 ral Places.^ 
 
 Madonnas and Holy Families are not pro- 
 perly Hiflory Pictures, but what Characters 
 are in Writers : they are not particular Stories, 
 but the Adlers in confiderable ones deicrib’d. 
 
 They are a fort of Portraits, only the Faces 
 
 F z not 
 
An. del Sarto . 
 
 Horgognone. 
 Salv. Roja. 
 
 An. del Sarto / 
 
 ( ) 
 
 not being td be had otherwife are Suppofed, 
 and made to help to give the Character, as the 
 Actions they are employ’d in, and theExpref- 
 fions luitable to thole Actions alfo are, juil: as 
 it ought to be in Portraits. 
 
 ! Rharoah giving Jofeph the Golden Chain; 
 my Father has a Drawing of three Figures of 
 it, but doubtful. Thefe Pictures were copying 
 in the firft Room, which is hung with fine 
 ones very large of the Rorgognonc , and Sal- 
 vator Rofa. 
 
 Next Room , the Great prince's Apartment. 
 
 Sz.Laurence^St!Dommicky and four others, 
 with th zPadre Eterno in the Sky. My Lord 
 Pembroke has a Drawing of this, and Mr. 
 Flinch , and my Father, fine Copies. A very 
 bright manner of Colouring, and finelyDrawn, 
 Airs agreeable, and well chofenTincfts of Dra- 
 pery, lb as one very much lets off another, 
 tho’ they are (as Andreas, manner is) Bright, 
 Unbroken Colours, Reds, Yellows, Blues, 
 Greens ; and foddenly oppoled, without any 
 Mediums ; the Folds alfo are very fliarp. 
 
 Cinelli has ddcrib’d this Picture largely as 
 an Altar-piece in the Church of S. Jacopo tra 
 FoJFh as without doubt it was in his time, but 
 fince that remov’d hither. 
 
 And (by the way) let me obferve here to 
 thole that confult the Books, that they are not 
 to be depended upon as to the Placing of 
 moveable Pictures, for the Obvious Reafon juft 
 now mention’d. 
 
 i 
 
 Madonna 
 
Madonna dellaPefcia , fo call'd, becaufe it Ra f ael *- 
 once was in. a Church there; the D. of 2 levon- 
 jbire has the Drawing, an Admirable one, and 
 Capital; the Virgin is fitting, two Saints {land- 
 ing on each fide of her; as many Angels a’top ? 
 and two Boy- Angels below. ’Tis upon Board 
 broader than a Whole-length, and aimed as 
 high ; in a Finifh’d manner of Painting, not 
 Stif^tho’ done Early, for ’t was before Rajfaele 
 went to Rome, but he was juft going thither, 
 which occafion’d its being left imperfect, 
 
 (as Vafari lays) for the Keys of St f Peter , 
 and perhaps fome other little matters, are un- 
 fimlh’d. The Colouring is exceeding Bright, 
 and Beautiful, and the Ground ftrong, and ve- 
 ry tranlparent, and not too dark, but enough 
 to make the Figures appear with vaft Force. 
 
 The general Tin6t of the Picfture is a kind of 
 Yellowilh Brown, prodigioully pleafing; as 
 there is an Air of Dignity throughout which 
 ariles from that IblemnTincft of Colour, from 
 the Countenances, the Attitudes, the Habits 
 and Ornaments, all Noble, and Awful, and 
 which are greatly improv’d by the Poetry of 
 the Picfture, the Attendant Saints and Angels. 
 Bianchi told me, that this Rich Board had 
 been ufedin making a Scaffold for Giorgio Va-: 
 fariy but being luckily oblerv’d by him, hq 
 made a Prefent of it to the Great Duke, by 
 whom he was then employ’d. However, be- 
 ing probably foon difeover’d, ’tis not much 
 damaged ; only the two Angels at the bottom 
 are painted upon, if not all over. 
 
 F 3 
 
 Afcen* 
 
Tra Bartolo- 
 meo. 
 
 Ditto. 
 
 An. del Sarto , 
 Irate. 
 
 An. del Sarto, 
 
 { 7 ° ) 
 
 Alcenfion of Chrijt ; great Style, and well 
 Colour’d ; but not fogoqd as the next of him ; 
 ’tis however very good. It has the lame De- 
 gree of Grace and Greatnefs of Drawing, the 
 lame beautiful, foft, and bright Tindt of Co- 
 lour , as the Madonna della Refcia over a- 
 gainft which it hangs, as ’tis of the lame Size; 
 indeed one feems to be made as a Fellow to 
 the other. 
 
 In another Room. 
 
 St. Mark, a fingle Figure, bigger than the 
 Life, and a Style as great as Raffaele ; exqui- 
 fitely colour’d in the Tafte of the Madonna 
 dellaRefcia , but in a more vigorous manner 
 of Painting, and is more Mellow, and Deli- 
 cate : as indeed at this time Fra. Bartolomeo 
 feems to have been the Greater Man, and 
 might have been th zRajfaele, had not For- 
 tune been determin’d in favour of the other. 
 His Works are however much efleem’d, and 
 very Rare ; this Pidture, tho’ one Figure only, 
 cofl the late Great Prince 1200 /. Sterl. as Bi~ 
 anchi told me. 
 
 Madonna in the Clouds, and Saints below; 
 the two that kneel, almoft the fame as in that 
 of St . Laurence, &cc. fame Manner, and fame 
 Size. 
 
 Madonna, St. Sebajlian , &c. fame Style as 
 the lafl of him. 
 
 The two mofl Capital Pictures he ever did ; 
 both Madonnas in the Clouds, with feveral 
 Figures below; and thefe in both drefs’d 
 ^pretty much alike ; extremely Lively and 
 ; Beautiful, 
 
( 7 1 ) 
 
 Beautiful ; This they cannot fail of, his Dra- 
 peries being of fuch Bright Colours, aswasob- 
 lerv’d juft now; nor of being agreeable for that 
 Reafbn, if a Harmony is maintain'd by a ju- 
 dicious Choice, and Difpofition of Thefe, and 
 by the Connection made by means of the Flefh, 
 and other Colours in the Picture, and the Vari- 
 ations occafion’d by theDiftances, &c. Thefe 
 are both as large as Whole-lengths, or near- 
 ly. All the Pictures of Andrea of the Great 
 Duke's Apartment, are well prefer v'd. 
 
 Another Room. Portraits, 
 
 Leo.yi. and two Cardinals, exactly the fame Raffae 
 as that of the Duke of Chandois^ but that This 
 is Original, and That a Copy ; That of An del 
 Sarto is here laid to be in the Gallery of Rar- 
 ma. This would be thought the fineft Portrait 
 in theWorld, if it did not hang next to 
 That Dignity that appears in everything that 
 Raffae le did ; thofe noble Airs and Attitudes 
 he gave, cannot fail of making a Portrait Ex- 
 cellent; though one of this Character Only 
 would not Intirely fatisfy me; To have my 
 With fully, I would be drawn by Raffae Le^ by 
 Guido , and by Van'Dyck. 
 
 My Father has two Drawings, Portraits, of 
 the famePerfon, in the fame Attitude, and ve- 
 ry probably done about the fame time, that is, 
 within the compafs of three or four Years, as 
 might be fhewn, if ? twas neceflary here ; the 
 one is by Rubens , the other bv Annibale Ca- 
 racci., in which are the two Extremes Painters 
 are apt to fall into. That of Annibale has the 
 
 F 4 Spirit; 
 
( 71 ) 
 
 Spirit of a Great.Mafter, and finely Drawn; 
 the Features pronounced with great Afiurance, 
 but undoubtedly Rigorous enough ; Rubens 
 in making His Y ounger, and perhaps defign- 
 ing to make it More Agreeable, has indeed (as 
 commonly happens almoft to all that have 
 not very good Judgment, and Experience) 
 made itLels fo, for ’tis Infipid. It muft be ad- 
 ded however injultice to Rubens y that he was 
 Seventeen Years younger than Annibale > and 
 left Rome (where I believe both thefe Draw- 
 ings were made) when he was about Thirty 
 Years old, a Year or two before the Death of 
 Annibale. 
 
 Cardinal Bentivoglio (the lame of which 
 Morin has finely Etch’d the Head) I never law 
 any thing like it. I look’d upon it two Hours, 
 and came back twenty times to look upon it 
 again. He fits in an Elbow Chair, with one of 
 his Elbows upon the Arm of the Chair, and 
 his Hand (the moll Beautiful, and Graceful in 
 the World) falls carelefiy in his Lap by the o- 
 ther, which moll unaffectedly gathers up his 
 Rochet, which is painted Beautifully, but 
 keeps down lb as not to break the Harmony. 
 His Face has a Force beyond any thing I ever 
 faw, and a Wifdom, and Solidity as great as 
 Raffaele’s, but vaftlymore Gentile: Indeed it 
 muft be confefs’d the Difference of the Sub- 
 jects contribute fomething to this Advantage 
 on the fide of Van "Dyck . The Colouring is 
 trueFleih and Blood, Bright, and Tranfparent ; 
 Raffaele's i s of aBrownTinCt, and fomething 
 Thick, at lealt compared with this. His Scar- 
 
( 73 ) 
 
 let is very Rich, and Clear, but ferves never- 
 thelefs to fet off the Face, ’tis fo well manag’d. 
 
 The Pidure is enrich’d with things lying up- 
 on the Table, which unite with the Cardinal’s 
 Robes, and Flelh,and make together the mod 
 pleaftng Harmony imaginable. 
 
 His Eyes 
 
 A fine Head of a Cardinal in the Habit of Raffaele. 
 a Francifcan , only in Pved, and without the 
 Coul ; he has a Rope round his Wade. 
 
 Martin Luther playing on a Harpfichord, G ‘ xo n ion ' 
 his Wife by him, and Bucer behind him. The 
 Face of Martin Luther particularly has avail 
 Force, and is finely Colour’d and Drawn. I 
 don’t know thefe Faces, but this is what is 
 laid Here. 
 
 Charles V. apd RhiL II. two fine Whole? Titian: 
 lengths. 
 
 Eight Half-lengths of the fame Mafler, all Ditto. 
 chofen, and of his befl manner. 
 
 An excellent Half-length of a Man, his Rembrandt . 
 Hands folded ; extremely Natural : This Pi- 
 dure hangs on the Right, that of Leo X. of 
 Raffaele on the Left of a Door, (as you Hand 
 to look on the VanDyck , which is over the 
 Door.) 
 
 Another Room. 
 
 Several Pidures, not confiderable, of Mo- 
 dern Mailers. 
 
 Another Room. 
 
 Holy Family, and St .Katharine 9 , the St .E- Raffaele . 
 lizabeth is the Sibyl of Raffaele in the Race , 
 
 which 
 
jfln. del Sarto. 
 
 Titian , Old 
 Palma. 
 
 Leon. da Vinci ♦ 
 Annibale. 
 
 An. del Sarto. 
 
 pitto . 
 Polidore . 
 
 Antic[ . 
 
 ( 74 ) 
 
 which Bifcop has Etch’d, and alcr ib’d to Mich. 
 Angelo ; ilic refts both her Hands on the Seat 
 file fits on, and thrufts her Face forwards in 
 Profile; her Head andShoulders cover’d with 
 white Linen : Little St. John fits upon the 
 Ground, and points up to th eChrifl. It hangs 
 in the dark. 
 
 Virgin, Chrijl , St.John, one of the bell of 
 
 Andrea. 
 
 Several very fine Hiftories. 
 
 Another Room. 
 
 St. Mary Magdalen, Half Figure, very fine, 
 and lels hard than any I have leen of him. 
 
 Two fine fmall Madonna's with Glafi’es o- 
 ver them; th tjofeph of one of them taken 
 from that in the Holy Family of Rajfaele my 
 Father has. 
 
 The whole Hiftory of Jofeph in one Pi- 
 cture divided into many Groupes, all alike 
 Strong almoft. This is the Fellow to Rharoah 
 giving Jofeph the Golden Chain, and hangs 
 by it. 
 
 The Angel faluting the Virgin, a great bright 
 Glory between them : a Delicious Pidure ! 
 
 Mules dancing, upon a Ground of Gold ; 
 leems to be of Toliaore. 
 
 Room near the Gallery. 
 
 Twolnlcriptions of Fab. Maximus, and 
 Ap. Cl. Ctecm, enumerating their Exploits. 
 
 Earth lurrounded by the Air and Sea in ve- 
 ry high Relief, eight foot long, and four high, 
 the greateft Greek Style, and well preferv’d : 
 
 the 
 
( 75 ) 
 
 the Earth has two Children in her Lap, and 
 the Symbols about her ; the Sea fits upon a 
 
 Filh, and the Air is exprefs’d by 
 
 nor could Bianchi tell ; but this is always faid 
 to be the Subject. 
 
 Bas-rel .Bacchanale, very fine, pretty much 
 worn. 
 
 In the Garden tf/'Boboli. 
 
 Adam and Eve , Marble ; admirable for the 
 Thought : She leans one Hand upon t’other 
 on the Shoulder o {Adam, and her Head re- 
 clines on thofe Hands ; he ftands with his Legs 
 acrofs, looking down melancholy. 
 
 In a Cabinet. 
 
 The Hermaphrodite , the fame as that in 
 the Borghefe ; my Father’s Model the lame. 
 
 This as big as the Life. 
 
 The Rape of Ganymede after Mich. Angelo. Don. Jul 
 See Giorgio Vafari-> and Borghini. This of clovl °* 
 the fame Character as the others of T). Julio 
 in the Apartment of Madama. 
 
 The famous Head of Euripides of Marble Ant . 
 Bifalta\ ’tis in Fulvius 'Vrfinus ; bigger than 
 the Life. 
 
 The Model of Mich. Angelo for refloring Mich. Angelo . 
 xhzTorfo-, ’tis in Wax, about the fame Size as 
 the Drawing for it which my Father has. It 
 was Vafari’s , afterward Francefchino Volter - 
 rano had it ; and when he was very Old he 
 brought it to the Great Duke as aPrefent, that 
 it might be for ever preferv’d in that Colle- 
 ction : ’tis in Perfection. 
 
 Marquis 
 
Marquis CorfinoV Falace. 
 
 This is a vaftly large Palace, but little re- 
 markable in it, except the 
 
 'Antiq. Apollo , the fame as in the Gallery Farnefe. 
 
 Bifalto . 
 
 The Chap el of the Medici in J. Lorenzo. 
 
 Mich. Angelo. The Church has nothing confiderable be- 
 fides this Chapel; and here are the Figures of 
 Mich . Angelo , of the Women and Men over 
 Arches, (a good Drawing of one of the Wo- 
 men my Father has, Bl.Ch.) the Men’s Faces 
 are left Sbozzati : thefe were intended for the 
 Tomb of Julius II. 
 
 Giac . V enter- In this Church is the Deluge ; a horrible 
 
 mo ' Confufion of Figures throughly difagreeable. 
 
 See Cine llis Preface. 
 
 The Church of S. Croce . 
 
 Capella Cavalcanti . 
 
 Donatello. The fine Nunciata. See Cine Hi , p. 3 1<5. 
 
 And. del ca - On the fide two Figures of Andr. Caftagtia , 
 
 fiagna. which anfwers the Character in the Drawings 
 my Father has of him. 
 
 Capella Buonarotti. 
 
 vafari. Chrijl carrying the Crofs, the belt by much 
 
 I ever law of him ; except a Portrait of theD. 
 of Nemours already mention’d. This Picture 
 is well Colour’d, and has a fine Expreffion. 
 
 The famous Sepulchre of Mich. Angelo y a 
 Buft of him is a 2 top; and underneath is Paint- 
 ing, Sculpture, and Architecture ; Painting is 
 
 the 
 
( 77 ) 
 
 the heft Fig. ’ris of Battijia Lorenzo, d\ Bat - Batt.Lorenzo. 
 tifta del Cave Her e, becaufe he wasDifciple of 
 Cav. Bacc . Band. The Dreffing of the Hair is 
 finer than that of the Venus of Medicis ; the 
 Air as good as the beft Antique ; and the Ad- 
 dition of Sorrow gives this Figure the Advan- 
 tage of a fine Expreflion. Sculpture is in the 
 middle ; ’tis not lb good as the other Figures ; 
 the Head of Mich. Angelo is alfo of Battijia 
 Lorenzo . 
 
 Capella diLodouico diVerazzano. 
 
 The Tomb of Battijia Naldini is very fine, 
 efpecially the Expreflion of the Virgin. 
 
 Cap el la Guiduci. 
 
 Chriji appearing to the Apoilles after his vafari. 
 Reiiirredlion ; very Bad in all refped:s. So that 
 in this Church is the Bell, and the Worft of 
 this Mailer. 
 
 Church of the Nunciata. 
 
 Capella deBucci. 
 
 At the Altar ; S. Sebaftian oiBollaiolo ; all PolUklo . 
 the Figures Spots, hard manner; lame Idea as 
 from the Drawings. 
 
 There are three Gates in Front; that on the 
 Right-hand goes into this Chapel, that on the 
 Left into a large Cloyiter. The Picture front- 
 ing you as you enter this Gate, is 
 
 Th ^Madonna del Sacco \ fame as Dr .Mead's, An. del sarto. 
 Drawing. The very beft thing this Mailer e- 
 verdid; nothing can bemoreilriking, nothing 
 
 can 
 
( 78 ) 
 
 can have more Life, more Grace, more Beau- 
 ty ! ’tis well preferv’d. 
 
 On the Right-hand of this Picture is that of 
 the Death of St .AleJJio, (my Father has the 
 Drawing of this Figure ) On the Left is one of 
 the Miracles of the leven Founders by the lame 
 Mailer, in which is a Head the fame as my 
 Father has aDrawing of. 
 
 In this Cloyller is a great deal more of the 
 Work of this Mailer; whole manner of Paint- 
 ing, and Colouring, the Bright Reds, Yellows, 
 Greens, &c. is the nearell of any to And. del 
 Sarto ; and he painted Frefco, (as to the Ma- 
 nagement of that kind of Work) as well as a- 
 ny Mailer whatfoever, not excepting Annibale 
 himfelf. 
 
 Chapel of ^Nunciata. 
 
 Here the great Duke goes to Prayers once 
 every Day. ’Tis exceeding Rich, and general- 
 ly lock’d up. Here is what they call the Mira- 
 culous Picture, the Annunciation, laid to be 
 pletro cavil- done by ‘Pietro Cavillini, Dilciple of Giotto. 
 lim ' This was a very devout Man ; and having fi- 
 
 nilh’d all the Picture but the Face of the Vir- 
 gin, he, labouring for an Idea anfwerable to 
 what he conceiv’d ought to be put to luch a 
 Figure, fell alleep, and waking, found it finifh- 
 ed ; upon which he cry’d out aloud, a Mira- 
 cle! a Miracle! the People flock’d to lee it, 
 believ’d it to be done by an Angel , and were 
 confirm’d by many Miracles wrought by this 
 Pidure, and which Virtue it Hill continues to 
 have. This is what is laid of it here. The 
 
 1 Truth 
 
 Bern . Pocchi - 
 etti. 
 
 Ditto. 
 
( 79 ) 
 
 Truth is, tho’ the Style is Gothic, the Thought 
 of the Picture is fo fine, I wonder other Paint- 
 ers have not taken it in treating this Subject. 
 
 The Virgin fwoons away at the Apparition ; 
 and the MefTage he brings; and the Air of the 
 Head, and Attitude of the Body, exprefles it 
 with great Propriety. 
 
 He ended, or I heard no more , for now 
 My Earthly , by his Heavenly overpower'd, 
 
 Which it had long flood under , ftrein'd to the height 
 In that Celeftial Colloquy fublime , 
 
 As with an Objefl that excels the Senfe , 
 
 Dazzled and j pent , funk down Milton. 
 
 The Cortile. 
 
 Here are Frefcoes of feveral Mailers, but r#. 
 fo milerably damaged, that one can hardly di- 
 ftinguilh the Figures. The principal are oiAn- p'onurmo. 
 drea del Sarto , which have elcaped no better Ale f Baidan- 
 than the reft. The Birth of the Virgin is ex- ^'.'del Sarto. 
 tremely Graceful, what remains of it ; but of &c. 
 the Colouring one can judge nothing, as of the 
 others here of his Painting; and in general of 
 all his Frefcoes, except the Madonna del Sac- 
 co, which being well preferv’d, is extremely 
 Beautiful. There are two Women by theBed- 
 fide, one of which is faid to be Andrea’s W ife; 
 the Pifture contains ieveral Figures defcrib’d 
 at large by Cinelli , and Vafari : my Father 
 has the Drawing, fomething damaged byTime, 
 and Rubens ; but by which however one may 
 better judge what the Picture has been, than 
 by it felf as it now is. 
 
 The 
 
An. del Sarto. 
 
 Lavinia Fon- 
 tana. 
 
 -J 
 
 Ditto. 
 
 ( 80 ) 
 
 Th zMagi, which is next to it, pleafos me 
 much lefs than This, or any Other Fidture I re- 
 member oi Andrea, becauie the Airs, andDifi 
 pofition of the whole are lefs Graceful, and Ju- 
 dicious. 
 
 Cine Hi mentions two other Pictures here ; 
 but as I don’t remember them, I believe they 
 are of thofe that are intirely defaced , or fo 
 much, that one can’t diftinguilh theHiftories. 
 One is St. ‘Philip curing the Leper, and the 
 other a Story of fome Prophane People cha- 
 ftifod by Lightning, which is finely deforib’d. 
 ’Tis probable the Drawings of Zuccaro of fe- 
 > eraf Figures in an Attitude as terrify ’d by fome 
 iuch Accident, (my Father has fome of thefe) 
 and w T hich Lanier has faid came after Luca 
 Signorelli da Cortona, but which are not of 
 Zuc cards own Invention, are Copies of thefo, 
 as being very much in theTafleof Andrea, 
 but impofiible to be of the other; for all I 
 have feen of him are in the Old, DryTafte; 
 and which moreover Zuccaro would not have 
 Copied. 
 
 Poggio d Caiano. 
 
 Lavinia Fontana's own Pidfure done by 
 her fclf, in Little ; ’tis finely Colour’d, and 
 Drawn, and with great Simplicity; it has a 
 Lovely Beautiful Air, Upon it is written, 
 
 LAVINIA FONTANA DE TAPPII FA- 
 CIEB. M.DLXXVIIII. 
 
 By this is a Fellow to it; it feems to be her 
 Father’s Fidture. Both inPerfedtion. 
 
 Juft 
 
J ) 
 
 Juft over the Gate going into the Palace is 
 a long, narrow Frize, after the Antique man- 
 ner: ’tis a Compofition like China ; the Fi- 
 gures are White upon a Blue Ground, and very 
 Excellent. It mull have been done by Luca Luca mu 
 delle Robbia , and Ottaviano and Agojtino his RoU ‘ a - 
 Brothers, who invented this Art (FafariJ and 
 ' which was loft with them. There is the Arms 
 \ of Innocent VIII. with aBoyon each fideover 
 a Door in the Cortile of the Belvedere. See 
 B inaroli, T. i . 3 01 . done by them in the lame 
 manner. More of this kind is in feveral of the 
 Churches of Florence. 
 
 In the Room where are the Pictures juft now AnnllaU. 
 delcrib’d, is a Dead Chriji, and other Figures : 
 
 : tis a finall Picture, and has a Glals over it : 
 
 ; my Father has the Drawing of the Chriji ; an 
 1 Academy Figure. 
 
 Rubens' sWife, the Head the fame Relem- Rubens* 
 blance my Father has in Little: This as big 
 as theLife, with Hands holding aBook,drefs’d 
 in Black Silk ; a Three Quarter ; perfectly fine, 
 and highly finilh’d. 
 
 A Imall Madonna , the lame as my Lord Annibale. 
 •Harley's, the fame Size, and the fame Fault, 
 ehe Hand of the Virgin feems to crulli, and 
 and break the broad part, the Thigh of the 
 Jhriji who is Handing : an Exquifite Tafte, 
 and Admirably painted. 
 
 A Young Man’s Head in Crayons , exactly ccrmgU. 
 the fame manner as a large one of a St. John 
 aiy Father has. 
 
 In this Room are Pictures of leveral Ma- 
 ters, all excellently good, but too many to be 
 
 G noted 
 
( 8z ) 
 
 noted feverally,as I did not obferve anything 
 in particular was to be faid of any one of 
 them. 
 
 Monajlerio de Scalzi. 
 
 a. del sano. All theft Paintings are in Frefco , of And. 
 irancia Bigio. Sarto , two excepted, and in C latr-0 b- 
 fcure. 
 
 The Pictures are in a Cloyfter which en- 
 compafies a little fquare Court: In two oppo- 
 llte fides of this Square are Doors over againft 
 one another; on each fide of which is a Fi- 
 gure reprefenting Juftice, Charity, Faith, and 
 Hope; and by theft one of the Hiftories of 
 the Life of St.John. On the other Tides of the 
 Cloyfter are eight other Hiftories, four on each 
 fide. ThisMonaftry ftems to be deft rted; I 
 found no living Creature there ; I enquired a 
 good while before any one could tell me where 
 it was, and at laft had great difficulty to come 
 at the Keys. The Pi&ures are almoft IpoiTd ; 
 and what is very particular, as they are in 
 Frefco , the Drawing has been traced off on 
 the wet Mortar as ulual, but here this Tracing 
 is mark'd fb deep, as in feme places one may 
 lay a Finger in the Hollows. Figures as big as 
 the Life. 
 
 The four Figures at the Doors are not very 
 good : thofe of Faith, and Hope, are not near 
 ib good as the Drawing my Father has of thoft 
 Figures. 
 
 i . St. John Preaching is by one of theft 
 Virtues; my Father has the Drawing of the 
 Groupe of Auditors ; and theft are the beft 
 
 preferv’cL 
 
( 83 ) 
 
 prefervd. This Pi&ure has fome fine Airs of 
 Heads: that of the Woman holding her Hand 
 under her Chin is not fo ; nor another, hers 
 whole Hands are in herLap. 
 
 2. The Baptilin of Chrifi , where two An- 
 gels are kneeling, not extraordinary. 
 
 Oppofite to thefe is 
 
 3. Zach arias Sacrificing, and the Angel ap- 
 pearing to him. r 
 
 4. The Head of St. John brought to Herod 
 whilft at Supper ; the old Woman holding her 
 Hand under her Chin a good Figure, but the 
 Face fo fpoil’d as not to befeen. The Woman 
 that brings the Charger (of which my Father 
 has the drawing) is alio a very good Figure. 
 
 Ononeof the Sides where there is noTPoors 
 
 5 - Salutation of SS. Mary and Elizabeth, 
 Spjof- an d 3 other Figures. My Father has a 
 Ricalco of the Drawing of the whole Pidlure, 
 anda very fine Drawing of the S.Jofephvfith. 
 a Bundle under his Arm ; ’tis one of the bell: in 
 tbePi&ure; and a Drawing in Bl. and another 
 highly finilh’d in Red Ch. of another of the 
 bell: of thele Figures ; the Servant going uo 
 Stairs. 5 1 
 
 6 . St.John, a Child, kneeling before his Fa- 
 ther fitting, who blefTes him. 
 
 7 • Birth of St.John ; 111 prelerv’d. My Fa- 
 ther has two Drawings of this : one where the 
 Woman is bringing the Child, but in the Pi- 
 < 3 arre file has a Diih , as in the other Draw- 
 ing. 
 
( »4 ) 
 
 My Notes mention a Salutation here ; I 
 fiippole ’tis* another Subjed; not much 
 unlike it. But as I was extremely in- 
 commoded with Heat when I law 
 thefe things, after having been much 
 fatigued to get a Sight of them ; and as 
 the things themfelves are not very exp- 
 edient, and much damaged, and in fome 
 parts quite deftroy’d, I fhail be par- 
 don’d if I am not perfectly clear in my. 
 Account of them. Let me refer you 
 to Vafari , and Cinellt. 
 
 On the other fide 
 
 9. Beheading of St. John ; fo defaced, that 
 one can hardly fee where the Figures have been. 
 None of the Faces remain. 
 
 10. Herodi'as Dancing ; the Drawing my Fa- 
 ther has of a Figure with a fort of Hat hanging 
 
 * Looking into Cinellt , I find this is the Meeting of 
 Chrifi and St John ; and he fays too, that This, and the Sto- 
 ry of Zac h anas giving his Blef&ng to the Young Saint his 
 Son, are or Francia Bigio , who (as Vafari fays) was em- 
 ploy’d here when Andrea was in France , and not expelled 
 to return any more to Florence; for this Work was begun 
 by Andrea feveral Years before he finifh’d it. Cinellt (as the 
 Italian Writers in general) muff be read with Caution, or 
 the Extravagant Praifes they give will raife falfe Ideas in the 
 Mind of one who has not feen the Things’ they write of. 
 This Author, p. 8 . fpeaking of this Work , though but in 
 Clair • Obfcure , not only Equals Andrea to Rajfaele and Mich. 
 Angelo, but makes him Superior to them. And giving a 
 particular Account of it, p , 470, vc. commends it prodigi-. 
 oufly, hut very Injudicioufly, when the Chief Characters he 
 Jniitts on is the great Nature, the ftrong Relief, and fine Dra- 
 pery, Characters that will by no means equal thofe proper 
 10 the Works of Rajfaele and Mich. Angelo. 
 
 at 
 
at his Back is in this Pi<fture, and one of the 
 beft preferv’d in it,tho’That is gone in feveral 
 parts : none of the Faces of this Pidture remain 
 but the Ladies, and that good for nothing. 
 
 n. St .'John bound before Herod. Saint’s 
 Face very good, the Herod pretty well pre- 
 lerv’d. A Figure drawing a Sword, almoft en- 
 tirely gone. My Father has a Ricalco of the 
 Drawing of this Picture. 
 
 iz. Baptizing the Multitude, beft preferv’d 
 of any. That Man with the Linen on his 
 Shoulders well prelerv’d, all but the Thigh in 
 Shadow : my Father has the Drawing of this 
 Figure. The Drapery of St .John very bad, in 
 the Style of AlbertHurer , whole Prints An- 
 drea grew fond of, and ftoie many Hints from 
 in other parts of this Work. 
 
 Sir Berkley Lucy has Copies of thefeVery 
 Hiftories in Colours, and the Colouring refem- 
 bles thatof^W. del Sarto. Thefe Copies were 
 made for Mr. Nelfon vxFloreJice. And in the 
 Palace of Sfada at Rome is a finifli’d Sketch 
 of the Salutation (one of thefe) and in Colours 
 too. 
 
 O F 
 
( 8-5 ) 
 
 O F 
 
 PAINTING 
 
 AND 
 
 sculpture: 
 
 By J. R. fen. 
 
 Nough has been faid by Others to 
 recommend thefe Arts to the 
 World if General Encomiums, 
 or the producing Examples of 
 Great Men, or Nations who have 
 Tfteem’d,and Lov’d them, and highly Honour’d 
 and Rewarded thofe that have Exceil’d in them 
 were fufficient. But as I have been longfince 
 perfuaded, that thefe fort of Arguments were of 
 very little force ; that the True, and only Ef- 
 fectual way was to go deeper, and build upon 
 Reafon, and Nature, I have in my feveral At- 
 tempts of this kind laid my Foundation here : 
 And tho’I have on former Opportunities expa- 
 tiated on thisSubjed (fori confefs’tis a Grate- 
 ful one to Me, as well as Ufeful to the Publick) 
 yet This being a way of treating it in which ve- 
 ry 
 
( 87 ) 
 
 ry few have gone before me, no wonder ifAll did 
 not occur, which I now think neceffary to be 
 faid ; or if Something already advanc’d maybe 
 fet in a better Light : This is what I now take 
 leave to endeavour, and fo, as at the fame time I 
 am lhewing the Dignity of thefe Arts, I may a£ 
 fift People in Judging, and making the Bell Ufe 
 ofPidures, and Statues, whether Seen, or Be- 
 fcrib’d. 
 
 Of all the ways whereby we communicate 
 our Thoughts to each other, thofeaddrefs’d to 
 the Senfes of Hearing, and Sight, are without 
 comparifon the Principal. 
 
 Some few of the lowed of thefe the Brutes 
 make ufe of in common with Us. 
 
 Certain Natural, Inarticulate Sounds exprels 
 Grief, or Joy, Defire, Complaining, Love, A- 
 verfion, &e. Speech explains, and enlarges up- 
 on Thefe ; which being accompany ’d with cer- 
 tain Tones of the Voice, the Expreffion ofwhat 
 is laid becomes ftronger, and lometimes even 
 theSenfe it felf is vary’d : This is Natural Re- 
 citative y tt>A is infenfibly improv’d by Men of 
 Breeding, and Good Senle, without any Skill in 
 Mufick; ButThatArt carries it dill higher; and 
 This is the common Language of the Opera. 
 The Hyperbolical, and Elevated S*:yle of Poe^ 
 try is an Improvement upon common Speech, 
 as its Cadency, Numbers, and Rhimes more af- 
 fedt the Ear ; and this alfo advanc’d into a Song, 
 and accompany’d with Inftrumental Mufick, is 
 the Utmoft Length that Nature, and Art in 
 conjundion, can go to exprefs our Thoughts by 
 Sounds, and fo as to attain the fevera! Ends, In- 
 G 4 formation. 
 
( 83 ) 
 
 formation, the Touching of the Paffions, and 
 Delight ; and this is the Poetick Opera- Lan- 
 guage. 
 
 The Language of the Opera has its founda- 
 tion in Nature, but as Poetry is an Improvement 
 uponProfe in Writing, This is Speech Height- 
 ned, and Improv’d, and more than the Poetick 
 Style is, above what is Ordinarily us’d : And 
 therefore as the Thoughts in Poetry mud be 
 more elevated than in Profe, thofe of the Opera 
 ought to be fuch as are worthy of, and fuitable 
 to fuch a finely imagin’d Language; which in- 
 deed is no more fitted for common Ufe in this 
 World, than Poetry is; but Both, for ought 
 we know, may be practicable in fome other 
 more Perfect State. And ’tis to be remark’d, 
 that the Audience (at leaf! the Attentive part of 
 it) is differently affeCted than at a Comedy, 
 where they Laugh, or at a Tragedy, where they 
 are touch’d with Pity, Sorrow, Horror, or fuch 
 like Paffions : Here we fee a fort of Extatick 
 Delight in each others Faces, which puts one in 
 mind of what Milton delcribes, and to which 
 This bears fome Refemblance, tho’ a very faint 
 one. 
 
 \ Thus while God fpake Ambrofial Fragrance fill'd 
 
 All Heav'iiy and in the blefi'ed Spirits eleft 
 
 Senfe of new Joy ineffable diffus'd. 
 
 Signs alfo convey our Thoughts ; the Look, 
 or Motion of the Eye, or Hand, a Smile, a 
 Frown, a Nod, a Shrug, or the like; fuch as the 
 bed Orators have always us’d in fpeaking, or 
 fuch as we are apt to make to Deaf People, or 
 thofe who underhand not our Language ; or 
 
 which 
 
( «9 ) 
 
 which thofe that are Dumb make to us : Thus 
 the Pantomimes of the Ancients fpoke to their 
 Spectators. Habits, Ornaments, and Symbols 
 are of great ufe to the fame End; they have all 
 Tongues. Letters, and Characters, by means 
 of which, Words, and Sounds are convey’d to 
 our Minds by the Eye, carry this matter much 
 farther than any of the aforemention’d ways 
 of conveyance : and the Arts of Defign, whe- 
 ther of Painting or Sculpture, convey a multi- 
 tude of Ideas, and many of them not poffible to 
 be communicated by any another means not fu- 
 pernatural : and Here is the utmoft length Na- 
 ture and Art can go in enabling Mankind to 
 converfe as Rational Beings. 
 
 Thefe two laft mentioned ways of convey- 
 ance are notTranfient, as all thofe are that are 
 addrefs’d to the Ear, and moft of the Others 
 that we fee ; They being once made ufe oft re- 
 main, and may convey the fame Idea at anydi- 
 ftance of Time, or Place, and to vaft Numbers 
 of People. And as Prefent Ideas foon ablent 
 themfelves, Thefe reconvey thofe lofl Notices 
 of things to Our felves, as well as to Others. 
 Moreover the Latter of thefe two ways is an U- 
 niverfal Language, and asSwiftalmoftasInfpi- 
 ration. 
 
 Sounds, whether Natural, or Artificial; 
 Speech, whether Profe, or Verfe; Adion, Cha- 
 racters, Picture ; All thefe Singly may convey a 
 vaft number of Ideas, but not lb Many, nor fb 
 Perfectly as whenTwo,or More, are made ufe of 
 at the fame time ; as neither is anyone of them 
 alone fo pleafing, as when accompany ’d with 
 
 Others. 
 
( 9 ° ) 
 
 Others. Words Ipoken without fome kind of 
 Motion, and a Natural Recitati ve^ would not 
 only have much lefs Force than with theie Ad- 
 ditions, but they would be even Naufeous: If 
 this Natural Recitative is 111 Jet, if the Tone of 
 the Voice, andtheEmphafis laid on the Words, 
 is Wrong, the Senfe is Obfcur’d,and evenfome- 
 times Perverted. If proper Mufick accompa- 
 ny^ all that was faidin Ading aPlay theMind 
 would not only be more delighted, but the Sen- 
 timents would penetrate deeper : If the fame 
 Subjed appear’d in Pidure (a Theatrical Re- 
 prefentation is but a fort of moving, Ipeaking 
 Pidure) Mufick well adapted would produce 
 the like efied; great care being taken that this 
 Auxiliary became not an Enemy, that is, that 
 neither thefe Inarticulate Sounds fmothcr’d the 
 Words, nor that the Mind was diftraded by at- 
 tending to too much at once. 
 
 Thefe kind of Thoughts probably gave rile 
 to the Of era , which may be confider’d ei- 
 ther as a Theatrical Reprefentation affifted by 
 Mufick, or aMufical Entertainment explain’d 
 by Words, and improv’d by Reprefentation. 
 Thofe that confider it in the Firft View, may 
 juftly complain of the fame Number of In- 
 flruments, and Variety of Mufick, which is 
 a Beauty to thole that take it in the Other. 
 Both muft have Nature as their Foundation, 
 which they mult never depart from; but 
 the farther they go from Common Nature, 
 the better ; provided the Pleafure advances 
 too, and the Senfe is not loft: Tis two feve- 
 tal kinds of Nature that are improv’d upon ; 
 
 Words, 
 
( 9 l ) 
 
 Words, and meer Sounds ; and the Matters in 
 both thefe kinds may be equally Excellent, tho’ 
 we may Like one kind of Opera better than the 
 other. And as in One of thefe Notions the 
 Words are the Principal, and the Inftruments 
 (amongft which I now confider a Humane 
 Voice) in the Other, ’tis not neceffary that 
 Both Ihould be Equally taken care of in Both 
 cafes: A Play affifted by Mufick ought to be 
 finely written ; but that Excellence that is re- 
 quired in a Poem is not to be expe&ed in Words 
 which are only to explain Sounds, in which the 
 Senfe is intended Principally to lie. 
 
 5 Tis upon fuch Rational grounds as gave rife 
 to the Opera, that Singing and Mufick has been 
 madeufeofin the Divine Worfliip in alinoftall 
 Ages and Nations : In our Cathedral-Service at 
 prelent the Chanting, and Anthems, are Sacred 
 Recitative-) and Songs. And the Same Reafons 
 would make them common to every Parifh- 
 Church, if Others did not forbid it. 
 
 In many cafes any one of the feveral ways 
 of communicating our Ideas wouldbe very Im- 
 perfect, and hardly of any ufe without the af 
 fiftance of fome other: Thus the Mufick in an 
 Opera , howExprettivefoever, would of it felf 
 be unintelligible without the Words; and thus 
 tho’ a Hiftory-Pi&ure conveys the Idea of 
 Men, Women, &c. to underftand Fully what 
 the Painter intended, a previous knowledge of 
 theStorybythehelp ofWordsisAbfoluteiy ne- 
 ceffary : As on the other hand there are abun- 
 dance of cafes, in which Language, andallthe 
 Other means of conveyance are Infu£Rcient,or 
 1 Vfelefs, 
 
( 9 * ) 
 
 Ufelefs, and the dernier Rejfort is in Painting, 
 and Sculpture ; fo that where thefe Arts have 
 been wanting, the Species were mere Mutes in 
 Some, and little better in Other Indances. Let 
 the Hidorian relate any of the great Actions 
 of Antiquity, and let the fame Actions be re- 
 prefented on the Stage ; the Habits, Arms, &c. 
 cannot be defcrib’d in W ords, the Repr efenta- 
 tion of them then mud be wrong : And where 
 lhall we find fuch Airs of Heads ? I don’t fay to 
 refemble the Perfons, but of thofe noble and 
 ftrong Characters, as in the Works of the an- 
 cient Sculptors, andof our bed Painters, who 
 have form’d their Ideas chiefly upon thofe ex- 
 cellent Models. 
 
 It is a queftion not fo eafily decided, as I be- 
 lieve it will be thought to be, whether Paint- 
 ing and Sculpture more want the afliftance of 
 Language, than Language of thofe Arts : It 
 Would be too much to go into the'Detail of 
 this matter, but I will mention one thing very 
 confiderable : When we read, if the Subject 
 furniilies us with any material Images, they 
 are fo many Pictures form’d in our Minds, and 
 are Such as the Reader is capable of making ; 
 but as thefe Imaginary Pictures happen to be, 
 we lhall be More, or Lefs Touch’d, and De- 
 lighted with what we read ; and fhall moreo ver 
 have a Truer, or Falfer Notion of the Thing. 
 Now the Created, and almoft the Only Help 
 to improve Thefe, is being converfant with 
 the Works of the Bed Mafiers in thefe two 
 Arts ; whereas in a Hidory-Fidture (for exam- 
 ple) 4II may be feen Truly, and Strongly ex- 
 
 prefs’d, 
 
( 93 ) 
 
 prefs’d, only Names, and Leffer Circumftances 
 would be Unknown, or Miftaken without the 
 help of Language. 
 
 But whether to affift us in forming thcfe 
 Mental Pictures when we read, or to ftirniili 
 us with other Ideas at all times, the great bufi- 
 nefs of Painting is to Communicate, or Suggeft 
 thofe Thoughts which the Painter had, or 
 ought to have had: And this is the True Tell: 
 of the Goodnefs of a Picture; All the Rules of 
 the Art tend to, and centre in This ; Inven- 
 tion, Expreflion, Drawing, Colouring, Grace, 
 and Greatnefs, do fo manifeftly, and the Com- 
 pofition is Better, or Worfe, as it tends to fet 
 forth the Whole, and every Part to the bell 
 Advantage, fo as to convey the Ideas intended, 
 elpecially the Principal, the moft effectually ; 
 and the Pencil ought to be conducted with the 
 fame View. 
 
 And thus every Man that can judge of the 
 Beauties of Nature, and Difcourfe, may judge 
 of theGoodnefsof a PiCture, and not only of 
 what Pleafes Himfelf. 
 
 If it be found that a PiCture gives a very Sub- 
 lime Idea of a Story, Perfon, or any thing elfe, 
 or a more Advantageous one than is Generally 
 to be had, That is one of the moft Excellent 
 kind: If Common Nature be Truly reprefent- 
 ed, That is a Good PiCture, as furnilhing us 
 with a Juft Idea : But to have Falfe ones ob- 
 truded upon us, and fiich as Debafe thofe we 
 have, is Deteftable, and This is what Bad Pi- 
 ctures always do. The Painters in the Firft In- 
 ftance conceive Finely, and are able to commu- 
 * " nicate 
 
 
( 94 ) 
 
 nicate thole fine Ideas ; the Others fee Right, 
 and can Exprefs what they fee ; but 111 Paint- 
 ers fee not the Beauties of what is before their 
 Eyes; and when they attempt to tell what 
 they Think they fee, they fall even below 
 That; like People that tell a Story Sillily ; you 
 may perceive fomewhat of what they aim at, 
 but ’tis told without Exacftnels or Wit. 
 
 ’Tis upon this account that we prefer the 
 Painters that lived two hundred Years ago to 
 thofe of a later Time, and the Roman School 
 to that of Venice. From T hele we have Great, 
 and Juft Ideas : an Antique Story is reprefent- 
 ed as Such, as to the Perfons, Habits, and other 
 Circumftances ; and as the beft Hiftoriansand 
 Poets reprefent them ; from the Others we 
 have no Ideas of this kind ; but fuch as aMan 
 acquainted with good Authors, and with An- 
 tiquity, or which Imagines things finely muft 
 rejedi as Counterfeit ; and generally Low, and 
 Unworthy ; for true Greatnefs does not con- 
 fift in Flutter, and Gawdy Colours. InaWord, 
 ’tis upon This account that we prefer (for in- 
 ftance) Raffaele to ‘Paolo Veronefe ; the Lat- 
 ter may give us a better Idea of a Man’s Com- 
 plexion, and drefs him Finer, but ’tis from the 
 Other we lhall conceive more advantagioufly 
 of his Underftanding, and Magnanimity ; and 
 even his Drefs lhall be more truely Great, and 
 Becoming. 
 
 And for the fame Reafon it is that the Sta- 
 tues, and Bas-reliefs of the Ancients are fo 
 greatly efteem’d. There we fee fuch Humane 
 Bodies and Airs ; Thence we have luch Plea- 
 ting 
 
( 95 ) 
 
 ling and Noble Ideas as are not to be feen, or 
 had Elfewhere, orOtherwife. 
 
 If theWorkmanlhip be never fo Exquifite ; 
 if the Pencil or Chiflel be in the utmoft de- 
 gree fine ; and the Idea of the Perfons, orThings 
 reprefented is Low, orDifagreeable, the Work 
 may be Excellent, but the Picture, or Sculpture 
 is in the main Contemptible, or of little Worth. 
 Whereas on the other hand let the Ideas we 
 receive be Great and Noble, ’tis Comparative- 
 ly of no Importance whether the Work is 
 Rough, or Delicate. 
 
 The Truth is, few People fee the Beauties of 
 Things; the Obje&s are Seen, as the Sounds 
 ofMufick are Heard; but’tisnecefFarytohave 
 an Eye for One , as well as an Ear for the O- 
 ther, and both Improv’d by Study, and Appli- 
 cation. Herein confifts the Difficulty of Judg- 
 ing of a Picture, as ’tis the true Reafbn why 
 there are fo few good Painters, or good Judges. 
 ’Tis not eafy to Paint well, but eafier than to 
 See well ; that is an Art that is learnt by con- 
 verfing with the Beft Matters, and theBett 
 Authors; but even all this is not fufficient 
 without Genius, and Application, at leaft to 
 carry a Man any confiderable Length. 
 
 When one fees a Good Picture : If aHitto- 
 ry, tho 9 the Story is not known ; or an Alle- 
 gory, and that not underftood ; or a Portrait 
 of one we never faw, or heard of; or a View 
 of we know not what Place ; tho’ the Princi- 
 pal Idea defign’a by the Painter is not con 
 vey’d, Fine Airs of Heads Graceful and No- 
 ble Attitudes, Strong Expreffions of the Paf- 
 
( 9 6 ) 
 
 fionS, or Difpofitions of the Soul, Beautiful 
 Forms, and Colours ; fomething to Engage, A- 
 dorn, and Entertain theMind is to be found: 
 And tho’ there were nothing more than Har- 
 mony, an Artful Difpofition of Lights, and 
 Shadows, or even than a good Manner of 
 Painting; one that Pradtifes, or would only 
 Judge of the Art, will find Advice, and Inftru- 
 d:ion, as well asPleafure. What then muft be 
 the Delight and Advantage of feeing a fine 
 Piece of Workmanfhip, Lights, and Shadows 
 Judicioufly difpofed ; Harmony, Lovely Co- 
 lours, and Forms ofThings ; Noble and Grace- 
 ful Airs, and Attitudes ; Juft, and ftrong Ex- 
 preflions, and the Subject well imagined, and 
 throughly Known, and Underftood. This is re- 
 ceiving a multitude of fine Ideas, and in the 
 moftPerfedt, and moft Agreeable manner. 
 
 Without throughly knowing the Subjedb, or 
 being a good ComioiJJeur^ One is like him that 
 reads a good Author in a Language he is not 
 perfect in ; he may find wherewithal to In- 
 ftrud:, and entertain him to a certain Degree, 
 but many of the Beauties will be loft to him ; 
 whereas he that is every way qualified has the 
 Intire Benefit from a Good Book, or a Good 
 Pidhire. 
 
 After all it muft be confefs’d, that the Arts 
 I have been difcourfing of are not fb necefla- 
 ry to Human Life as Tome others; Mankind 
 might indeed fubfift without them. Ours is a 
 mix’d State, divided between ftruggling to a- 
 void, or get rid of Pain, and Pofitive Enjoy- 
 ment; One is driving Hannibal out of Italy , 
 
( 97 ) 
 
 the Other making Foreign Conquefts ; the One 
 leems to be Superinduced upon the Fall, the 
 Other what was Originally intended for us in 
 Paradife : And accordingly there are Arts and 
 Employments lublervient to us inEach of thefe 
 Circumftances ; the Firll kind are abfolutely 
 Neceflary, the Others not. Let thofeNecefla- 
 ry ones boaft of thatNecelTity ; They areMi- 
 nifterialtous only asWretched Beings; where- 
 as Painting, and Sculpture are of the foremoft 
 in the number of thole that are adapted to a 
 State of Innocence, and Joy : they are not ne- 
 cefiary to our Being ; Brutes, and Savage Men 
 lubfilt without them : But to our Happinels 
 as Rational Creatures they are Abfolutely lb. 
 
 H 
 
 ROME. 
 
( S>8 ) 
 
 
 M, Venujli. 
 
 Parmeggutno. 
 
 Dan. da Vol - 
 terra. 
 
 R 0 M E. 
 
 In St. Agojlino. A Small, Old, Dark Church. 
 
 Second Chapel. 
 
 fLtar-piece ; a Copy from Rajfa - 
 ele By Marcello Venufii , of the 
 fame; Madonna of which my Fa- 
 ther has a Drawing in RedCh. 
 done by Farmeggiano ; very 
 good, and well Colour’d. On the Tides are two 
 Figures, both St.Johns ; one the Baptiftx n 
 the Wildernefs, and t’other (on the Right- 
 hand) the Evangelift Aged, having his Gofpel 
 in his Hand, and one of the fineft Figures I e- 
 ver faw, an Air of a Head lik cRaffaele^ and as 
 fine altogether as his Prophet in this Church. 
 ’Tis weil preferv’d, and in a good Light. I 
 believe ’tis of Farmeggiano. Ab. Titi has ta- 
 ken no notice of thefe two fide Pictures. 
 
 Fifth Chapel. 
 
 St. Helen that finds the Crofs. This Cha- 
 
 pel 
 
( 99 ) 
 
 pel is fo dark that one can hardly difcover the 
 Figures, they being dark themfelves ; but 
 what appears, don’t feem to be good. 
 
 Sixth ChapeL 
 
 St. Anjiin ; Altar-piece, Dark Manner, ve~ Guercino . 
 ryDifagreeable, andSpoiPd. The SanEta Be- 
 ti'onella of St. Beters^ the "Dido of Spada , 
 and others are in this Dark Manner, which 
 the Italians like befb For my own part his 
 Gay Manner is more to myTaffe; the other 
 is not only Unpleafant, but Unnatural; ’tis im- 
 poflible that the Lights can appear fo very 
 Bright, and the Shadows fo Black, and Dark ; 
 
 If only Force is required, Guido has given That 
 fufficiently without Black in all his Pictures, as 
 in the Aurora of Rofpigliofi , the Magdalen 
 of Barberini , &c. 
 
 Not but that the Colouring of a Picture 
 ought to vary with the Subject: If That be 
 Tragical, Solemn, or Grave, the Gaiety and 
 Chearfulnefs, which is generally more plea- 
 fing to the Eye, would be out of Seafon, and 
 Choque the Underftanding : Or if all the Light 
 the Objedts reprefented receive, comes from 
 a narrow Aperture^ a little Window, Cleft in 
 a Cave, or the like ; or from a Torch, or feve- 
 ral Artificial Lights ; or if the Time reprefent- 
 ed is the Night, or before, or after the Sun r s 
 Rifing, or Setting; or in Rainy, Cloudy, or 
 Tempeftuous Weather : Thefe, and fuch like 
 Circumftances ought to be regarded by the 
 Painter: But in all thefe he May, and Ought to 
 avoid that Black, Hard, Cutting Manner, which 
 H £ Guercino , 
 
( 1 °° ) 
 
 Guercino , Caravaggio , and lome others have 
 fallen into; In the moll; SombrousTimSt there 
 may be fuch Warmth, and Mellownels, as is 
 not only Pleafing, but Natural. Tho’ where a 
 Painter is not Confin’d by his Subject, certain- 
 ly the open, ferene Air, or a Room made chear- 
 ful by Bright Sunny Reflexions, lliould always 
 beReprelented. 
 
 Chapel of ^Z^Famfilii on the Left-hand 
 returning . 
 
 Afehb'r.re , St. Thomas of Villa Nova giving Alms to a 
 
 cajfaAiauejc . Woman, in Marble. TheWoman is the bell 
 Modern Statue I ever law ; lire is young, and 
 extremely beautiful ; an Air of a Head, Great, 
 but wonderfully Gentile, and a Turn of the 
 Neck I think as beautiful as that of th eVenus 
 of Medicis. The Drapery is entirely Modern, 
 of Silk, but in fuch Great Folds, and that ihew 
 the Naked lb well, that I prefer it to any of 
 the Antique that I have leen. [N.B. This was 
 before I had leen the Flora, and lorne others.] 
 Her Hair is tied up in fomething a different 
 manner from the Venus, but as delicate. She 
 prefies to her a Child with her Left-arm, and 
 holds out her Right to receive the Money. 
 Ercole Terra- ThisGroupe was finiih’d by Ercole Ferra- 
 ,a - ta , fo t hat I can’t judge what fliare of the Ho- 
 
 nour of it belongs to him that began it ’till I 
 have feen more of the Latter ; however the 
 Defign is His, which is as Noble, and Gentile, 
 as any Body 1 has ever made, either in Painting, 
 or Sculpture. 
 
 Over 
 
( 101 ) 
 
 Over the Principal Door is the St. Auftiu 
 furrounded by Angels, very well prelerved. 
 Tis a very large Picture, and feems to be ex- 
 tremely good, but foHigh, though in a Good 
 Light, that one cannot judge of it very exactly. 
 
 Upon one of the Pilafters that divide the Ifle 
 on the Left-hand from the Body of the Chapel, 
 is the famous Prophet Ifaiah , alfo very well 
 preferv’d, but not in a good Light at all; for 
 as one looks upon it one is dazzled with the 
 glare from feveral Windows which one can’t 
 tell how to hide ; but notwithftandingtheDiL 
 advantage ’tis feen at, it appears to be a Noble 
 Picture, Beautifully, and Boldly Colour’d, an 
 open Great Contour ; in fnort, its Merit is e- 
 qual to its Reputation. The Knee in particu- 
 lar is fuch as to demand the Notice Mich. An- 
 gelo is faid to have taken of it. 
 
 The Story (as I remember) is thus : A Gen- 
 tleman had made a Vow upon a certain Con- 
 dition to give aPichire to this Church by one 
 oftheBeftMaflers; Providence perform’d its 
 part; and th tVotiJi being willing to make His 
 asEafy to himfelf as pomble, employ’d Raf- 
 faele indeed ; but becaufe he was but a young 
 Man, and rifing into Credit, he judg’d he would 
 do it Cheaper than one whofe Reputation was 
 Eftablilh’d. When the Picture was done, a 
 Larger Price was demanded than the Good 
 Man expedted, and aDilpute arofe. To deter- 
 mine which this Cunning Perfbn offer’d to re- 
 fer it to Mich. Angelo ; Rajfaele agreed ; 
 Mich. Angelo inftead of Depreciating it as the 
 Honed Gentleman hoped, after having look’d 
 
 H 3 upon 
 
 \ 
 
 Rajfaele , O 
 
 his School 
 
 Ditto. 
 
And. Sanfor.i - 
 no. 
 
 Jpitto . 
 
 J'olidore. 
 
 ( TOi ) 
 
 upon the Pidure with Admiration for fome 
 time, faid the Knee only was worth the Mo- 
 ney ; and Raffaele had it. 
 
 This Figure is Large Life, painted in Oil ; 
 there is a Print of it, the Title Page lo Raffa- 
 ele' s Bible by Chapron. It has an old ordinary 
 Frame, probably that which it had at firft. 
 
 This Picture, according to Vafari-> had been 
 finilh’d before Raffaele law the Works of M. 
 Angelo , which happen’d at this time by the 
 means of Bramante the Pope’s Architect, and 
 Raffaele' s Relation, who had the Keys of the 
 CapellaSifta in the Abfence of Mich. Angelo 
 who was gone to Florence ; but he afterwards 
 alter’d it to what it now is ; and here ’twas 
 firft found what Advantage it was to Raffaele 
 to have feen thefe Works. This Advantage 
 himlelf was fenfible of, if it be true which Be- 
 nedettoVarchi fays in his Funeral Oration of 
 that Great Florentine Painter, Sculptor, and 
 Archited, That he thank’d God there was 
 fuch a Man as Mich. Angelo. Under this Pi- 
 dure is 
 
 A St. Anne. And in a Nich on the Right- 
 hand coming into the Principal Door, is 
 
 A Madonna. Thefe are Statues in a Great 
 Manner, but not well imagin’d, and fbmething 
 Stiff: 
 
 Over a like Nich on the other fide. 
 
 Some Boys holding a Cartel ; not 111 Co- 
 lour’d, but moft Beautifully Defign’d. 
 
 The 
 
( io 3 ) 
 
 The third Chapel on the Right-hand. 
 
 The Beat a Rita on the Altar is Black, and Ca G'tacin. 
 good for nothing. But upon the Left-fide the Brandt - 
 fame Saint dying, and addreffing her felf to ' ie " Lu ' ateu1, 
 Chriji , and the Virgin in the Clouds has a 
 fine ExprelTion, and is admirably Drawn, and 
 Colour’d; in the Tafte of R. da Cortone, by 
 Riet.Lucatelli hisDifciple. 
 
 The Chapels of S x..Auflin^ and St.Gulielmo^ Lanfranc. 
 are all painted by Lanfranc. TheDifciples 
 looking into the Sepulchre, a Half-round over 
 againfl the Window, my Father has the Draw- 
 ing of. 
 
 The Wall on one fide of the Chapel without 
 feems to have been painted byRolidore in the 
 lame Manner (Frefco y>as that above mention’d, 
 but fo little remains (the Plaiffcer being almoft 
 all peel’d off) that one cannot well judge. 
 
 The Madonna della Race > 
 
 Is another Small, Old, Dark Church, and the 
 Doors little as of a CommonRoom,but ’tisNeat. 
 
 Here are the Prophets and Sibyls of Rajfaele. 
 
 In all the Roman Catholick Churches are Rajfaele. 
 Chapels belonging to particular Families, fbme 
 as large as a Imall Church , others as a great 
 Room ; others as it were let into the Wall fo 
 as to admit only the Altar, and the Pried that 
 officiates, the People remaining in the Body of 
 the Church : This Church being but a little 
 one, the Chapels are of this latter kind, and 
 the Pictures are over ; and on the Sides of the 
 Arch that opens into one of thefe Chapels; the 
 
 H 4 Fil'd 
 
( io 4 ) 
 
 Firft on theRight-hand as you come in at the 
 Principal Door ; they are in four leveral Divi- 
 fions, two on each fide ; the two uppermoft 
 have in each two Prophets holding Cartels, 
 and thole below have each a Sibyl; all thefe 
 are accompany’d with Boy-Angels, and thole 
 of the other kind ; and one of the Sibyls is 
 looking towards a Young Woman fitting un- 
 employ’d: This Sibyl is that which is in Bifi 
 cop sBook alcrib’d to Mich. Angelo. My Fa- 
 ther has feveral of the Drawings for thisDivi- 
 fion, and that Stiffnefs about the Head, and 
 Neck of this Young Woman which is feen in 
 thele Drawings is alfo in the Picture : my Fa- 
 ther has alfo the Drawing of one of the Pro- 
 phets in this fide ; one of Rubens of theDivi- 
 fion where are the other Prophets ; and a Co- 
 py of the other Sibyl , lo that he has almolt 
 this Whole Work. There are Prints of the Pro- 
 phets by Chateau. 
 
 Thele Admirable Paintings are in Frefco , 
 but very much Damaged, especially towards 
 the top on the fide fartheft from the Door of 
 the Church, even pieces of the Mortar are bro- 
 ken off in feme places. One fees a Greatnefs 
 of Style throughout, and the General Defign ; 
 but as for Airs of Heads, Contours, and other 
 fiich Particularities, they are almoft gone. 
 However, by what is left here, and what is 
 leen in the Drawings, without having regard 
 toRaffaele\ great Character, one cannot doubt 
 but they were admirable. 
 
 The Subjed in no otherwife Hillorical, 
 than to Ihew that there were fuch People, 
 
 who 
 
( lo 5 ) 
 
 who being Divinely Illuminated, Foretold the 
 Incarnation of the Eternal Son of God Ages 
 before it happen’d: And as this Confidera- 
 tion, and the Airs, and Expreffion which may 
 be given to Inch Figures are capable of exci- 
 ting Sentiments of Veneration, and Piety, they 
 are very proper for a Church. 
 
 But Raffaele feems not to have contented 
 himfelf with a fort of mere Portraits of thefe 
 Meffengers of Heaven to Mankind, he has en- 
 rich’d his Subjed (as I laid) with Angels of 
 both kinds ; and ( I think I don’t fee Beauties 
 he never intended) the Sibyl in that Divifion 
 where is the Figure of the Young Woman fits 
 ftretching out her Neck, and fixing her Eyes 
 upon her in a fort of Admiration : Surely that 
 Figure is for the Blefied Alary, who this Pro- 
 phetefs is luppos’d to fee in Vifion, and tocon- 
 fider as the Virgin-Mother of him who was 
 theTAefire of all Nations. 
 
 Vafari fays, this Work was efteem’d to be 
 theBeft tha t Raffaele ever did ; and that This 
 Excellency (as that of the Prophet in St. Au- 
 ftins) was owing to his having feentheWorks 
 of Mich . Angelo , as was laid juft now : And 
 ’tis true that here is manifeftly a great deal of 
 the Style of that Vaft Genius. This my Fa- 
 ther, and Iobferv’d,in the Drawing of the Pro- 
 phet mention’d above, the firft moment we law 
 it, and before we knew where ’twas painted. 
 Whether this Author is lo right in faying this 
 Work of the Race was done After that of St. 
 Agojlino I am a little Doubtful, becaufe there 
 is fomething of a Drynefs, and Stiffnels very 
 
 Vifible, 
 
Tim. da Urbi- 
 no . 
 
 Vincenzo de * 
 Rojft. 
 
 ( Jo6 ) 
 
 Vifible, both in the Drawings, and Painting of 
 thefe Prophets, and Sibyls, which I don’t find 
 in That other ; and which always diininiflid 
 as he Ripen’d more, and more almoft every Day 
 of his Life, and approach’d towards that Ex- 
 cellency he at length attain’d. 
 
 The Prophets and Sibyls of Timoteo d u Ur- 
 bino are oppofite to thefe, and over, and on 
 the fide of a like Arch, and much in the fame 
 Form, and Situation, and preferv’d too like 
 thefe ; nor can one well judge which are ’Beft, 
 for what appears is Admirable. 
 
 If Rajfaele had as much Merit as ever any 
 Man had, there were Others that at this time 
 feem to have had an Equal lhare with him as 
 a Painter merely, though He has all the Glory, 
 and luch Men as Garofalo , Fra . Bartolomeo , 
 and this Timoteo in particular, are hardly fo 
 much as heard of. There muft have been o- 
 ther Qualities that turn’d the Scale fo ftrong- 
 ly on His fide, and recommended him to theE- 
 fteem of thofe to whom he own’d his Advance- 
 ment. But perhaps after all, more Merit of ei- 
 ther kind would have been Infufficient, with- 
 out the Aififtance of a Friend that hadlntereft 
 and Affiduity. Such a one Rajfaele had, and 
 was diftinguifh’d betimes. Afterwards thefe 
 Advantages would naturally occafion his ac- 
 quiring a Superiority in Painting, as it hap- 
 pen’d. 
 
 The Marble Chapel is next to Rajfaele' s, 
 and laid to be of Vincenzo de ’ Rojji da Fief- 
 ole . The Old Men over the Arch are better 
 than everlfaw of Bacc.Bandinelli^nd fome- 
 
 thing 
 
( IQ 7 ) 
 
 thing in his Tafte, as well for the Airs of th$ 
 
 Heads, as the Actions, both which are Admira- 
 ble : ’tis in very high Relief. If any thing of 
 Baccio is fo good as this, ’tis the Bafis for an 
 Equeftrian Statue ofCoJtmol. thatftands in the 
 place before the Ch. of St. Lorenzo in Flo- 
 rence. 
 
 The Salutation of the Virgin and St. Eliza - Carlo Marat . 
 beth is extremely fine, particularly the Vir- 
 gin: my Father has two leveral Drawings, one 
 in Red, the other in Bl.Ch. for her Head in 
 Profile. 
 
 Over the Arch of the next Chapel to this is Bait.Peri4z.zi . 
 the famous Pi&ure of the Virgin going to the 
 Temple, where an Old Gentleman gives Alms, 
 and another Man is juft got off his Horfe. It 
 is aLargePicfture, with many Figures, prelerv- 
 ed as thofe of Raffaele , or fomething better ; 
 what remains is extremely good : my Father 
 has the entire Original Drawing. 
 
 The Altar-piece of the next Chapel to that G/V cU Sermo ~ 
 of the Crucifix is the Nativity, and Shepherds. mtt *' 
 
 A noble Picfture, and tolerably Colour’d, the 
 Airs are extremely good. ’Tis well enough 
 preferv’d. 
 
 The Capo la of the Chapel overagainfti?^ Bald.Pemzzu 
 [dele's is painted with Hiftories of the Old 
 Teftament in finall Squares. ’Tis worfe con- 
 ferv’d than any. 
 
 Biazza Navona. 
 
 In this Piazza is the Fountain of Bernini ; Bernini. 
 
 ’tis a vaft Rock pierc’d through, and through, 
 fo as to be divided into four parts which unite 
 
 3 a-top, 
 
Clro Terri. 
 
 ( 108 ) 
 
 a-top, where is plac’d an ^Egyptian Obelifk : 
 toward the bottom of each part of the Rock 
 is feated a Colloflal Figure reprefenting one 
 of the four principal Rivers, with great Fifhes, 
 a Lyon, and Sea-Horfe, as coming out from 
 the hollow middle. Upon this Rock, which is 
 about 27 Foot high, on a Pedeftal of near 17 
 Foot, is put the Guglio , which is almoft 60 
 Foot high, on which is aCrofs with other Or- 
 naments ; the wholeWork from top to bottom 
 amounting to about no Foot in height. There 
 is a very entertaining Account of this flupen- 
 dious Work in Baldinuccts Life of Bernino , 
 to which I refer you. My Father has aModel 
 of the Fountain by Camillo Rofconi. In the 
 Summer this Square is overflow’d with Water 
 about two Foot deep, more or left as they 
 pleafe, through which the Coaches drive (for 
 here is the Ring.) The Noife of the Splafhing 
 of the Horfes Feet in theWater, with that of 
 the prodigious quantity which guihing from 
 this vaft Rock, and in fome parts tumbling 
 down a great height, and breaking on other 
 parts of the Fountain, fo as to fling a fort of 
 Dew all about ; together with the Echoes 
 from the Palaces, and Churches ail round the 
 Piazza, is indeed Sublime. 
 
 The Church of St. Agnes. 
 
 The Cupola is painted; has many fine A- 
 dtions of Angels, Saints, and prodigioufly 
 Gay, and Light; but fo full of Figures, and 
 without any manner of Harmony, that’tis 
 Dilagreeable : As all Pictures, efpecially large 
 
 Compo- 
 
( 10 9 ) 
 
 Compofitions, muft needs be where the Great 
 Malles are not carefully preferv’d. 
 
 One of the Altars here that is cut in Bas- Meich.cajjfk. 
 reliefs very good, but not comparable to that 
 in St. Auftins ; the Story is St. Eujiachius , 
 and other Saints expofed to be devoured by 
 Lyons. 
 
 The Capitol. 
 
 One afcends by Stairs of a vaft length, 
 and broad, but not deep, bounded with Balu- 
 ftrades; at the Foot of which on each fide is 
 a Lyonefs on a Pedeftal of ^Egyptian Marble, 
 pouring Water out of her Mouth into a Bafin, 
 out of which it flows by feveral Streams into 
 another below. At the Head of thefe Stairs 
 axQCaflor and Bollux holding their Horfes as 
 they appear’d to th t Romans after the Victo- 
 ry over the Volfci ; they ftand on Noble Pede- 
 ftals; thefe Statues are Antique, of a Great 
 Style, but not Elegant. This delivers you in- 
 to a large Square, in the midft of which is the 
 Equeftrian Statue o ^Marcus Aurelius ; on the 
 oppofite fide is the Principal Building of the 
 Capitol, built by Mich. Angelo^ and others, 
 to which you afeend by a Stair-Cafe which 
 ranges on both fides with the Building, and 
 meets a-top in the Centre, delivering you into 
 the Lodgings of the fecond Story. In a Nich 
 in the middle of this Stair-Cafe is a RomaTri- 
 nmphans^ndi Fountain encompafs’d by a Semi- 
 circle of Baluftrades ; on either fide is a Figure 
 reprefenting a River, one the’ Nile, the other 
 th zTyber. Two other fides of this Square are 
 
 Buildings 
 
( 110 ) 
 
 Buildings with Porticoes lately finifh’d : The 
 Principal Building has a fort of Steeple in the 
 middle, and all round a-top runs a Baluftrade 
 adorn’d with Statues, amongft thefe a fine Ve- 
 nus oi Med. Antique. That fide of the Square 
 by which you enter is open, only a Baluftrade 
 ranges on both fides from the Head of the 
 Stairs. OnPedeftals inferted, on one fide, and 
 the other are, firft Trophies, faid to be o{ Ma- 
 rius, but are of Trajan-, then an Antique Sta- 
 tue, and at the end the Columna Milliaria, a 
 Pillar which the Romans fet up at the end of 
 every Mile, even to a vaft diftance from Rome. 
 So that to defcribe a place one, two, or three 
 Miles from thence, and fo on, it was cuftoma- 
 ry to {2Ly,Rrimus,Secttndus,Tertius ab^rbe 
 Lapis . Thele Pillars, Statues, and Trophies, 
 by their being feverally of a like height on 
 each fide, and different one from the other, 
 have a Beautiful Effedh 
 
 The Marcus Aurelius on Horfeback is 
 much bigger than Nature; a Wonderful Sta- 
 tue! ’tis ofBrafs, and has been Gilt ; fome of 
 theRemains of the Gilding are yet feen,’tis well 
 preferv’d. ’Twas found in the time of Six- 
 tus IV. A 0 . 1475T. lying in a little Subterrane- 
 ous place near St.John Later an, and fet up 
 thereabouts, but remov’d by Raul III. 15*38, 
 and placed here. Sandraart fays, that when 
 Totila took Rome he was fo pleas’d with this 
 Statue, that he caus’d it (alone cf all thofe in 
 Rome ) to be embark’d in the Port of OJiia , 
 but that it was afterwards taken again by Be- 
 lifarius , and placed by him in the Piazza of 
 
 St.John 
 
( 111 ) 
 
 Sr .John Later an \ for this however (as his 
 Cuftom is) he quotes no Author. Vafiari and 
 *Donatus(i ay it was placed thzxzhy SixtusYV . 
 without mentioning Belifiarius at all. This 
 only remains of 24 Gilt Equeftrian Statues, 
 which ’tis laid were part of the Ornaments of 
 Ancient Rome. See Majfiet s Notes in RoJjTs 
 Book. 
 
 ’Tis fet upon a highPedeftal, and has a No- 
 ble Appearance, but would Hill look finer if 
 the Roma Triumphans , and other Figures 
 which are behind it, and feen together with 
 it, had not the lame ill effedt as a Ground too 
 ftrong, and in broken parts has behind a Fi- 
 gure in a Pidiure ; the Eye is fomething di- 
 verted and perplex’d. 
 
 It is oblervable that the Bridle is much like 
 what we now ufe. 
 
 The fame are feen in a Bas-relief of this 
 Emperor triumphing over the Germans , which 
 is as you go up the great Steps here on the 
 Left-hand. 
 
 In the Court on that fide. 
 
 Two fiLgyptian Kings; Coloflufos, Touch- 
 Hone ; a Noble Great Style, perfectly well pre- 
 lerv’d as to what remains of them, for they 
 want the Hands ; and the Head of one of them 
 is of£ but lo as to be put on without being the 
 worfe for that Accident, it not being loft. 
 They were found in the Gardens of the Duke 
 d' Ac qua Sparti d S.Rietro , about a Year a- 
 go. They leem to be a fort of Car iat ides , but 
 that they have nothing like Capitals on their 
 Heads. Four 
 
( ”1 ) 
 
 Four JEgyptian Idols, Women, fiipported 
 againft Obelilks, which have all Hierogly- 
 phicks; One is of Black Marble, and the reft 
 of Mottled, Red and Grey. They were found 
 lately in the Gardens of Verofpi, which are a 
 part of thole which were anciently of Saluft , 
 where a vaft many of the fineft Antiques have 
 been found. 
 
 Colojjus of Conftantine , much damag’d. 
 
 Marforio , a Coloftal Figure of a River, well 
 enough preierv’d, and of a great Tafte, the 
 Head efpecially. 
 
 Antique Sepulchral Cheft; Oblong of two 
 Yards by two Foot, full of Bas-reliefs very 
 high, but bad Work, and much damaged. ’Tis 
 faid to be of Alex.Severus , and his Mother 
 Julia Mammea ; ’tis printed in Beter San - 
 <5?^’sBook of Ancient Sepulchres,/. 8 1,82,8 3. 
 
 Term of a Minerva-, very great Style, and 
 fine Air of a Head. ColofF 
 
 Thefe Antiques in this Court lye as in a 
 Lumber-houfe without any Order, ’till ’tis re- 
 folv’d where to dilpofe of them. 
 
 When I was in Rome the Pope came to view 
 them, and one or two of the JEgyptian Sta- 
 tues were removed and fet up under the Por- 
 tico over againft the Gate on the other fide 
 which is finilh’d. This Court was alfo order’d 
 to be built in the time of ClementN III. in the 
 fame manner as That (which was done by M. 
 Angelo under TW/ III.) but the Foundations 
 were but juft laid, when (for what Reafon I 
 know not) ’twas left off 
 
 \ 
 
 In 
 
( ”3 ) 
 
 In the Entry going up St air 
 
 AColoffalFoot upon a round Pedeftal, with 
 a Sacrifice in Bas-relief, fine. Over it is wrote 
 on the Wall, 
 
 nuncutar dubia eft fententia nobis . 
 
 Ovid. 
 
 In the Room where is the Collection ofC arlo 
 Marat, which is to be fold by Lottery. 
 
 Hercules Aventinus , {landing, with Apples 
 in his Left-hand, and his Right holds fome- 
 thing which is broke ; by what remains itmay 
 be the end of a Club, or part of a Bow. He is 
 cloathed with a Lyon’s Skin; very Young, 
 Short, andFat; but a very Noble Style. 
 
 Several Heads upon fquare Pedeftals, like 
 fome in Ful. Urjinus. 
 
 Three of Plato. 
 
 Sappho . 
 
 Socrates. 
 
 \ Diogenes . 
 
 Alcibiades ; a Lovely Air, and fine Greek 
 Tafte. 
 
 Hiero\ has the Air of a young Woman; the 
 No fe has been broken off This is the beft of 
 all thefe Heads, tho’ not perfect, as not being 
 the very higheftGm^ Tafte. 
 
 A Woman, Fortune-teller, very Capricious 
 Adtion, and per fedtly Fine. 
 
 Statue of Marius ; Exquifite. 
 
 Poppea Sabina^ the fame Action as that in 
 the Garden of Farnefe on Mount palatine , 
 
 I only 
 
 QuoPede 
 
( ”4 ) 
 
 only that This leans the Right-arm on the 
 Back of a Chair, the other lies in her Lap ; the 
 Head falls a little back, and then looks up. 
 The fame Size. 
 
 Hercules Aventinus found in MbunGifc##- 
 tinej of Touch-ftone,aBoy of three Year sold, 
 but a Coloflal Figure ; he is Handing, and hold- 
 ing the Serpents. ’Tis an ^Egyptian Tafte, 
 as appears by the Face, and is extremely good. 
 
 Court on the Rights 
 
 Colo (1. Head of Domitian^ Marble. 
 
 Aiiother of Commodus , Brafs ; both almoft 
 - as high as a middling Man. 
 
 The Feet, and a Hand of a vaft Colofilts of 
 Apollo. 
 
 Lyon tearing aHorfe; the Adtion extreme- 
 ly fine, but the Horfe is not of a good Style ; 
 the Lyon admirable. 
 
 RomaTriumphans fitting, not the bell man- 
 ner ; Coloffal : ’tis upon a Pedeftal that has a 
 W oman weeping : Incomparable. 
 
 On the other fide of the Capitol , in fever al 
 RoOfhs. 
 
 A Brafs Head of Lucius Junius Brutus^ the 
 Eyes of an Antique Compofition to imitate 
 the Natural Colour. 
 
 Over a Door in Bas-relief, the Head of Mi- 
 thridates King of Bontus , vaftly bigger than 
 the Life. Great Greek Tafte. 
 
 Th zFafti Con filar es placed in a kind of a 
 Facade , of an Antique Building of four Pila- 
 
 fters. 
 
( IX 5 ) 
 
 fters, like the Artmdel Marbles. Antique In- 
 fcription. Amongft other things ’tis here Paid, 
 
 C. ATILIV. M.F. M.N. REGVLVS, COS. 
 A. DE POENEIS NAVALEM. EGIT. VIII. 
 
 In another Room. 
 
 A Head of an Apollo , one of the mod Fa- 
 mous Heads in Rome ; the Particularity of the 
 Thicknefs, and Flatnefs of the Nofe more fo 
 here than in the Venus of Medicis ; a Mark 
 that it is of a Horick Matter. 
 
 Scipio Africanus ; Bald. A Prefent of In - 
 nocentX I. 
 
 Another Room. 
 
 Hercules, Antique, Bigger than the Life : 
 Remains of Gilding appear in fome parts ; he 
 holds Apples in his Left-hand, the Club in his 
 Right. 
 
 Cicero in a Confular Habit. The Cicer is 
 added. 
 
 A Statue call’d Virgil, but no Head to it. 
 
 In another Room. 
 
 The moft ancient Wolf, with Romulus and 
 Remus fucking it. ’Tis in Brafs, a great part 
 of the Left-leg behind is melted byLigh tiling, 
 which Cicero lays happen’d in his time. 
 
 The Slave taking the Thorn out of his 
 Foot, and by it aMinifter of the Sacrifices, 
 call’d the Camillus-, my Father has a Draw- 
 ing of it in Red Chalk of Raffaele \ On the 
 
 I x other 
 
( ) 
 
 other fide of the fame Paper is another Draw- 
 ing, a Pen, by the fame Hand, of the Slave. 
 Both thefe Statues are inBrafs,the laftis a per - 
 fectly fine Figure as any mRome. It ft ands up- 
 on aPedeflal of Marble with three Sides, up- 
 on every one of which is a Figure of a Bac- 
 chante of the beft Greek Tafte. That Figure 
 pulling out the Thorn is call’d the Shepherd 
 Martins in the Infcription under it. 
 
 I muft take leave to fay, that Maffei’s Notes 
 on thefe two Figures might have been fpar’d. 
 That this is a Camillas , and not refembling a 
 Woman, befides my own Memory, Rajfaele's 
 Drawing juft now mention’d is a good Argu- 
 ment^ And the Old Account of this Slave is 
 probable as what he advances. 
 
 At the bottom of the Stairs is the ancient 
 Rofiral Pillar fet up {oxDuilins ’tis of Ba- 
 ri an Marble. Ficaroni believed ’twas reftor’d 
 by Augnftus^ becaufe Livy fays ’twas fpoil’d 
 by Lightning: One Proof is, upon the Decks 
 of the Ships there areTritons, and Sea-horfes 
 of an Admirable Tafte, which could not be 
 done in the time of Dnilius , but the Infcrip- 
 tion is certainly of That Age. 
 
 Near that in aNich is a Statue of Auguftus 
 Cafar after the Battel of ABium\ the Prow of 
 a Ship at his Foot, and which was always put 
 upon his Medals after thatBattel, proves this. 
 A Print of it is in Roffi's Statues, N°. 1 6. 
 
 In the Great Court the Colofial Head of 
 j Domitian is of a vaft Tafte, but however not 
 Good. This ftands upon aPedeftal, on which 
 
 is 
 
( "7 ) 
 
 is a Bas-relief, a Figure reprefenting a Pro- 
 vince ; but what Province is not known. In 
 the Pantheon anciently flood the Statues of all 
 the Gods, each upon fiich aPedeflal, with 
 Figures reprefenting Pro vinces; Thiswasone 
 ofthofe: ’tis aGm^Tafte. 
 
 Luii gar a, or the Little Fame fe. 
 
 This Palace is now Uninhabited, and gone 
 to Ruin in a great meafure ; and is fo Unfre- 
 quented, that the Court through which one 
 goes to the Houfe is all overgrown with Grafs ; 
 and they told me no body had been to fee this 
 Gallery for about two Years : the Keys were 
 hardly to be found ; and I was not without 
 great danger of not feeing it, though I was at 
 Rome feveral Months. 
 
 The Gallery of RJyche ^ which is one of the RaffiteU; 
 moft famousWorks of Rajfaele ; and the Paint- 
 ing as well as the Gallery has been Repair’d. 
 
 ’Tis a Ground Room looking into, and rang- 
 ing with the Garden. 
 
 The Pictures are painted in a fort of Lu- 
 nettes , form’d by a Semicircle within a Tall 
 Arch ending in a Point, and theTriangles be- 
 tween the Arches. The Semicircles on one 
 fide of the Gallery are form’d by the Tops of 
 the Windows, and the reft are made to agree 
 with thofe. Of theTriangles I fpoke of there 
 are Four on each fide of the Gallery, and One 
 at each end : Of the Lunettes there are Two 
 at each end, and Five on each fide. On the 
 the Ceiling are Two large Pictures. In thofe 
 Triangles, and that Ceiling, are painted the 
 
 I 3 feveral 
 
( * i8 ) 
 
 feveral parts of the Story, as Raffaele has told 
 it, and which he has not made lb long a sA- 
 puleius who is the Author of it: He has only 
 taken the great Parts. In the Lunettes are 
 Amorettoes bearing the Spoils of the Gods, 
 only the firft has one touching with his Fin- 
 ger the Point of an Arrow, to fhow the Sharp- 
 nels of thole of Love; and the lafl has ano- 
 ther Boy with a Lyon, and Sea-horfe Rein’d, 
 to fhow that All is under his Empire : fo that 
 the Moral is interlpers’d throughout the Fa- 
 ble. The Figures are fomething bigger than 
 the Life, painted as if feen in the Air, a Sky 
 being the Ground of the Pictures. 
 
 The Gallery is Small, but very Lightfome, 
 and Gay. 
 
 The twelve Pi6tures,Ten in the Triangles, 
 andTwo intheCeiling fay, that 1 Venusi\\ows 
 TJyche on the Earth (who is not feen but lup- 
 pos’d)direblingG^/V to make herMiferable by 
 a Wound of an Arrow, in Revenge of her 
 drawing offHer Worfhippers to her felf. Cu- 
 pid inftead of that falls in Love with ‘Ppyche ; 
 finely exprefs’d by 1 hislhewing her ({fill Sup- 
 pos’d, not Seen in the Picture) to the Graces. 
 
 3 Venus provok’d applies to Juno and Ceres , 
 who Excufe Cupids and endeavour to Appeafe 
 her; whereupon 4 Ihe mounts in her Chariot 
 to Complain to Jupiter , ? which fhe does. 
 6 Jupiter lends Mercury to convoke the Gods. 
 In the mean time 7 Tfyche having obtain’d of 
 ‘Troferpine the Beautifying Particle inclos’d 
 in a fmall VefTel, feeks V °nus-> and s prelents it 
 to her, Cupid flies to Jupiter , and is 9 well 
 
 receiv’d ; 
 
, ( 1 l 9 ) 
 
 receiv’d ; and 1 ° RJyche is brought by Mer- 
 cury : 1 1 the Gods are afTembled in Council ; 
 and ' 2 afterwards at a Banquet upon occafion 
 of the Marriage of Cupid and Rf^che^ where 
 fhe is admitted into the number of the Dei- 
 ties, and receives Immortality. Thele two 
 laft Pictures are in the Ceiling, of many Fi- 
 gures each : All the reft are orOne, generally 
 ofTwo,fometimes of Three, and in one there 
 are FourFigures. The Arches, Triangles, and 
 Lunettes , are form’d by Feftons qf Foliage, 
 painted by Giovanni da 'Vdine. Thele are a 
 fort of Frames to the Pictures. The Whole is 
 accurately defcrib’d by Bellori , with feypraj 
 fine Remarks ; and Sir Nieh.Dorigny has made 
 Prints of them. 
 
 AgoftinoChigi, fromwhorp this Palace was 
 formerly named, employ ? d Raffaele in this 
 Work at the fame time a$ he wa§ engaged in 
 feveral Others, Some even More confiderabje 
 tfianThis ; and Agoflino thinking Raffaele too 
 long about it, and fanlying his freqpent Ab- 
 fence from it w^s occafion’d by his Gallan- 
 tries, the Story is, that he permitted him to 
 take hisMiftrefs into theHoufe, that he need 
 not loofe time in going after her. It might be 
 Sooner, it does not appear to have been Bet- 
 ter done by this Expedient. 
 
 Jf this Story is true, what is .commonly faid 
 is har,dly Credible, viz. that All but two or 
 three Figures were painted by Giulio Romano^ 
 from the Defigps of Raffaele ; and yet That 
 appearing fo probable from the Work it felf, 
 makes this Tale doubtful. 
 
 I 4 
 
 That 
 
( 110 ) 
 
 That the Defign is of Rajfaele is certain ; 
 and as certain that all is painted by Himfelf,or 
 his Difciples ; but neverthelefs this Celebrated 
 W ork was undoubtedly Red, and Bricky, Hard, 
 and without Harmony, and confequently not 
 very agreeable atFirft; and having been much 
 Decay'd, it was Retouch’d, and in many parts 
 entirely gone over by CarloMarat ; who tho’ 
 a very admirable Mafter, has not only not re- 
 ftorea Rajfaele injur’d by Time, but Injur’d 
 him more than Time had done, or could have 
 done. Whether what Carlo did is not what it 
 was when firft done, but that the Colours are 
 ftarv’d, or otherwife alter’d, or whether he 
 fail’d in his Judgment, or in the Execution, 
 certain it is , that what with the Harfh, the 
 Bricky, Thick, Heavy Colouring of the Old, 
 and the Fierce Blue of the New Skies, which is 
 the General Ground of the Figures, both of the 
 Larger, and the Lefler Pictures, together with 
 the Glaring Retouchings, or Painting upon 
 throughout, which appears not unlike the 
 White Heightnings upon a new Drawing, this 
 whole Work as it now Bands, is far from an- 
 fwering the Idea one is apt to form of it from 
 the Name of Rajfaele , from its Own great 
 Fame, and from the Prints. On the contrary 
 one isDifappointed, and Grieved. 
 
 Not but that when the feveral Parts are fe- 
 parately confider’d, and the Tintamarre arifing 
 from the want of Compofition, and Harmo- 
 ny, efpecially in the Banquet, and Council is 
 not attended to ; there are to be found a great 
 many particular Beauties; Fine Thoughts, At- 
 titudes, 
 
( 121 ) 
 
 ritudes, Contours, a great Style of Painting, 
 &c. But it mud be faid too, that in this way 
 ofconfidering this Gallery, one difco vers much 
 toDiflike, as well as much to be Pleas’d with. 
 
 Venus drawn by the two Doves is I think 
 the bed Figure in the wholeWork, both for 
 Defign and Colouring. At the Banquet where 
 llie comes in Dancing her Face is lliorr, very 
 Red, and not at all Handfome. The Mercu- 
 ry, a fingle Figure which is at the end of 
 the Gallery facing you as you come in, is a 
 Noble Figure, and has a prodigious Vivacity. 
 It isZfe//flri’sObfervation, that the three Bro- 
 ther Gods Jupiter i Rluto^ a nd Neptune , have 
 a Fraternal Refemblance, but fo as withal to 
 denote their feveral diitinCt Characters. The 
 Back of one of the Graces (and which is agreed 
 is of Raffaele' s own Hand) is very fine, but 
 the Face of the middle one is very Ugly. The 
 Cupid is a very Bricky Figure ; of which Co- 
 lour the parts of the Graces that are contigu- 
 ous are fo Itrongly tinCted, that it feems as if 
 his Body was a Hot Coal, and call a Reflection 
 on what was near it. If Rajfaele meant this 
 as an Allegory ’tis not a Fault, but a Beauty ; 
 and poflibly That was his Intention, and the 
 Thought may have been taken from Mofchus 
 an old Greek Poet, who in hi $> Amor Fugiti- 
 mis , making Venus defcribe her Son, lays a? 
 mongfl: other things, 
 
 /uS/J X xdjytos, 7TV£/ <$’ 
 
 This Excufe may be thought too partial, 
 and Recherche , efpecially fince there are fo 
 
 many 
 
( 121 ) 
 
 many Indances here of thefe Faults in Colour- 
 ing ; but it will appear to be left lb, if it be 
 confider’d that befides what Talents this Pain- 
 ter pofieffedof his Own, he had the Affiftance 
 of the chief Literati then in Rome . However 
 I ought not to omit it, nor do I infill on it. 
 
 I might add other Particulars, whether Beau- 
 ties or Defebts, but that would be too tedious. 
 So that I lliall content my felf with oblerving 
 that the two great Pidures on the Ceiling are 
 made to reprefentTapedries of thofe Stories, 
 and fix’d there ; probably to excufe the Fore- 
 fliortnings which Figures above the Eye and 
 in the Clouds mud needs have. Whether Raf- 
 faele avoided Thefe out of Choice, as believing 
 themUngraceful,at lead every where but in the 
 very point in which they are painted to be leen: 
 Or whether it was becaufe he thought himfejf 
 not likely to fucceed in That way ; or cared not 
 to Study a Manner Then little known; or for 
 whatever other Reafon, is Uncertain: But 
 whether he ufed this Expedient of the Tape- 
 dry, or not, Generally his Ceiling-Figures dif- 
 fer not from the Others. As particularly in the 
 Gallery in the Vatican where all thofe call’d his 
 Bible are Such. AnnibaleCarracci has done the 
 fame thing in the Gallery of Farnefe. Correg- 
 gio is famous on the other hand forFore-lhort- 
 ning his Figures, leen di fotto in fu: Giulio 
 Romano has alfo prabtifedThis; and the Late 
 Maders in General. Nor was Raffaele incapa- 
 ble of This if he had cared to apply himjelf 
 to it, as appears by th eMo/aic’s in the Church 
 
 of 
 
( I2 3 ) 
 
 of the Madonna del Topolo which were De- 
 fign’d by Him. 
 
 'Up Stairs over the Chimney. 
 
 Vulcan at his Forge : ’tis not an Agreeable 
 Picture ; and the Colours feem to be Decay’d. 
 ’Tis no w of a Dirty, Brown, and Red Tindt A 
 Boy in it has a very fine Air: Throughout is 
 feen a Great Style, and ’tis faid to be of Rajfa- 
 ele , or Giulio , but I don’t believe ’tis of either 
 of them. 
 
 Another Chamber over that of the Galatea. 
 
 Over againfl the Window, Alexander of- RhaidoMan- 
 fers a Crown to a Lady fittingupon a Rich Bed, 
 and Undrefiing by Cupids. 
 
 On one fide the Tent of 'Darius. 
 
 On the other a Battel, where Alexander is 
 
 tovano. 
 Gio.Batt. Ber- 
 tano . 
 
 upon a large White Horfe. 
 
 Excepting a General Air of the Roman 
 School, This whole Room is one of the moll 
 Execrable Works that was ever done ; there 
 is not throughout one good Air of a Head, not 
 One good Handing, nor a Well Drawn Limb, 
 no nor a Thought remarkably good. 
 
 In a lower Room by the Gallery. 
 
 ThzGalatea-, ’tis pretty well preferv’d,but Ratfaele. 
 does not anfwer the Idea I had of it. TheFace 
 of the Galatea is notHandfome, nor perfectly 
 well Drawn : And her Drapery, which was 
 Red, and is flying in the Air, befides that it 
 has no graceful Shape, is now lb Black that it 
 looks intolerably Heavy, and as Hard againft 
 
 the 
 
( 1 2 4 ) 
 
 the Ground as if it was Inlaid: Butdoubtlels 
 much of this is owing to the Changing of the 
 the Colour. Throughout the Colouring isDif- 
 agreeable, upon the Dirty ReddifhTind:. 
 
 All thefe Works in thisPalace are in Frefco^ 
 
 In the laft mention’d Room upon a Wall not 
 painted, in a Corner is the Head Sketch’d with 
 Mich. Angelo. Black Chalk, or Charcoal, by Mich. Angelo ; 
 
 ’tis a young Faunus-like Head, fcendi fotto in 
 fu,zt lead: as big again as the Life, and extreme- 
 ly fine ; not Better however, tho’ much Larger 
 than what I have feen Ellewhere ; nor indeed 
 is it Equal to Some of Thole. This is laid to 
 be That for the fake of which that fide of the 
 Room was not painted, becaufe then this fine 
 Head mull have been deftroy’d. 
 
 Villa Medicis. 
 
 The Niobe. I confider’d This, and every 
 part of it for feveral Hours Alone. The Figures 
 are placed upon a vail Rock-like Heap of 
 Stone, about the bignefs of an ordinary 
 Room, and not Group’d at all ; every one is 
 detach’d from the other, but neverthelefs by 
 Threes, of which there is Five; they form a 
 fort of a Square, three Figures on each Side, and 
 three in theMiddle, in all Fifteen, comprehend- 
 ing the Horfe. This Injudicious way of fetting 
 them is very Offenfive to the Eye atfirftView. 
 Nor are they all of a Tafte ; the Niobe her 
 felf, and the Daughter flie covers are Divine, 
 and fo is file that keeps up her Drapery with 
 her Hand over her Shoulder; the Head of an- 
 other of the Daughters is fo too, as is the whole 
 
 Figure 
 
( 1 2 5 ) 
 
 Figure of one of the Sons that is dead, and 
 whichis of the moft beautiful Rarian Marble, 
 which the other Figures are not. There is an 
 Old Man; He from the firftfeem’dto have no 
 relation to the reft of the Figures, except that 
 he is in a fright at fomething from above, 
 which F right is Nobly expr efs’d : and enquiring 
 more ftri&ly into it, I found that His Head, 
 which appears to be Roman upon all accounts, 
 has alfo the Eye-balls mark’d, which the Greeks 
 never did, nor is this done in any of the other 
 Figures. When I mention’d the Son that is 
 dead, Ifhould have gone on to fay that ’tis the 
 beft Figure of them all to myTafte; and for 
 Attitude, aud Contour, equal to any in Rome, 
 take it in any View. Nor has it been mended 
 in any part, as all the others have; it wants 
 the Fingers of the Right-hand, and the Toes of 
 the Left-foot, and half the Right- leg, befides 
 that the Note is broken off; but what remains 
 of the Face has a perfectly fine Air : there are 
 in feveral places the marks of Red Chalk, and 
 Compaftes for the meafuring this Figure. In 
 all of them where the Hands, and Feet were 
 not join’d to Drapery, the Rock, or fomething 
 elfe to fecure them , they have been broken 
 off All but the Niobe are about thebignefsof 
 the Life, or rather more ; file is abundantly 
 larger. The Air of her Head is particularly 
 fine (my Father has aCaft of the Face) the o- 
 ther Airs are (generally fpeaking) correlpon- 
 dent to the Figures, and Better, orWorfe, as 
 Thofeare. Some (thofe I have mention’d) are 
 very Fine, the reft are Indifferent, or very Bad. 
 
 Gleopatra 
 
( 116 ) 
 
 Cleopatra Dying; this Figure touch’d me 
 moft of any in the Garden ; ’tis three times as 
 big as the Life ; the Head is of the greateft 
 Greek Talte, and can be compared to nothing 
 but the Alexander dying in the Gallery of the 
 Great Duke. The ExprelTion is moving ; Ihe 
 is molt Evidently? in great Agony, butwithout 
 any manner of Grimace, or apparent Altera- 
 tion in her Face, but that the Lid of one of her 
 Eyes is more drawn over than the other, and 
 her Chin feems to be drawn tight. I clamber’d 
 up a piece of the ancient Wall of Rome to get 
 upon this Figure to confider the Features di- 
 ftindtly, as I had before thole of the Niobc, 
 by the help of a like Expedient. 
 
 The fine Vale of the Hiftory of the Sacri- 
 fice of Iphigenia-, ’tis publilh’d in the Admi- 
 randa. 
 
 Two Captives on the Niches on each fide 
 the Steps coming into the Garden, whole 
 Faces and Hands are of Marble, and their 
 Clothes of Oriental Granite. 
 
 Gallery in the Garden. 
 
 Apollo leaning upon the Stump of a Tree 
 (which is cover’d with Drapery) his Legs a- 
 crofs, and feeming to play upon a Lyre, tho’ 
 none is here. A molt Beautiful Air of a Head, 
 and the Limbs, and Sweep of the Body as deli- 
 cate as the Antinous of the Belvedere. He 
 has a Swan at his Feet. 
 
 There are in this Gallery two other Apol- 
 /(j^j,both Antique, lb much the lame withThis, 
 as that they have no other Difference but that 
 
 thele 
 
( l *7 ) 
 
 thefe two look up, whereas This looks downa 
 little, and that ’tis incomparably the Bell. 
 
 T wo Antique Copies of the V °nus of Me- 
 diets ; tolerably good. 
 
 There are a great number, perhaps a hun- 
 dred of thefe Antique Copies of this wonder- 
 ful Statue in Rome, and Florence. 
 
 A Figure in the lame Attitude as the Anti- 
 nous ( except the Head, which has a Helmet 
 on) and the lame Drapery. 
 
 Bacchus leaning one Arm upon a Stump with 
 aP at era ; Exquifitelygood, and has a Love- 
 ly Sweep! 
 
 ,/ipollo leaning upon his Lyre, a Serpent 
 creeping up the Stump of a Tree, upon Which 
 his Lyre is plac’d ; Perfectly fine ! 
 
 In th zBortico ieading to the Garden (call’d 
 the Bortico of the Lyons, becaufe of two that 
 are there, one Antique, the other done by Fla- rUm'mm 
 minius Vacca as a Fellow to it, but ’tis vaftly Vacea ' 
 Letter) 
 
 Sabina , as fine as pofllble ; Grav’d by Bif 
 cop. N°.43. 
 
 Room fronting the Garden. 
 
 Satyr teaching a Young Man, perhaps^o/- 
 lo ; the Nole, and Lip of the latter, and the 
 Nofe and Chin of the other, has been broke ofL 
 and let on again. I am not very fond of this 
 Groupe, tho’ ’tis famous ; the Legs of the Satyr 
 are certainly very Bad. 
 
 Antique Copy of xhzHerculesFarnefe ; not 
 very good ; ’tis one of the little Statues upon 
 a Pillar, 
 
 Next 
 
Next Room. 
 
 * Ganymede with the Eagle ; a very famous 
 Statue, but I confefs I am not very much touch- 
 ed with it. 
 
 Marjyas ty’d to the Tree in order to be 
 flead. I think altogether as fine as that Flead 
 in the Gallery of the Great Duke : the Right- 
 leg, Left-foot, part of the Left- arm and Nofe are 
 added ; both Hands are Antique, and Admira- 
 ble ; the Head finking upon his Bolom is as 
 fine as any Antique in Rome , and lo is the 
 whole Tor Jo. 
 
 Apollo , a famous Figure, his Right-arm is o- 
 ver his Head; the Left-arm (which is added 
 very 111) leans upon a Stump; Feet added. 
 The Head is very Good, but the Sweep, and 
 whole Contour of the Body, and Thighs on 
 both Sides in Perfection. 
 
 Hercules Farnefe , a fine Antique Copy as 
 big as the Life, the Hand that holds the Ap- 
 ples is added, as alfo that Arm. 
 
 Apollo fitting upon the Stump of a Tree, 
 and playing upon a Fidula , his Legs acrofs. 
 Torfd and Legs Antique, andExquifite. Head, 
 Arms, and Fijlula Added. Deteftable! 
 
 There are two Globes in the firft Room, and 
 a great Inlaid Table in the laft ; the Figures on 
 
 The Ganymede in Perrier , and which is faid to be in 
 the Garden ot Medicts is not This; That was brought from 
 Home to Florence at the fame time with the Venus , and ma- 
 ny other Statues, and which Suffer’d very much in the Car- 
 riage; particularly the Venus , which till then was in perfeft 
 relervation. Of this 1 was inform'd by B tan c to. 
 
 the 
 
 1 
 
( I2 9 ) 
 
 the Celeftial Globe, and thoie on the Table In* 
 laid are laid to be of Mich. Angelo, Thofeon 
 the Globe are fine, and may be of Sebaft. del 
 Piombo, but are certainly not of Mich. Ange- 
 lo : As for thofe on the Table, (which are Fi- 
 gures between Columns, and cover’d with 
 Rock Cryftal) they are Otherwife Inconfide- 
 rable, and defign’d by fome Inferior Hand. 
 
 The Palace Farnele. 
 
 This Palace (as the LungaraJ belongs to 
 the Duke of Parma, who rending in his Capi- 
 tal, That is Defolate as I obferv’d before. In a 
 part of This is at prefent lodg’d the Envoy of 
 ‘Parma ; but ’tis not fo frequented by Romans, 
 or others, as one would imagine. ’Tis exceeding 
 Magnificent, fufliciently lo to be the Palace of 
 any King in Europe, and Large enough for al- 
 moll All of them together: Built by Mich.. An- 
 gelo out of Materials taken from the Colli fe- 
 tim, and Adorn’d with Antique Bas-reliefs, 
 and other Ornaments inferted throughout the 
 Frizes, and other parts of the Building. ’Tis 
 one of thofe fort of Palaces which the Itali- 
 ans call Ifolato, that is, it is detach’d from all 
 the circumjacent Buildings : a Great Square is 
 before it, in which are two fine Fountains. 
 You enter through a Gate like a Triumphant 
 Arch, under which on either hand is a Porti- 
 co about 30 Paces long, each having in the 
 middle an Arch leading out of it: All this 
 Gate-way isofMarble, as is in General the Pa- 
 lace, and other Works you find in approach- 
 ing to it : fuch is another Gate oppofite to this 
 
 K firft. 
 
( *3° ) 
 
 firft, which you go through having pafs’d a 
 Court about the bignefs, or rather Jfomething 
 lefs than Lincoln' s-Inn-Sauare ( not the 
 Fields ) which is encompals’d by a Piazza. 
 This lecond Gate delivers you into a fecond 
 Court, and That into the Palace. At the En- 
 trance into the Apartments above Stairs Hand 
 the two Captive Hacian Kings, but which were 
 much fpoil’d a few Years fince by the Servants 
 of a French Ambafiador who was Compli- 
 mented by the Duke of Farm a with this No- 
 ble Refidence. Thele Ralcalsmadeuleof thele 
 Statues to beat and rub their Lighted Flam- 
 beaus againft, which has fmear’d them abomi- 
 nably: my Father has a Drawing of thele 
 Kings done by Battijla Franco. In the firll 
 Court, and under xhtPiazzasixc fix Statues, 
 all upon Pedeftals almoft as high as a Man. 
 That near the fartheftGate, and on the Left- 
 hand of it coming in is the Hercules , of a 
 Beautiful White Marble, mellow’d as to its 
 Colour by Time ; ’tis about three times as big 
 as the Life, and well preferv’d, only that the 
 Right-foot is added by Gulielmo della Porta y 
 and is fo good that it’s not having been done 
 by M. Angelo ; nay that ’tis not Antique, need 
 not be regretted. This Statue was found in 
 the time of Paul III. about twenty Years af- 
 ter the Death of Raffaele , ’tis the Work of 
 Glico an Athenian. In the long ‘Piazza, on 
 the lame fide, and at the end next th ^Hercules 
 is the Flora , of which the Head, the Right-arm 
 from a little below the Shoulder, and the other 
 from a little above the Elbow, and both the 
 
 Hands ; 
 
( 1 3 I ) 
 
 Hands; and the Right-foot with about half 
 the Leg, and the greateft part of the Left-foot 
 have been loft, but lupplied by the fame Ex- 
 cellent Mafter as repaired the Hercules ; my 
 Father has a moft Exquifite Model of this Sta- 
 tue, juft in the Condition it was before its loft 
 parts were reftored. 
 
 On the fame fide ftill, but at the other end of 
 the Fiazza? is the Gladiator, with another on 
 his Shoulders whom he hasflain, this is called 
 Commodus , but Falfly. Juft oppofite to thefe 
 Three are as many others, another Gladiator, 
 another Flora , and another Hercules, all en- 
 tirelyDifferent from thefe, but Good. Thetwo 
 on each fide of the hithermoft Gate, that is, 
 the two Gladiators are fomethingLefs, the reft 
 are much about the Size of the famous Hercu- 
 les : which is lb Famous, and fb well known, 
 and of which there are fo many Prints and 
 Drawings, feveral of which my Father has by 
 Battifta Franco, Rubens?&Cc. that it needs no 
 farther Defcription ; unlefs it be that tho’This 
 Figure, as well as the Flora? are fo taftly Large, 
 and the firft foMufcley, and Strong, neither of 
 them appear Heavy, but the contrary . 
 
 In this Cortile under the Fiazzd on the 
 Right-hand near the Hercules , is the great 
 Urn found in the Monument of C^ecilius Me- 
 te llus^xw which his Daughter was buried : the 
 upper part is adorn’d with Foliage, and Ani- 
 mals intermix’d, like thole of Giulio Romano? 
 of whom myFather has feveral Drawings of this 
 kind. The Work of this Urn is Admirable. 
 
( *3* ) 
 
 The Gallery. 
 
 Mercury ; the very fame Figure as the An* 
 ti nous of the Belvedere, but that he hasWings 
 upon his Feet, and a Caduceus in his Hand. 
 ’Tis perfedly fine, and well preferv’d. 
 
 Seneca ; a Head. In all I have feen of Him 
 he is reprefented with an Abjed Countenance, 
 Severe, and fomething Savage, and his Hair 
 not only Carelefs,but Slovenly, as Rich a Man, 
 and as great a Courtier as he was. 
 
 Homer ; the Famous one ; of Farian Mar- 
 ble. The Nofe has been broken off, butisvery 
 well put on. My Father has aCaft of this. 
 
 Hercules and T)ejanira£>he with theLyon’s 
 Skin, He with the Diftaff: He affeds Smiles, 
 and Effeminacy in his Adion, and Face ; She 
 looks F ierce upon him . F igures about two Foot. 
 
 Apollo of black Marble leaning upon his 
 Lyre, with his Right-hand over his Head: this 
 is the fineft Statue in the Gallery. There are 
 feveral others in the fame Attitude in Rome , 
 and as I remember one at Florence in the Gar- 
 dens Boboli of the Palace Fitti ; but none fb 
 good as this. The befl is the Trunk lately 
 found in the Gardens of Maecenas at Rome. 
 
 A Bacchus , fine Tafte, and a Mercury in 
 the Adion of the Antino 'us ; exceeding Good. 
 
 A Veftal’s Head, thin Drapery wrapt dole 
 about, and under the Chin ; a Girl of about 1 6, 
 or 17; the moft Innocent Air, and the mofl 
 engaging of all thofelhave feen m Rome, Flo- 
 rence, or elfewhere ; and which ftruck me fo 
 much that it detain’d me from the Paintings of 
 Caracci a confiderable time. The Livia Mat- 
 tel, 
 
( r 33 ) 
 
 tei., (or Faujiina jun.) is Alone to be com- 
 par’d with This that I know of. That is an 
 Intire Figure, This only a Head : Th cLivia 
 is a Matron, and the Younged Lady that ever 
 was of 24 Years old; with an Air Majedick 
 altogether, and Forbidding, notwithdanding 
 the greated Sweetnefs, and Good Nature ; fhe 
 is cloath’d enough for a Matron, but not fo 
 much as to hide the mod perfed Shape, and the 
 Softed, Eafied turn’d Limbs in the World. Her 
 Head is cover’d with the fame Drapery that 
 covers her all over, and which Ihe holds up to 
 her Bread (which otherwife would have been 
 too evident) with her Hand, which is feen 
 mod Graceftilly through it : This Adion has 
 another good Effed by putting the Drapery 
 which falls down before her at a greater di- 
 dance from her Body, and fo excufesthe f low- 
 ing Two much of the Naked. In this Statue all 
 is Awful: But in the young Vedal there is a 
 drange Girlifh Innocence, and touching Beau- 
 ty more Familiar. They are both Portraits. 
 
 The Venus of Medicis is quite of another 
 Charader (as a Statue) from this of Livia: 
 
 That which charms in the Venus is a certain 
 Symmetry, and Inexpreffible Lightnefs, Delica- 
 cy, and Softnefs in the Whole, and a Contrafi 
 that touches without knowing why : Other- 
 wife the Head is not comparable to This, and 
 feveral Others, as well Ancient, as Modern, 
 particularly one of Guglielmo della Fort a on Gf4 ,i de u a 
 theTomb of Faul III. of the Family of Far - Porta . 
 nefe in St. Feter's Church, One of the Virtues 
 there reprefented. And I believe that almod 
 
 K 3 all 
 
( 1 34 ) 
 
 all the particular Parts are exceeded by forne 
 one, or other of the Statues, tho’noneof them 
 have fo many Excellencies together. Thus the 
 Venus Callipygis of Farnefe exceeds by far 
 This, and all the Statues in the World for the 
 hinder part which is intirely Naked, but then 
 the Head, and the Drapery is very much Infe- 
 rior. Several Statues have the Hands andLegs 
 more Beautiful, asth ^ Hermaphrodite \ but 
 then This excels them all in the Wrifts, and 
 jointing of the Feet, and in general in all the 
 other Joints. And indeed there is a Venus 
 which Hands juft by This which is Irreproach- 
 able in feveral of its parts ; yet being fome- 
 thing ftifF in the Whole, and the Head not put 
 on the Shoulders gracefully, nor the Neck lo 
 well turn’d, which are the things that ftrike 
 firft, ’tis unregarded, being in prefence of the 
 other. I don’t doubt but that the Colour of 
 the Me dice an Venus allures the Eye more than 
 we are aware of; and the llaphne of Bernini 
 in the Villa Borghefe will ftrike ftill more 
 than it does, when it has gain’d that Colour 
 by Time; for certainly This Statue does not 
 yield in the Number, or the Quality of its Beau- 
 ties to any that are in Italy, Ancient, or Mo-? 
 ^lern ; and with this Advantage, that as it has 
 it felf the moft Lovely Air, and Shape of a 
 \oung Lady that ever was, ’tis contrajled by 
 the moft Beautiful one too of a Young Man, 
 th z Apollo, which has juft overtaken her. His 
 Air is Wild, andFearful; his Lips a little open 
 as panting for Breath, and after all his Pains 
 he juft touches her timoroufty, and draws back 
 
 his 
 

 ( *35 ) 
 
 his Arm a little, by which is feen the greateft 
 Relpe<ft,mixtwith the greateft Berni- 
 
 ni didnot think fit to follow the Proportions of 
 the Venus as to the Shape ofxhzD aphne., who 
 is more Tall and Slender without that Large- 
 nefs of Hips which is fo remarkable in the 
 Venus ; this indeed is fomething owing to the 
 Attitudes of both ; One ftands, and bends a 
 little, which makes the Hips larger, and t’other 
 is running, which as it requires a Shape more 
 degage does not fpread the Hips as the other. 
 
 But after all, tho’ the "Daphne has the Beau- 
 ties I have mentioned, and perhaps many more, 
 
 I never doubted but that I fhould find her in 
 the fame Place again whenever I pleas’d, tho’ 
 file is reprefented as Running ; Whereas I al- 
 ways fanfy’d the Venus would ftep off from 
 herPedeftal the next moment. 
 
 I was led into this digreflive Parallel of Sta- 
 tues by having laid that the Head of the young 
 Veftal was the moft engaging thing I had feen 
 in Italy, and that nothing was comparable to 
 it but the Livia Mattel ; and this I faid becaule 
 the Modefty, and Innocence of the one, and 
 the awful Virtue of the other is preferable to 
 the beautiful Forms, and Proportions, the 
 graceful Attitudes, the Delicacy, and Softnefs, 
 and even the Life, or whatever other Quality 
 that can be found in Painting, or Sculpture. 
 
 The Gallery Farnefe is Sufficiently Famous Annibale . 
 by That Name, or that of the Gallery of Ca- 
 racci, ’Twas painted juft at the beginning of 
 the laft Century ; and Seems to have Suffer’d 
 Little, or Nothing by Time, or Othenvife: 
 
 K 4 tho’ 
 
( i3<* ) 
 
 tho’ ’tis certain it has been Something Injur’d, 
 of which * Bellori has given an account, as 
 alfo of its Reparation. 
 
 Tis up one pair of Stairs, you enter into it 
 by a Door at which ftand the two Damag’d, 
 Captive Kings before mentioned; ’Tis in 
 Length about 65 Foot 4 , and very near 20 4 - 
 Broad; The two Sides are divided by Pilafters 
 into 7 Spaces ; three Larger, of above 6 Foot 4 
 in width, and fourLeffer, of fomething above 
 five. Thefe Pilafters fuftain the Cornilh over 
 which is a Frize fomething above xo Foot in 
 depth. The Windows are on one fide of the 
 Room, That oppofite to the Door I fpoke of. 
 Thefe are between the Pilafters, and under the 
 Cornifh, and Frize ; and being large Glafs the 
 Gallery is very Lightfom, and Pleafant in it 
 felf. ffeit’tis not near fo Large as that o iHamp- 
 t On-Court^ which is about 130 Foot by 25, the 
 Height agrees better with its Length than its 
 Width. 
 
 On the fide oppofite to the Windows be- 
 tween the Pilafters are Niches wherein are An- 
 tic] ue Statues, over Some of which are two finall 
 Pictures one above another with their Frames 
 (Painted) and Ornaments up to the Cornifh : 
 Over others are Marble Heads, withBoys, Fe- 
 lons* orthelikeEmbelliftiments painted: and 
 thefe Pictures, and Heads, &c. are put, the 
 Pictures in the narrowed Spaces, the others in 
 thewideft. Only over the Door which is in the 
 middle is a pretty large Pi6tureinftead of thofo 
 
 * 1° his Book of the Piflures of Ra facie, p.8r. 
 
 Boys, 
 
( * 3 ? ) 
 
 Boys, Feftons, &c. ’tis the Virgin embracing 
 the Unicorn, the Devife of the Houfe of Far- 
 nefe ; One of thofe Heads I fpoke of is over 
 this Picture. There is a little Diftance between 
 the outermoft Pilafter, and the Corners of the 
 Room which is fill’d with a little appearance of 
 another Pilafter, and Fortitude, and Modera- 
 tion on This fide, and Juftice, and Charity on 
 the Other, painted in Ovals together withCoats 
 of Arms, andGrotefque Ornaments. Betwixt 
 the Windows are Statues in Niches, and before 
 Thele,and Thofe on the other fide are Bufts up- 
 on Pedeftals ranged on each fide of the Gal- 
 lery ; Some of which (as the moft remarka- 
 ble) have been already noted. 
 
 In the Cieling are three Pictures, One above 
 23 Foot long, and half as much in height, a 
 Bacchus , and Ariadne , with Silenus , Satyrs, 
 Fawns, &c. This is betwixt two Ocftangular 
 Pictures. In One Baris receives the golden 
 Apple from Mercury ; and Ban gives the W ool 
 to 'Diana in the other ; They are above 1 1 
 Foot-^high, and fbmething more than 6 Foot 4 
 wide. Thefe (as the Pictures in general) have 
 Frames, and Ornaments painted, and enrich’d, 
 and heightned with Gold, 
 
 The Frize on both Sides of the Gallery is 
 divided by Pilafters Painted, juft over the Real 
 ones already mentioned ; confequently Here 
 alfo are three Larger, and four Lefter Spaces: 
 In the Firft are Pictures in theirProper Colours; 
 in the Other are Medallions of a Greenifh 
 Tin6t; only to make the General Form of 
 thefe more Beautiful the Large Picfture in the 
 8 middle 
 
( * 3 8 ) 
 
 middle is more Large than the reft, being 
 brought beyond the Pilafter on each Side, 
 and over Part of the neighbouring Medalli- 
 ons. This will be better comprehended by 
 feeing the Plan ofthefe, in which I have not 
 given my felf the trouble of an Exadt Scale 
 as not being necefiary, however ’tis there- 
 abouts. 
 
 In the Side oppofite to the Window the Pic- 
 tures, and Medallions are 1 Galatea with 
 Tritons, Nymphs, and Loves ; 2 Jupiter , 
 and Juno between the Medallions of Apollo 
 fleaing Marjyas , and Boreas carrying off 
 Orythia ; and 5 T>iana , and Endymion be- 
 tween thofe of Eurydice carry’d back to Hell, 
 and Europa on the Bull. On the other Side of 
 the Gallery the larger Pidlure i ^ Aurora^ and 
 Cephalus in a Chariot drawn by two Horfes, 
 Old Titan is afleep, and Cupid with a Basket 
 of Rofes flies in the Air: This is betwixt the 
 two of V enus and Anchifes ; and Hercules , 
 and Iole ; which two Pictures have on each fide 
 of them their Medallions ; Cupid tying a Sa- 
 tyr, and Salmacis embracing Hermaphrodi- 
 tus is with the Firft ; the Other has Syrinx 
 turn’d into Reeds by Ean^ and Leander fivim- 
 ing conduced by Cupid to Hero . 
 
 Thefe Pictures, and Medallions have very 
 magnificent Accompagnements : On the paint- 
 ed 
 
( 1 39 ) 
 
 ed Pilafters are placed Terms that feem to ftp, 
 port the Cieling; Thefeare in Stone Colour; 
 Over each Medallion is a Boy that comes near 
 half way down, then begins Sitting F igures of 
 young Men which feem to fupport them, and 
 Thefe,and the Boys make fomething of a Cir- 
 cular Figure to humour that of the Medallions, 
 and are in Proper Colours; befides theft. 
 Standing Figures of young Men, their Heads 
 only wrapt in, or cover’d with Drapery reft 
 on that Side of the Lelfer Pictures which is next 
 the Great one in the middle ; Theft (as the 
 Terms) are in Stone Colours. All this is en- 
 rich’d with Frames to the Pictures, Feftons, 
 Masks, &c. 
 
 At each End of the Gallery are three Pic- 
 tures of different Forms, one over another; 
 the bottom of that in the midft ranges with 
 the Corniili over the Windows, as conftquent- 
 ly the Pidure does with the Frize on the Sides 
 of the Gallery, and accordingly it unites with 
 this Frize by parts ofMedallions appearing on 
 each Side with Terms, Boys, and naked Fi- 
 gures asThere ; which T erms, Theft adjoining 
 to this Pidure, and Thoft contiguous of the 
 Frize, meet, and have their Arms interlac’d. 
 But asThis Pidure at each End of the Gallery is 
 higher than the top of the Frize, and that there 
 is Another, Above, fomething more than three 
 Foot high, and not fo wide as the Pidure o- 
 ver which ’tis plac’d; two Satyrs fit at the 
 topCorners of the F rame of This Pidure which 
 fill up the Space left there by that Lefler one, 
 and theft Satyrs, and Lefler Pidure, and the 
 
 upper 
 
( J 4° ) 
 
 upper part of the larger Picture is carry ’d upa- 
 bove the top of the Frize being painted upon 
 the turning of the Arch of the Vault; (for the 
 Cieling is Such ; ’tis flat but rais’d from the Side 
 and End Walls Arch-wife) And fo much of 
 thefe Pictures as is 16 rais’d is inclos’d in aCor- 
 nifli painted ; and fo contriv’d in Perfpe&ive as 
 if one law beyond into fome farther Building. 
 The loweft of thefe three End-Pi6tures with 
 its Frame fills the width of the Gallery, and is 
 fiipported by three Slaves, one at each End, and 
 one in the Middle ; they are Naked, Sitting, 
 and painted as of Gstzmfti Bronze. The Sub- 
 ject of thefe two undermoft Pictures is Per- 
 feus , andyf;/^/r^^theOne, and the Other 
 the Combate of Per feus, ^nAPhineas-, One 
 of the middle Pi&ures is Polyphemus , and Ga - 
 late a , He playing upon the Fiflula ; The other 
 is the fame Polyphemus with the piece of the 
 Rock which he is about to hurl at Ac is ; the 
 little Pidxire over This is the Rape of Gany- 
 mede , and the little one over the Other is Hy- 
 acinth, and Apollo. 
 
 At every Corner of the Room are two Boys 
 painted in Natural Colours, and Handing up- 
 on a fort of Balluflrade near the Bottom of 
 the Frizes ; they are fo plac’d as that one is 
 painted on the Side of the Room; the o- 
 ther on the End Wall; Thefe explain the 
 Thought of the whole Work. At one of thefe 
 Corners two Boys are Wreftling; that is, Di- 
 vine Love contending for Victory with Vo- 
 luptuoufnefs ; Reafon with Paffion ; a Crown 
 of Laurel radiated juft over them fhews the 
 
 Reward 
 
( M 1 ) 
 
 Reward of prevailing Virtue. At another, Di- 
 vine Love endeavours to force the Torch from 
 its Adverfary to extinguilh it. At the third, 
 Concupifcence takes away the Palm from Di- 
 vineLove. Laftly the two Boys join Hands, 
 and are about to kifs each other, to lhew, the 
 two kinds of Love maybe confiftent. And by 
 Thefe Thus explain’d is feen why the feveral 
 Stories, and Allegories here painted were cho- 
 fen. The Bacchanale in the Cieling, the Lar- 
 geft, and molt confpicuous Picture tells us that 
 Intemperance is a Fundamental, and Prolific 
 Vice. Throughout Concupifcence generally 
 prevails, and over all Ranks and Degrees; but 
 Virtue Rarely. It would be too Tedious to be 
 Particular in thefe Explanations ; Thofe that 
 aredifpos’d to amufe themfelves in This way 
 may do it at their leilure, and as their own 
 Judgment, or Fancy directs them; the whole 
 Gallery is printed ; and j Bellori has in the Life 
 of Annibale given a very Large Account of it. 
 
 The Painting is Frefco , and I believe the 
 molt Perfect in the World. In Rafae lie's time 
 they were not fo Expert inThatWayasfince, 
 the Cupola of St. Andrea della Valle by Lan - 
 franco s indeed aMafterpiece for lo vaft aDi- 
 ftance; but This has all the Advantages, and 
 Beauties of Frefco, and Oyl-Painting united. 
 
 And in truth Such a Character belongs to 
 Annibale himfelf, in whom is found the icat- 
 ter’d Excellencies of manyotherMafters; He 
 has form’d out of All thefe a Style of Painting, 
 both as to the Thought, and Execution truly 
 Excellent, and which is to be feen in this Gal- 
 lery 
 
( i4* ) 
 
 ler y more than any where, it being the Princi- 
 pal Work of this great Man . So that a Copious, 
 and Rich, a Solid, and Judicious way of Think- 
 ing, Strong, and Juft Expreflions, a Colouring 
 between the Gravity of Rafaello , and the 
 Gaiety of Guido, and inclining to that of Cor- 
 reggio, whom he had much ftudy’d; the noble 
 Attitudes, and Contours of the Antique, and 
 the Roman Schools fomewhat reduc’d towards 
 Common Nature, but very Great, and Open; 
 aWay ofDrefling his Figures lbmething farther 
 remov’d from the Antique than Rafaelle's, 
 and more approaching to what we find in Car- 
 lo Mar att, and other Later Matters; but Ex- 
 cellent. In a Word all that 1 had almoft 
 
 laid all that can be W ilh’d for in Paintrhg is here 
 to be found. 
 
 But I will venture to fay ’tis hard to conceive 
 that more can poftibly be feenTogether ; Tho’ 
 Separately one may find in One more Dignity, 
 in Another more Beauty, Stronger Expreflion, 
 &c. yet not Much more neither, the Subject 
 being confider’d. 
 
 The feveral Pictures in this Work areFabu- 
 lous, Allegorical, Poetical Stories, exceedingly 
 Gay, and Agreeable ; but under which are de- 
 liver’d to us Moral, and Theological Truths, 
 and Inftru<ftions. Suitable to This manner of 
 W riting is the Painting, the Truths themfelves 
 are Plain, but made Palatable, and Delightful by 
 a-great deal of Ornament ; the Painter iiippoieS 
 the Fables he has fet before us, and their Moral: 
 Significations to be well Known, T hefe are His 
 naked Truths; and he has embellifh’d them 
 
 with 
 
( r 43 ) 
 
 with Variety of Rich, Noble, and Finely ima- 
 gin’d Accompagnements . The Gaiety ana Plea- 
 fingnefs of the Stories admit of This, which 
 would undoubtedly have been Too much 
 but in this Poetical way of treating the Sub- 
 ject. Wxd Annibale been to have painted in- 
 ftead of Thele the Stories of the Cat 'tons (for 
 example) his Pictures muft have been Large, 
 and not embarafiedwith a great many Acade- 
 my Figures (tho’ in Stone-Colours) Masks, Sa- 
 tyrs, andGrotelques; but in the prefentCale 
 he certainly judg’d Well, and has treated his 
 Subject in a Style it ought to be treated. This 
 Gallery was intended as a Gallery of Magnifi- 
 cence, and Pleaiure, and withal to havefome- 
 thingtoBettertheMind. It was to be aPoem, 
 not a Sermon. 
 
 Molt of this Work is painted by Annibale 
 himlelf; Some is however done by his Elder 
 Brother Agoftino , as where Tan gives the 
 Wool to T)iana, ’tis in the Cieling; and the 
 Imprefs of Farnefe over the Door isby ‘Dom't- 
 nichino , and eafily diftinguilhed, for tho ’tis 
 Beautiful, ’tis Feeble compar’d with the reft 
 and probably Thele, and perhaps fome Others 
 have aftifted in other parts, especially in the. 
 Ornaments. Lodovico was there a few' Days ; 
 no doubt he was not a Mere Looker on. 
 
 ’T is laid Annibale drew every F igure by the 
 Life, and that all thele Drawings were together 
 in One Collection ; Indeed I don’t remember 
 I have feen any of them befides a fmall Head, 
 and an Admirable Figure (very nearasmuchas 
 is leen of it in the Picture) ’tis in the Bacchanale 
 4 on 
 
( 1 44 ) 
 
 on the Cieling. My Father has this Drawing. 
 
 Here Annibale employ’d the belt eight 
 Years of his Life. This Work he had Realon 
 to believe would have let him above Necefti- 
 ty, even above the Power of Fortune. But 
 it was his Ruin. The Story is well known, the 
 Repetition of it is Hateful. 
 
 Before I leave this Gallery I am oblig’d to ac- 
 knowledge that as I knew well that there were 
 Prints of the whole ; and that ’twas delcrib’d 
 by Bellori, as has been faid, I did not take Notes 
 of the Particulars I have here given, relying 
 upon thofe Accounts which I believe are juft : 
 I did not obfervewhen I was there, nor have 
 recollected fincc that they were otherwile. 
 
 Next Room. 
 
 Venus Callipygis . All the naked part of 
 this V °nus is at leaft as fine as that o IMedi- 
 cis, and the Drapery that Ihe draws up be- 
 fore her is very good, but that part which 
 hangs down is in ftreight Lines, and without 
 Invention ; the Head is Modern, and good for 
 nothing. I had leen a Call of this Figure before, 
 together with thofe of many others of the fi- 
 . ne ft Antiques in the French Academy; I then 
 confider’ditwell, and compar’d it with Thele, 
 but thought none of them Equal to it. I was 
 or the lame Opinion when I law it again a- 
 mongft the other fine Calls at ThtffeldorP. 
 
 ' y . lei has an admirable Drawing of ‘Par- 
 weggta.no of a Venus and Cupid-, the Venus 
 is taken from This, with Improvements upon 
 what is not VFell here. 
 
 I was 
 
'( *4S ) 
 
 I was fhewn a Head as That of him that 
 built Conji ant inop le y This is lufficiently Ab- 
 oard ; but ’tis ufual enough to meet with fuch 
 Silly Accounts of things fromthofe that have 
 the ihewing them, whoever it is that furnilli 
 them with iuch, or however they Miftake, or 
 Confound things. This is a Head of ‘Dante; 
 
 I have feen Several, tho’ in different Attitudes, 
 as in the Dome of Florence , at the Elector 
 Falatines , my Father’s Drawing, &c. when I 
 came to Rome I was confirm’d in this Opi- 
 nion, which is the fame I had of it at firft 
 Sight; the Virtuoji there knew the Head, 
 and that it was as I judg’d. ’Twas not done 
 however in Dante's time, the Work is more 
 Modern, and Better ; ’tis Excellent. 
 
 Venus crouching, and Cupid playing with 
 her; very fine! Large again as the Life : Air 
 of a Head very good. 
 
 Second Room. 
 
 A Fine Head of Saluft the Hiflorian : at 
 Dujfeldorp theCafl of it has That Name up- 
 on it. My Father has alfo aCaft of it. 
 
 A Room painted ^Taddeo Zuccaro. 
 
 ’Tis the Hiftory of the Actions of Alex. Far- 
 nefe , but not in any degree comparable to the 
 Caprarolo, and fome other of his Works. My 
 Father has a Drawing of a fmall part of it. 
 
 Here is a fine dead Chrifi of Annibale gone 
 Black, and almoft Ipoil’d with theDampnels. 
 
 Hall. 
 
 A Groupe of Coloflal Figures. Alex. Far - 
 
 L nefe 
 
 lad, Zuccaro. 
 
 Ann. Caracci. 
 
 Simon Ma - 
 chelli . 
 
Gu$l. della 
 Porta. 
 
 ( <4« ) 
 
 neje crown’d by Vidtory, ind the Cow Coun- 
 tries under his Feet: not very good. 
 
 Two Figures lying of Plenty, and Chanty ; 
 very Good. The Pedeftals are Wood, and 
 painted in Chiaro Scuro, Apollo , and 'Diana 
 fitting at one end, and a Matron coming to 
 them” Old Men worfhipping a fmall Statue. 
 As I remember ’tis the lame with that fine 
 Frize of Tolidore, Grav’d by Goltzius , &c. 
 
 Apollo , the fame, or nearly with that fine 
 one in the Garden of Me die is-. Legs acrols: 
 He is here playing on a Lyre. ’Tis Excellent, 
 but not Equal to That. 
 
 'Under a Shed below. 
 
 Dirce, Amphion , and Zethus , upon a vaft 
 Rock, with the Bull, and other Animals. The 
 Figures are very fine, efpecially th e.'Dirce, in 
 Broad parts more remarkably than any other 
 Statues. ’Tis in a Great Tafte, but extremely 
 Hard, and without any Delicacy at all. The 
 Animals are but Indifferent, and the Rope ve- 
 ry poor. This is commonly call’d thcloro. 
 
 That Rope, and which is ty’d to the Bull’s 
 Horns is a confiderable length, and detach’d 
 from the other parts of the Marble, but has fo 
 efcap’d the common Injuries of Time, and Ac- 
 cidents, that it is Intire, and Unrepair’d ; ’tis 
 therefore call’d one of the Miracles of Rome. 
 
 This is efleem’d the Greateft Groupe of 
 Antique Statues cut out of One Stone ofwhich 
 we have any account (for the Niobe is leveral 
 detach’d Figures placed, and to be Chang’d at 
 Plealiire) ’tis of fine White Marble, iomething 
 i above 
 
 / 
 
( *47 ) 
 
 above thirteen Foot high ; and the Rock, 
 which is the Ground of it, is about ten Foot 
 two Inches in length, and breadth in the lit- 
 moftExtremities,for ’tis not of a Regular Form. 
 I did not meafiire it my felf, but believe this 
 Account is right. ’Tis the Work Apollo- 
 nius and Taurifcus , Rhodians , judg’d to be 
 brought to Rome in the time of Augujlus, and 
 to be the fame which flood before the Ffoufe 
 of * Afinius Tollio . ’Twas found in the 
 Thermes of Antoninus in the timeofTW/IIl. 
 (fince Raffaele) and by him brought to the 
 Palace Farnefe ; but being broken in many 
 fmall Pieces, the Cardinal of that Name caus’d 
 them to be put together, which was done 
 without the addition of any other, the whole 
 Work being found. Mich. Angelo advis’d it 
 fhould be repair’d, and ferve for a Fountain as 
 he thought it had done anciently. S ooVafari, 
 who miftook however the Subject of this 
 Groupe. Terrier , and Others have Grav’d it. 
 
 The Story as Hyginus tells it, Chap.j. is 
 this ; “ Antiope Daughter of Ny Elens was Ra- 
 “ vifh’d by Epaphns> and thereupon put away 
 
 * A famous Hiftorian and Orator in the Reign of Au- 
 guftus ; he was Conful with Cn. Domitius Calvinus , An. 
 U.C. 713. according to Sigonius from the Sicilian Fajli , and 
 had Triumph’d. I fay thus much of him , becaufe he ap- 
 pears by many Palfages of Pliny to have been the greateft 
 VirtuGl'o of his time: One of which Paflages is where he 
 fpeaks of this Groupe, Lib. 36 cap 5. 
 
 Pollio Afinius tit fait acrts vehementia, fic qttoque fpeSfart 
 ynonumenta fua voluit. In Us funt Centauri, Ictus er 
 
 Ampbion, er Dirce , e? Taurus , vinculumque ex eodem lapide , 
 Rhode advefta opera Apollonii e? 1 Taurifci. 
 
 Lx “ by 
 
( i4« ) 
 
 “ by Lycus her Hufband. Afterwards Jupi- 
 “ ter lay with her. Dirce, whom Lycus had 
 “ married fince the putting away of AntioPe^ 
 “ perceiving lhe was with Child, believ’d Ly- 
 “ cus had private Commerce with her, and 
 “ order’d her to be Bound, and ihut up in 
 “ fo me Dark place. When the time of her 
 “ Delivery drew near Jupiter freed her, and 
 “ lhe fled to Mount Cytheron : but on the 
 u way was brought to bed of Zethus , and 
 “ Amphion , who were taken care of by Shep- 
 “ herds. Thefe being grown up, and inform’d 
 “ of the Story of their Mother, to Revenge 
 “ her, ty’dOim’to the Horns of a Wild Bull, 
 “ who thus perilh’d Miferably. . 
 
 How the Story is told by the Sculptor may 
 be leen in General by the Prints, and fo far of 
 the Expreffion as appears in the Attitudes of 
 the Figures; but the Airs of the Heads of the 
 Principal Perfons are Exquifite; there is a 
 Noble Rage, and Vengeance in thofe of the 
 two Brothers; and the Fear, and Sorrow of 
 Antiope is very Strong, andTouching. 
 
 Auguftus Cafar on Horfeback, the fame 
 A&ion as the Marcus Aurelius? and rather a 
 finer Figure. In his Left hand inftead of the 
 Bridle he holds Apples; his Clamyd is button- 
 ed, as that of Marcus Aurelius ,and very fine- 
 ly Invented the Folds. He is here a Young 
 Man, and not Half Life. Marble. 
 
 Antinous , a molt Beautiful Bull, twice as 
 big as the Life. There is another much like it 
 at the Palace Giuftiniani at the Head of the 
 Stairs. 
 
 There 
 
( J 49 ) 
 
 There are as many of Antinous , ( Statues, 
 and Bulls) as of the Venus of Medicis\ and 
 ali have precifely the fame Likenefs, the Hair 
 diipos’d in the fame manner, it always covers 
 the Forehead almoft as low as the Eye-brows. 
 Probably the Nobility of Rome made their 
 Court to Trajan by having an Antinous y 
 which occafion’d this great Number. They 
 have all a Melancholy Air; and ’tis in This, 
 and a certain Exa(ft, and not an Hiftorical Na- 
 ture (befides the Injignia peculiar to thefe 
 Deities) that they differ from the Mercuries^ 
 and Apolloes ; for Thefe have the fame Pro- 
 portions. 
 
 Two Noble Torfoes^ One about the Size of 
 the Hercules , the Other a good deal larger. 
 
 They are of the moft perfect Greek Tafte, 
 and well preferv cl. And are of Apolloy Mer- 
 cury , or Antinous ; at lead they are of that 
 Proportion. 
 
 Several fine little Heads of Lares are on 
 Shelves all round this Room. 
 
 Cabinet . 
 
 In a Round in the midft of the Ceiling is AnnibM 
 Hercules Deliberating which Way to chufe, 
 that of Virtue, or of Vice, who are both foli- 
 citing him : In Ovals at each end of the Cei- 
 ling is Hercules, Suftaining the Globe, and at 
 Reft. Over the Door is Circe giving the Cup 
 to Vlyffes , (my Father has the Drawing ;) and 
 oppofite to it He is ty’d to the Mart of the 
 Ship. On the fide of the Room over againft 
 the Window are the two Brothers carrying 
 
 L 3 their 
 
( ijo ) 
 
 their Parents from an Irruption of Mount Mt- 
 na ; and Ter feus and Medufa. All thefe, ex- 
 cept the Round in the Ceiling, are in Frefco y 
 That is in Oil on a Cloth fix’d there. The 
 two Figures in the Ovals are about four Foot 
 high, the reft not quite three; for not only 
 the Room is final!, but none of the Pictures 
 come lower than that over the Door, and Un- 
 der them are hung other Pictures of no Con- 
 lequence. Nor are thofe of Annibale very 
 pleafing,, the Colouring being Blackiffi, and the 
 Room fo mething Dark; tho’ the Thoughts are 
 Fine as may be leen by the Prints, and theDe- 
 fcription of Bellori . Befides the Pictures there 
 are painted fmall Figures, and ether Orna- 
 ments, Stiuc co-work*, &c. 
 
 Another Room . 
 
 Meleager in Hc&Aigyptian Stone ; Small; 
 Very fine, but that the Right-arm which is on 
 the Hip is Lame, and the Head notEafy. 
 
 Car ac allay the famous one, of'Tarian Mar- 
 ble ; End of the No le oroke of but well refto- 
 red: Antique. This Head has been Copy’d 
 very often By the. Ancients, and there is no 
 Carac alia in any other Air, or T urn than This : 
 thorn either are they lb exactly alike as if they 
 were Calls, and from the fame Mould. My 
 Father has a Call of this, 
 
 A Brafs Camillus y . the fame exadJy with 
 lhat exquifite one in the Capitol , only that 
 This is not fo good; it is not aCaftfromThat, 
 Both being wrought with the Hammer ; but 
 
 it 
 
( I 5 I ) 
 
 it muft be a Copy from it. ’Twas found in 
 the Garden Farnefe. 
 
 Here is a Suite of Emperors ; Bufts, An- 
 tique ; and all done (as is faid here) in their 
 Own Times, and going very low, but few 
 Good ; the Caracalla above-raention’d ( which 
 is one of thefe) pleas’d me mod. This Suite 
 however is not Complete; as none that I have 
 feen in Rome , or elfewhere is, I mean of An- 
 tiques, Galba is wanting. 
 
 The Garden . 
 
 From this Garden one lees the Arch of Ja- 
 nus, the Temple of Concord, the Rojir a, the 
 Temple of Romulus, the Forum Boarinm, &c. - 
 Thele Gardens are upon the Ruins of the Pa- 
 lace of Atigtiflus , and amongft the reft thole 
 of his Library. Here is 
 
 The Statue of Fopptea the Wife of Nero 
 that he kill’d with a Kick. She fits Melancho- 
 ly, leaning backward in her Chair, her Hands 
 at length upon her Lap, holding one of her 
 Thumbs in t’other Hand, and her Legs a lit- 
 tle put out forward ; an exquifite Melancholy 
 Air of the Head, ’Ti$ one of the fineft in all 
 refpetfts of any Statue m Rome, particularly for 
 the Expreffion, which cannot be Exceli’d. 
 
 In lome of the Rooms of this Palace (I for- 
 get which) is 
 
 Cleopatra the Mother oiFtokmy Handing ; 
 a perfectly Gentile Figure. 
 
 A Portrait of a Lady about forty Years Old, 
 a Statue ; the Figure the fame as the Venus of 
 Medicis. 
 
 L 4 A 
 
( ) 
 
 AMonafiry of the Carthufians, as fine as al- 
 moft anyTalace in Rome. 
 
 Here is a Collection of Medallions, and 
 Modern Pictures, the Bed: of this Kind I have 
 feen. They have alfo feveral fine Drawings 
 of Carlo Marat. 
 
 Amongft the Medallions they have a moft 
 Noble one of Septimius Sever us, on the Re- 
 verfe Mars. The Infcription is SEPT. SEV. 
 PERTINAX. Rev. DIVI. M. PIT. F.P.M. 
 TR. P. III. COS. II. PP. It is Unique, and 
 was never Printed. My Father has the Mars , 
 a Drawing by Tarmeggiano , only he has not 
 given him the Helmet. 
 
 A Head in Bronze oiTtolemy , whom Ca- 
 ligula put to Death becaule he came into the 
 Amphitheatre in a Magnificent Drefs , and 
 drew the Eyes of the People ofi'Himfelf. He 
 is a Beautiful Youth, and ' tis of a fine Talte : 
 a Diadem is on his Head, with Holes wherein 
 Jewels, or Gold, or fbmething of this kind 
 were probably put; the Eyes are Silver, with 
 twojacynths for the Balls, and the Lips are 
 two little Plates of Gold. How could thole 
 Mailers that give fuch Airs add luch Ablurdi- 
 ties ! \ et Thele, elpecially as to the Eyes were 
 not very Unulual with the Ancients, and even 
 not in the Worlt Ages neither. And that all 
 m j§ ht of a piece, thele Fathers have hung 
 
 a* j C i Ce to with Jewels, and a Gold 
 Medal of the faxsxz^Ptolemy hanging to it. 
 
 Upon this occafion I will oblerve that ’tis 
 not very Uncommon to lee Statues fome parts 
 
 Brafs, 
 
( 1 ? 3 ) 
 
 Brafs, as the Head, Hands and Feet, the reft 
 Marble: Jewels have been hung in the Ears 
 of Statues, this is faid of the Venus oi Medi- 
 cis , and of another Venus lo drels’d by Alex- 
 ander Sevens . The Colour of the Mar- 
 ble has been conftder’d the better to Exprefs 
 the Minds of thofe to be reprefented, and 
 Iron has been mix’d with Brals for the fame 
 end. See the Notes of Majfei upon the Ve- 
 nus oiMedicis , and his Preface to ify^’sBook 
 of Statues. 
 
 Balazzo Giuftiniani. 
 
 This is one of the Largeft Palaces in Rome, 
 and has the Greateft number of Antiques; 
 with a vaft many Pidures ; but neither One 
 nor the Other the beft Chofen, Generally 
 lpeaking: the Antiques are moftly of thei?^- 
 Empire. But what are not Excellent for the 
 Work, (and which is all the Excellency a Pain- 
 ter as Such has to confider) may be greatly 
 efteem’d by an Antiquary, and very Juftly. 
 There are two large Volumes in Folio of the 
 Statues, Bufts, and Bas-Reliefs of this Palace, 
 and which being Scarce, and of things very 
 Valuable upon One account, or the Other, 
 bear a great Price. Thole Antiques, and Pi- 
 ctures which Touch’d me mod, I noted down. 
 
 In the Court . 
 
 A Fine Bas-Relief ; an Unknown Hiftory. 
 People engag’d in the Worlliip of the God 
 Terminus , and furpriz’d by Murtherers, ’tisin 
 the Admiranda N°. jx. Bolydore has copy’d 
 
 this. 
 
( *54 ) 
 
 this, but either it had been well prderv’d till 
 his time, or he mufl have Suppos’d the Faces, 
 and feme other parts ; for not one of the Fa- 
 ces arc now entire, and ’tis Throughout much 
 injur’d. My Father has this Drawing. 
 
 Above in the Rooms. 
 
 Apollo with the Skin of Marjyas , and his 
 Mafk. A very fine Figure, Antique. 
 i.,ua saIic- A Picture of the Martyrdom of St. Refer 
 niii. by Luca Salter e lli Genouefe , A 0 . 1637. Great 
 
 Manner, and well Colour’d. 
 
 Correggio, or Head of a Young Woman, Old Man, and 
 partncigieno. j f u pp 0 f e ’twas far a Madonna. The 
 
 Young Woman’s Hand is like C P armeggiano y 
 and very fine. ’Tis in Frefco upon a piece of 
 a Wall. 
 
 'Dp on a Table in another Room. 
 
 Mich. Angelo. Dead Chrift in. the Arms of Nicodemus , or 
 St. Jofeph of Arimathaa ; moft Admirable. 
 ’Tis in Marble, fmalf. 
 
 Gallery. 
 
 Jupiter , a fine Coioflaf Head: Befit Greek 
 Taftc. 
 
 Silenus with the Bag of Wine. My Father 
 has a Drawing of this in two Views of Gin lid 
 Romano. 
 
 Caprone lying down, and as large as the 
 file, one of the fineft for the Style I ever 
 iaw; and one of the moft Famous thin ns in 
 Rome. 
 
 His 
 
Bernini. 
 
 ( r 7J ) 
 
 His own Son; a Statue. Very fine. 
 
 O fear ce a Tout h, yet fcarce a tender Bay. 
 
 Pope. 
 
 A Faun's Head; of the Beft I have leen. 
 
 Meleager ; the Beil; Statue in the Gallery. 
 
 Minerva ; a Standing Figure, with a Hel- 
 met, and other Infignia , larger than the Life. 
 
 ’Tis counted the Capital Figure in the Galle- 
 ry ; and coft 60000 Crowns, of which the 
 Head coft 7000, which was found after the 
 reft. Tis not very fine, and has no Sweep. 
 
 Another Room. 
 
 Several Madonnas of Rajfaele , (in his firft Ra f ae ie. 
 Manner) and TietroBerugino. Some of thole p.perugino . 
 of Rajfaele molt excellently Colour’d, Strong* 
 andClear. 
 
 Another Room. 
 
 Hercules ; Bronze , final 1 , Found in the 
 Thermes of Agrippina. Very fine. 
 
 Mercury, Bronze alfo, and fame Size.* Ad- Flamingo. 
 mirable. 
 
 Julius II. for which the Drawing the Duke Rajfaele. 
 oilDevon/hire has, was made. 
 
 In the Hall for the Servants. 
 
 The two bell Statues in all thePataceof *A- 
 
 * I faw this Palace at my firft comiiTgn'o £m* v Before L 
 knew fo well as fin&e to- dlftingyifh. an' Aovtim'm froiman 
 ufpolfa", and I' have* forgot which' tftofe were, hut finding 
 them in my Memorandums raken upon the' pla<re as the bel? 
 in. the Palace* was unwilling tb omit them. 
 
 polio. 
 
( l 5 6 ) 
 
 polio, ot Antinoiis; leaning, with their Legs 
 acrols. 
 
 Top of the Stairs coming into the Hall . 
 
 The fine Alto Relievo of Amalthea feed- 
 ing Jupiter. Admiranda N J .z6. Figures al- 
 moft as big as the Life. 
 
 Ralazzo Bicchim. 
 
 Here is the Meleager, one of the (even 
 principal Antique Statues ; the others are the 
 V °mis, the Apollo, Hercules , Gladiator, La - 
 ocoon, and Ant inoiis. 
 
 No other Statue, or Picture in all this Pa- 
 lace, except an Antique broken Statue or two, 
 of no Conlequence. 
 
 Tal. Barberino del Trincipe di Talejirina . 
 On the Trince's fide. 
 
 Anir U “ hl A Sketch, finilh’d, for the St. Romualdo 
 Vomtnuh. Another like Sketch, and as fine as the Pi- 
 (Sure, the St. Jerome. 
 
 Another Room . 
 
 Titian. 
 
 Ciulio Korn. 
 
 A Lady’s Head, and Hands. The Hands HI 
 drawn, bijt the Head is perfe&ly fine: a Beau- 
 tiful Air, Broad Manner, and the Colouring 
 Bright, and Tranlparent. 
 
 affaele s Miftrefs ; a Copy from one (Be- 
 low) of Rajfaele s own doing : 111 Colour’d, 
 and Hard. It was the Queen of Sweden's. 
 
 S , 1( ^ ure ’ f^ mc Size as the Drawing 
 
 . F p hc r, has ’ and the fame Refemblance; 
 is a Profile too, and has fuch a Cap; but 
 
 with 
 
( I 57. ) 
 
 with the Bays, and the Face is turn’d the o- 
 ther way. Finely Drawn, and Colour’d. 
 
 In another Room are 
 
 Several Drawings in Frames and GlafTes of 
 the Cupola of Correggio. All Copies. Seve- 
 ral other Drawings, but Copies too, or Incon- 
 fiderable. 
 
 Below. 
 
 Rajfaele's Miltrefs ; the Original. This is R ijfaele. 
 much more Soft, and better Colour’d than that 
 of Giulio ; but at the bed Ihe is Difagreeable 
 enough : Of a Dark, Sullen, Brown Comple- 
 xion ; Eyes, and Flair very Black, and like a 
 Blackmoor; Nor are her Features at all Ele- 
 gant ; which I venture to lay notwithstanding 
 the Truly Italian Defcript ion the Author of 
 the Aides Bar baring gives of it. Brimus oc - 
 currit nobis Rapha'elfnfpiciendamque offert 
 nobilijfimam tabulam in qua dimidiatam pul - 
 cherrima fxmina figuram depinxit , linia- 
 mentis atque coloribus tam artificiofe anima- 
 tarn, ut profello dixerit e tabula profilire^ 
 non modo viventem fed blande exanimantem 
 incaute earn intuentes , cui plane necCampaf 
 pen illam , &c. p. 153. But the Bufinels of 
 this Author is not to Defcribe Things, but to 
 make a Declamation upon ’em, which he does 
 generally very Injudicioufly, giving vaft En- 
 comiums to Trifles, and omitting others of 
 Real Value, of which this Palace is full. In 
 This He is the lame as molt of the other Ita- 
 lianVlviters on Thele Subjects ; befides many 
 of his Remarks are Affedted, and Childilli. 
 
 3 There 
 
1 
 
 Guido, 
 
 P da Cortona, 
 
 An. Sac chi . 
 
 Titian. 
 
 Giulio. 
 
 ( r 5 8 ) 
 
 There are in the Apartments of this Palace 
 fome Angle Boys of Guido Reni in Guaz>z,o 
 under Glades., as there are in the other Pa- 
 laces ; they are of a very beautiful Tind, but 
 very Warm , whereas moft of them we fee 
 Here of him in Oil are rather inclin’d to Cold. 
 
 In this Palace is the fineftCompofitionthat 
 ever *?. da Cortona made ; and I believe the 
 moll Copious, and Rich that ever was made ; 
 the Colouring is exceeding Bright, and Beau- 
 tiful ; and tho’ there is fuch a vaft Number of 
 Figures, theCeiling being very Large, they are 
 not Crowded : It is call’d the Triumph of 
 Glory ; and the Whole is a Magnificent Com- 
 plement to the Bar bar ini Houle. The Delcrip- 
 tion of it with Prints is in the Book above- 
 mention’d. 
 
 There is befides a Ceiling in Frefco of An. 
 Sacchi , th t <r DivineWifdom^ one of the moft 
 Engaging Pidures I everfaw: The Colouring 
 is like the others of this Author, more Lan- 
 guid than that of Cortona , but ex tremely De- 
 licate, and Pleafing. There is a Print of it by 
 Natalis , and ’tis defcrib’d in the Book. 
 
 The V ?nus^ the fame the King has, with 
 Servants at a Coffer. This is counted one of 
 the Capital Pidures in this Palace : my Fa- 
 ther has the Drawing. 
 
 s? 
 
 Another Room. 
 
 St. Andrea Corjlno praying ; three Angels* 
 two hold the Crozier, t’other the Mitre. A 
 very Light, Airy Pjdturc, and Colour’d mar- 
 velloufly, efpecially the Angels. 
 
 An 
 
( 1 59 ) 
 
 An Old Woman fitting on the Ground with R*jf« eIe : or 
 her Knees up to her Mouth, and her Arms Mlch ' An '& eB - 
 vvrap’d round ’em; fhe has a DiftafF between 
 her Knees, which makes me think ’tis one of 
 theDeftinies. ’Tisia/r^yo>,cut out of a Wall, 
 and fplit in feveral places ; otherwifewell pre- 
 fer v’d ; much like Michael Angelo, but I think 
 more lik zRaffaele. Nothing can be beyond it. 
 
 Juft by it hangs another of the fame C or r e£gio. 
 Size* and Round, as this, cover’d with aGiafs. 
 
 Boys. 
 
 Another Room. 
 
 Death-bed of Germanicus ; fame Size as Poujfm. 
 the Copy my Father has by GiufeppeTaffari. 
 
 The Colours are gone very Black, fb that the 
 Arm of the Agrippina is almoft united with 
 its Ground, by which one may judge of the 
 reft, which is Generally chang’d in Propor- 
 tion. Nor is the Pi&aire without thofe Faults 
 which appear in the feveral Copies I have 
 feen, and in the Print, and which therefore 
 I doubted not but that I fliould find, viz,, the 
 want not only of a Beautiful, but even of a true 
 Humane Shape, under the large Red Drapery 
 in one of the Figures next the Eye, towards 
 the Middle of the Picture ; and the ill Anato- 
 my in the Hams of the Soldier at the End on 
 the Left fide. ’Tis neverthelefs a very Cele- 
 brated Picture. 
 
 The Story, as Tacitus tells it, is in fhort thus: 
 
 Nero Claudius ^Drufiis Germanicus the 
 Adopted Son of Tiberius, and married to A- 
 grippina the Grand-daughter of Augujius be- 
 ing 
 
ing Sick, and believing it occafion’d by Poi- 
 ion, fpoke thus to his Friends which were a- 
 bout his Bed : “ Tho’ I were to die a Natural 
 “ Death, 1 fhould have cauie to complain of 
 « the Gods for fnatching me from my Father, 
 “ my Children, and my Countrey, in the 
 « Flower of my Age. But now that I die by 
 “ the Treachery of Tifi, and 'Plane ilia, I 
 « leave you the Depofitaries of my Laft W ill : 
 
 “ Acquaint my Father, and my Brother with 
 “ all their Cruelty, and Perfidy towards me, 
 “ and that I end my Days by a Death moll 
 “ D'eteftable. Not only thofe that built their 
 “ future Hopes on my Fortune, or which are 
 “ Ally’d to me in Blood ; not Thefe only, 
 “ but even they who have Envy’d my Glory 
 “ fhall Pity me, who after having Efcap’d fo 
 “ many Dangers in War, Fall by the Hands of 
 “ a Woman! Complain to the Senate, im- 
 “ plore the Affiftance of the Laws : Theprin- 
 “ cipal Duty of Friendlhip is not Tears, and 
 “ Lamentations, but remembring thole they 
 “ lov’d in their Life, and executing their De- 
 “ fires: Leave then Tears to Strangers; but 
 “ Y ou, if you have lov’d Me, and not my For- 
 “ tune only, Revenge my Death. Shew to 
 “ the Roman People the Grand-child of Au- 
 “ gufius , and our Six Children; Their Prejudice 
 “ lhall be in favour of the Accufers ; and if 
 “ the Accus’d pretend the Secret Orders of 
 “ their Sovereign, they fhall neither be Be- 
 “ liev’d, nor go Unpunilh’d.” His Friends 
 grafping his Hand, fwore they would rather 
 
 lofe 
 
( i<*I .) 
 
 lofe their Lives than not pull down Venge- 
 ance on his Murtherers. 
 
 Germanicus then turning to his Wife, con- 
 jur’d her by the Remembrance of their Mar- 
 riage, and thelntereft of their Children, to fob- 
 due her Haughty Temper, and patiently Sub- 
 mit her felf to the prelent Rigour of her For- 
 tune ; particularly not to irritate by vain E- 
 mulation Thole who now would be greatly 
 Superior to Her in Power. After which he 
 Whilper’d fomething in her Ear, judg’d to be 
 a Caution to folpedt the Sincerity of Tiberi- 
 us, and then Died. 
 
 ! TouJJin has cholen the Inftant in which Ger- 
 manicus intreats his Friends to excite the Peo- 
 ple to Companion, and Revenge by the Sight 
 of Agrippina and the Children ; and th e Sen- 
 timents of thofe to whom he directs his 
 
 Speech are finely Exprefs’d ; fo is the Grief 
 of hisWife, ’tis Exquifitely fine, tho’ ’tis only 
 in her Attitude, for Ihe covers her Face. A 
 Noble, Silent, Compos’d Sorrow. There are 
 but three Children, they add to the ExpreP 
 fion, and Enrich, and Diverfify the Picture. 
 
 But after all here is an Inftance amongft a 
 thouland others of the Necelfity of Knowing 
 the Story ; and then the Painter may carry the 
 imagination beyond what the Hiftorian can, 
 Otherwife he will cOme Short, or be Unintel- 
 ligible. F or as Germanicus is pointing towards 
 Agrippina, and the Little ones, and With an 
 Air rather of Sorrow thaft of Indignation, one 
 that remembers hot the Story exa&ly, will 
 E&t&rlly iii&gifii huh defiring his Friends to 
 
 M fake 
 
( i6x ) 
 
 take care of them after his Death ; which be- 
 fidcs its being fo fubjedt to be Miftaken, is a 
 Low, Common Thought, and Debates thePi- 
 <fture. Had TouJJin given Another Air to Ger- 
 manicus , and as he was Meditating Revenge 
 upon his Murtherers, ftrongly Exprefs’dThat 
 Pallion,and Indignation, it would have Avoid- 
 ed the Low Thought I mention’d, and might 
 have Awaken’d Something in the Mind of him 
 that confider’d the Picture that was perhaps 
 Better ; but if the Story was not firft known, 
 all would beObfcure, and want its due Force, 
 and very probably be Wrong. Or if Another 
 Inftant had been Cholen, That in which the 
 Friends of Germanicus fwore to Revenge his 
 Death ; or when He Whilpers Jgrtppina, nei- 
 ther would have been fo Noble, or lo-Touch- 
 ing, and in One of them the Principal Perlon 
 would not have been in Action ; but all would 
 be Equally Unintelligible, without a Previous 
 Knowledge of the Story. 
 
 Not only the Time is cholen wherein Ger- 
 manicus recommends his Family as Incite- 
 ments to Revenge, but That Inftant in which 
 he Concludes, and Thole to whom he addrel- 
 feshimfelf prepare toReply,as appears by the 
 Actions of Some of them, which are Such as 
 if They were AH'o Ipeaking ; and This mull 
 be Suppos’d, or both He and They are Dift 
 courfing, and Replying at theSame time; and 
 ’twill be fome Indulgence if This be allow’d: 
 ’Tis a Fault too common to Ihow Too ma- 
 ny fpeaking at Once ; when that Abfurdity 
 might have been avoided, and the Picture luf- 
 
 ficiently 
 
( 1<J 3 ) 
 
 ficiently Animated by fach Airs, and Attitudes 
 only as are Proper, and Natural, upon Hearing 
 what any One fays without any Other faying 
 any thing. 
 
 A Venus of Medicis ; very fine. 
 
 A Bacchus and Satyr ; Fine. 
 
 A Stlenus ; alfo very Good. 
 
 The Boy-Angel crying, holding a Nail of Annibale* 
 the Crofs: Difagreeable enough. He looks 
 too much like a Common Boy, too Ordinary, 
 and Un-angelical. 
 
 Converfation of two Women; Half Figures, l. da vinch 
 The FineftTafte of him that can be. 
 
 The Polyphemus , and Galatea , as in the* Annibale . 
 Gallery Farnefe: This alfo in Fr e/co ; ’tis ve- 
 ry Neat, and highly Finiflfd; about a Foot, or 
 a Foot and an half fquare ; aGlafs over it. 
 
 Partof thePavement of the Temple of For- Antique* 
 tune at Pranefie^ the Larged: ever built by the 
 Ancients; mMofaic . The Hiftory is that of 
 Europa ; and Figures on the Shore flying, as 
 in a Fright; Carelefly Executed ; but the De- 
 fign Gentile^ and Excellent. 
 
 The famous Magdalen of Guido ; the Fi- Guido. 
 neft in Rome. His Gay Manner, but very 
 Strong withal, and Admirably well Colour'd. 
 
 The large Drapery a pale Lake ; the Figure 
 much bigger than the Life ; Beautiful through- 
 out; nothing Dark; the Shadows Tranfpa- 
 rent, and full of Reflexions; Plain Sky, and 
 Back Ground, There are two little Boy-An^ 
 gels; kept down, but finely Colour'd. 
 
Carlo Marat. 
 
 Antiques. 
 
 Bernini. 
 
 Antique. 
 
 Carlo Marat 
 Antiques. 
 
 ( i*4-) 
 
 In another Room. 
 
 The Twelve Apoftles {landing : my Father 
 has theDrawing of one or two of them. 
 
 Sabina , an Antique Statue, without Arms; 
 three times as big as the Life. The Drapery as 
 fine as the Flora , as is the Head; indeed ’tis 
 Excellent throughout. 
 
 A moft Beautiful Venus afleep, Marble, as 
 big as the Life, lying on fitch a fort of a Bed, 
 and much luch an Idea as that my Father 
 has, a Model afcrib’d to Mich. Angelo ; who- 
 ever made it, very probably took his Hint 
 from This. 
 
 In the next Room. 
 
 Adonis wounded , and Expiring. He dies 
 away finely. 
 
 A fine Satyr lying, Marble : my Father has 
 a large Drawing of this, highly finilh’d by Ru- 
 bens. Bifiop has it N°. 57,58. 
 
 In the next Room. 
 
 Venus , an Antique Painting, as big as the 
 Life, found in the Gardens of Salujl. Carlo 
 Marat has added three Cupids to it. ’Tis up- 
 on a piece of a Wall in Frcfco, very Good. 
 The Antique finely Painted, and Colour’d; 
 and well prelerv’d. 
 
 A Head of Antinous, as good as that of the 
 
 Belvedere. 
 
 Virgil, a fmall Head ; Antique. 
 
 ‘P lato , a Boy, afleep, with ieveral Bees a- 
 bout him ; an Antique Painting. There are 
 
 three 
 
'( ) 
 
 three Nymphs like Correggio, and a Cupid 
 like Guido. The Colouring throughout Co - 
 re ggefca\ good Prefervation. 
 
 Roma ‘friiimphans , another Antique Pi- 
 cture, but not fo good. 
 
 Next Room. 
 
 Four Roman Triumphs; Clair Obfcure ; ta- 
 ken out of a Wall, perfectly well preferv’d: 
 Figures bigger than the Life. 
 
 Up Stairs in the little Mezzanino. 
 
 The Drawings after the Cupola of Correg- 
 gio : My Father has a Boy of the fame Kind. 
 Thefe are in Frames and Glades. 
 
 There is befides in this Palace a Pi&ure 
 excellent for theExpreffion. A voungFellow 
 is cheated of his Money by {harping Game- 
 fters ; in Them there is fo much Roguery, and 
 Craft, and in Him fo much Stupidity, and 
 Fright, that ’tis defervedly very Famous. 
 
 Palazzo del Duca diBracciano, which was of 
 the Frince Don Li vio Odefcalchi. 
 
 Fir ft Apartment below. 
 
 Cleopatra Afleep, not Dying, as in the Gar- 
 dens of Medici ; of Farian Marble, twice as 
 big as the Life ; Greek. A Noble Air of a 
 Head. 
 
 An Ox, and a Cow, Antique ; Admirable : 
 made for thofe that Romulus mark’d out his 
 Walls with.' 
 
 Statue of Julius Ctffar in his Sacrificing 
 Habit; Veil’d, 
 
 M 3 Another 
 
 Polydore • 
 
 And . Sacchi. 
 
 Mich. Angelo 
 Caravaggio^ A 
 
( ) 
 
 Another Room. 
 
 Apollo , and the Mufes ; none of them con-, 
 fiderable. 
 
 Another. 
 
 Clitias who was chang’d into a Sun-Flower 
 looking on the Sun. She is half fitting, or 
 crouching : of Tartan Marble. 
 
 Cajlor , and Tollux leaning upon one ano- 
 ther ; one of them holding a Torch down- 
 ward ; The fame Terrier has Grav’d, and cal- 
 led the Tecii N°. 3 7. Leda Hands by, very 
 final!, and holds the Egg in her Hand. I think 
 there are no Finer Statues in Rome than thefe 
 two Brothers, nor Worle than the Leda ; as 
 the Venus ot Me diets has a Filh by her with 
 Boys upon it, all which is Execrable : but in 
 one, and t’other this Bad Work is but in the 
 Infignia only. The like is feen in other fine 
 Works of Antiquity: So in the bell Syrian, 
 and Greek. Medals, the Reveries are almofl: al- 
 ways IndifierentWork,and iometimes wretch- 
 edly Bad.- 
 
 V enus of Medicis cover’d w ith a thin Dra- 
 pery, her Bolom, and lb down to below the 
 Knee on the Right fide, the Left not quite fo 
 low. This Drapery is as Exquifite as that of 
 the Flora, and I think the Figure yields very 
 little to that at Florence, if ’tis not altogether 
 as good, at lcaft ’tis the bell I have feen of a.ll 
 the Copies ; if this may properly be caH’d a Co- 
 py : A fine loft Yellowilh Marble, but ffili of 
 Spots, which arc not natural, but th<? efiebl of 
 
 Time 
 
( 1*7 ) 
 
 Time, or Accident. ’Tis much larger than that 
 of Medicis . I have feen other Venus's in this 
 Attitude, and thus cover’d : There is One, if 
 not More, in the Gardens of Aldobrandini. 
 
 Three large Bufls, and all Excellent ; Alex- 
 ander, Antinous , and ‘Pyrrhus . 
 
 Another Room . 
 
 The Noble Faun with a Goat upon his Back. 
 Greek. 
 
 Statue of one of the Ptolemy's Kings of 
 
 sEgypt- 
 
 Two Venus's, One coming out of the Bath, 
 the Other {landing in a rnoft Beautiful Atti- 
 tude : both Greek, and Excellent. 
 
 A Seneca fitting, in Little: the Countenance 
 as fine as the Bull in the Gallery Farnefe. 
 
 Bull of Queen Chriftma ; Exquifitely Cut, 
 but the Air not Pleafing, and the Face not 
 Handlbme, tho’ perhaps ’tis not without Ibrne 
 Complailance neither. 
 
 Little Gallery. 
 
 ABufl of Alexander-, big again as the Life; 
 Bronze, Greek Tafte. 
 
 A Round Altar with a Bacchanale-, the fi- 
 neft Greek Style : ’tis in the Admiranda N\ 
 44,45. very Large, and fix’d upon an Iron that 
 turns about. 
 
 Above Stairs in the Hall. 
 
 The Amours of Jupiter in five large Car- 
 tons, Colour’d; Extremely Fine, Good Har- 
 
 M 4 mony. 
 
 Bernina 
 
 G. Roman# 
 
Carlo Marat. 
 
 Jiaroccio. 
 
 Titian. 
 
 pitto. 
 
 jinnibale. 
 
 Tifian. 
 
 Cuvio. 
 
 ( ) 
 
 mony, and Agreeable Tind. Theft are much 
 like thofe of Raffaele at Hampton-Court . 
 
 Another Room. 
 
 A large Bacchanale , and is one of the Fi- 
 nd! for Drawing, Colouring, and Harmony, 
 of the many Fine Pictures I have feen of Him. 
 
 The A&neas and Anchifes , in a very Odd 
 Condition ; for the mod part ’tis turn’d very 
 Black, but in fome places Spots of the Flefh 
 appear Bright ; fo that one cannot inake any 
 Judgment of what it has been. 
 
 Pope Sixtus IV. with four other Figures, 
 highly Finilh’d; Painted very Smooth, and 
 with no great Body of Colours. Vad Nature, 
 and very fine ! 
 
 Woman taken in Adultery ; Stiff, Hard 
 Manner, like Bellino , and much fpoil’d; the 
 Profile of the Woman is very good ; her Hair 
 finifh’d with the Point of the Pencil. 
 
 V wins upon a Couch playing with a Cupid \ 
 finely Colour’d, and a Beautiful Adion, like 
 the Antique. 
 
 Mercury teaching Cupid to Read; Venus 
 by. The fame as the Correggio in this Colie- 
 d:ion, only that the Venus is different; parti- 
 cularly in that lhe has no Wings, which Cor- 
 reggio’s V ?nus has. ’Tis the mod Beautiful 
 Figure I ever faw of this Mader (it ftems to 
 be taken from the Antique) and one of the 
 bed Colour’d Things even of Him; fo indeed 
 is the whole Pidure. 
 
 St. Bonaventure , a Cardinal in a Franc ijp 
 Cms Habit, with an Angel danding at his 
 
 Knees 5 
 
( l6 9 ) 
 
 Knees ; a Portrait. His Greateft Manner, and 
 Beft Colouring. 
 
 Leda , ^ about five Foot High, and fome- 
 ■! Danae , 3 thing W ider . 
 
 Io , almoft fix Foot High, and Half as Wide, 
 Mercury teaching Cupid to read, the fame 
 height as the Io, and about a Foot wider. 
 Cupid {having his Bow. 
 
 Thefe Pictures are in perfed Prefervation. 
 I will not enumerate the Figures in Each, 
 they being well known to Lovers, and Con - 
 noijfeurs ky the Prints, and Copies (at leaft,) 
 if they have not feen the things themfelves. 
 The Air of the Head of Io is finely imagin’d, 
 and exprefs’d, and is an Idea I never law in 
 Painting, very Extatick, but not in the Devo- 
 tional way: My Father has a Drawing after 
 it, done as we believe by Guido. The two Cu- 
 pids in the "Danae come in admirably well, 
 and carry a fine Moral with them : they hold 
 a Touch-ftone between them; One is trying 
 a piece of Jupiter's Gold, the Other his Ar- 
 row, fuppofed to be tipp’d with the fame Me- 
 tal. 
 
 Mercury teaching Cupid to read, is one of 
 Correggio's pretty Imaginations. 
 
 "The Bow and Arrows, and aDove 
 Was once enough for Cupid thought 
 Fill Mercury was fent by Jove, 
 
 For Venus pray'd he might be taught . 
 
 Correggio, 
 
 Taught ! 
 
( 170 ) 
 
 ! Taught ! what ? To Read-, hut why to Read 
 Love knows the Language of the Eye, 
 
 No other Learning does he need. 
 
 Nor can be cheated with a Lye. 
 
 His cunning Mother better knew, 
 
 • She faw what Times were coming on ; 
 
 His Harts mu ft Now be tiff'd anew. 
 
 For Love was Mercenary grown. 
 
 Fancy not then that Mercury 
 Hid from Olympus Tof difnount 
 To teach the God his A. B. C. 
 
 No, no, it was to Caft Account. 
 
 But have a care thou Silly Boy, 
 
 For 'tis a moft Pernicious Art ; 
 
 Learn it, it will thyPow'r deflroy. 
 
 The Tongue may Love, but not the Heart. 
 
 The Cufid {having his Bow is not a Child, 
 but a Tall Lad : At the Bottom of the Picture 
 there is a Head, or two, of Boys, and All have 
 Inch a Lovely pretty Wantonnefs in them that 
 is Extremely Engaging. 
 
 Toung God, in vain is all you do. 
 
 Something is Ami fs ' tis true-. 
 
 But the Fault's iwDamonV Heart, 
 
 Not the Bow that fent the Hart. 
 
 He heard, and with a Leer, and Smile 
 Malicious , faid, but Shav'd the while ; 
 Tou thought not Thus when Ton were Toung, 
 Now All that Cupid does is wrong. 
 
 I faid 
 
( ) 
 
 I faid thefe Pidures are well known by 
 Prints and Copies; that is, they are So known 
 as they can be by Such Helps : But their Beau- 
 ty is Inconceivable. They are Bright, Mel- 
 low, Warm, Tender, indeed all that Colours 
 can do ; and perhaps more than is poffible to 
 be done without the Affiftance of Time, tho’ 
 another Correggio fliould arife. 
 
 And whatever Beauty is in the Other parts 
 of the Pidures theFlelliPrefides, though fur- 
 rounded with Light Colours, as particularly 
 the 'Danae is Brighter than the Linen about 
 her, tho’ That is as Bright as Linen Can be. 
 
 All thefe Marvellous Pidures are Painted 
 as Correggio ' s Manner is with a fufficient Bo- 
 dy of Colours, but highly wrought up, and 
 Finifh’d, without any Touches of the Pencil 
 left fmartly; and tho’ one Tind, and Trait 
 melts fweetly into another, and the Features, 
 Parts, and Out-lines, into whatever ferves 
 them as a Ground, they are neverthelefs well 
 Determin’d, and Diftind, and without what 
 we call Woolly nefs. Some of thefe are laid to 
 be painted on a Gold Priming ; Cav. Luttixs 
 pofitive of it, and affirms he has feen it plain- 
 ly on the Edges under the Rabot of the Frames, 
 and feme pretend ’tis vifible in other parts: I 
 confefs there is fome Yellownefs in feveral 
 places that looks like fome fuch thing, but 
 that ’tis what is faid I cannot be Sure ; indeed 
 I did not fee the Pidures out of the Frames. 
 
 If fuch a Ground has been us’d itmuftbe to 
 preferve the Colours, or to give them aLuftre 
 by being feen through them, fo feen as that 
 
 the 
 
Raffaele. 
 
 Correggio. 
 
 ( i7i ) 
 
 the Shadows efpecially may have a certain 
 Warmth, and Mellownefs, which could not 
 be given otherwife ; and this lafl Effedb luch 
 a Ground may undoubtedly have. I am not 
 lo certain of the Other. 
 
 Thefe Pi&ures are (Imuflownit) prefer- 
 able by much to thofe of Rajfaele that are 
 by them, tho’ One of them is (I think) the 
 Belt of him I ever law ; and ’tis the moft Fa- 
 mous of all his fmall Eafil-Pidurcs in Rome : 
 The Virgin Handing, holding the Chriji who 
 Hands too, as does the St. John who Kifles 
 him ; the St. Elizabeth is by. My Father has 
 a Drawing of Rajfaele of this Subject And 
 the Attitudes of the Figures are 16 much of 
 thefe, as that ’tis not improbable ’twas made 
 for this very Pi&ure. The Figures here are 
 l'mall, the Virgin about two Foot in height, 
 or rather lefs: Painted in the manner of 
 that Age, Neat, and highly Finifli’d: and lo 
 well Colour’d as to appear Beautiful, though 
 in prefence of feveral of the moH Capital ones 
 of Correggio. I think there is luch another at 
 Florence, ox fome where elfe, oppos’d to This 
 as the Original. 
 
 Befides thole already mention’d there are 
 feveral others of Correggio, Two of which 
 are Ritr attocs of Ctsjar Borgia, generally cal- 
 led the Duke V alentino, (of which Machiavel 
 has given us the fine Hiflory in a little Trea- 
 tife amongfi his otherWorks) I do protefi I 
 never was lo lurpriz’d as when I came into 
 the Room, and cafl my Eyes upon One of 
 thefe ; my Heart flruck againfl my Breafl : It 
 
 has 
 
( 3 ) 
 
 has fuch a Nature, and fuch a Particularity in 
 the Set of the Lips, and Motion of the Eyes, 
 and fuch a Spirit^ thatlihall never forget that 
 very Look as long as I live, A Pale, Thin, 
 Middle-aged Man ; of a Complexion and Air 
 Something Effeminate; and the whole Pidure 
 isGay,andLightfome. 'Tis a little more than 
 2 Foot 4 high, and almoft as wide. 
 
 Th zMuletier is another, faid to be Paint- Ditto. 
 ed as a Sign for a Cabaret , and is in the Beft 
 Style of Correggio. It hung in a Clofet over- 
 againft the Holy Family o (Raffaele, juft now 
 Ipoken of ; 2 Foot 4 high, 3 Foot wide. 
 
 Madonna and St. Jofeph. Ditto. 
 
 Noli me tangere , it has a Landlkip, and is Ditto. 
 a Magnificent Pidure; between 3 and 4 Foot 
 high, fomething wider. 
 
 A Magd. between 8 and 9 Inches in height. Ditto . 
 
 Raffaele is vaftly Great, and Sublime, and 
 withal has a Grace like that of the Beft of 
 the Ancients : But no Mafter, that ever was. 
 Surprizes like Correggio ; and yet without 
 an Equal Mealure of Greatnefs, and with a 
 Grace not Antique, nor like any other Ma- 
 fter. I cannot conceive, or imagine how thofe 
 Expreffions can be given that I fee before 
 my Eyes, when I fee at the fame time per- 
 petual Incorrednefles ; not one of his Pi- 
 dures but has Inftances of this. The Hands 
 of a Cupid playing on a Lyre in the Leda, and 
 her own Left-hand is Barbaroufly ill Drawn, 
 
 &c. Particulars would be tedious. The high 
 Finifhing, which was much the Manner of 
 Thofe Times in thefe Lefler Pidures, and in 
 4 which 
 
( 174 ) 
 
 which Correggio Excelld contributes little, if 
 at all to tire Surprize I am fpeaking of; La- 
 ter, and Lefs confiderable Mailers have pra- 
 ctis’d a Nobler Manner of Painting, andwbicft 
 (deter is paribus) would have a better EffeCt 
 than This, at the EVillance a Picture is com- 
 monly intended to be feen : Nor is theNeat- 
 nels of the Work very confiderable, compar’d 
 with the other Properties of a Good Picture. 
 The Colouring has a Greater lhare in prodn- 
 cingThis Effect ; but Correggio had a Grace, 
 the pure EffeCt of Nature; not Antique, not 
 like that ofRarmeggiano, Guido , Rajfaele , 
 or any other Mailer, but fomething Afone,and 
 which leems to be truly Angelical. The Chief 
 Beauties o f Rajfaele we fee often, and almoft 
 as often Out-done in the Bell Antique: And 
 all his Other Qualities are found in a higher 
 degree than he pofTefs’d them in the Works of 
 Correggio , and other Mailers. BefidesHe fre- 
 quently wanted One of vallConfequence to a 
 Painter, and that is Harmony ; whereas Cor- 
 reggio had That, which fet his Fine Pencil, 
 Lovely Colouring, and Enchanting Grace in 
 full View. ’Tis that Grace, that Angeiick Grace 
 of his which is purely Original, and no where 
 clfe to be feen: ’Tis This that furprizes us; 
 and the more becaule all is accompany ’ti with 
 Faults like thole of the moll Inferior Painters. 
 
 In this Palace are many other Excellent Pi- 
 ctures, as Twelve (Hiltories and Portraits) of 
 Titian , and as many Hiftories of Vaolo Veto - 
 ne/e, of their very Beft Manners every one; 
 and ib prefcrv’d as if they juft came from the 
 
 Pencil, 
 
C '75 ) 
 
 Pencil. In Other Palaces One fees feme fewCa- 
 pital PiCtures,and the xc&Mediocres ; Here All 
 are Excellent. Here I love Pictures better than 
 Drawings, and Correggio than Raffaele ; and 
 yet I had rather be Raffaele than Correggio. 
 
 The Principal Pictures of this Palace, as 
 thole of Correggio , and the twelve of Raolo 
 juft now mention’d ; In General, all thofe that 
 were in the Collection of the late Queen of 
 Sweden have been lately bought by the Re- 
 gent, and brought to Raris y without the leaft 
 Injury in the Carriage to any One of them. 
 
 The Mercure Galant has given the Particu- 
 lars, but without their Dimenfions; and which 
 I did not take. Thole Here I had the Honour 
 to receive from One whofe Authority I dare 
 venture to rely upon, were it for the Good- 
 nels of the Pictures; but Iought not to make 
 ufe of his Name upon a Lefs Occafion. 
 
 S. Marco de Veneziani. 
 
 The Adoration of th cMagi: This Picture Carlo Marat . 
 is very Famous : The Virgin (lands, and holds 
 the Child; one of the Magi is on his Knee be- 
 fore them. Painted in Oil , very little, and 
 has the Air of one of Guido. 
 
 S. John Lateran. 
 
 In the Sacrifty is the Annunciation, in Oil, Mich. An i. 
 of Mich. Angelo , the mod Gentile of that 
 Matter. The Virgin is (landing, and a little 
 falling back at the Sight of the Angel, only 
 (upported by a kind of Altar behind her ; (lie 
 lifts up both her Hands. Above her is the 
 * Dove 
 
2 [Jarcelfo 
 Mantovano. 
 
 Mich. Angelo, 
 
 Rajfaeie, 
 
 An. Sac chi. 
 
 Led . Cigoli, 
 
 Pinturricchio. 
 
 ( 1 76 ) 
 
 Dove in bright Yellow Glory Ihooting down 
 upon her : the Colouring pretty Good : tis 
 well preferv’d. Vafari lays' this Pi&ure was 
 Colour’d by Marcello Mantovano , though De- 
 fign’d by Mich. Angelo. 
 
 In the Room within theSacrifty is the Cru- 
 cifix of the fame Mailer. There are little An- 
 gels under each Arm of the Chrijl ; Over each 
 of thefe a great Light, (as the Sun, and Moon 
 in Eclipfe) and another over his Head ; the 
 moll Regular thing imaginable, and has the 
 oddelt El led : As for the reft ’tis finely Drawn, 
 and well Colour’d; in Oil, 3 Foot high by 1 
 Foot-i. 
 
 In a Room within the laft is a Madonna, 
 Chrijl , and Little St.John, a Carton; Black 
 Chalk ; Rajfaeie' ’s fecond Manner ; as big as 
 the Life ; th e V irgin at Half Length . 
 
 Juft by this is theBaptiftery of Conjiantine. 
 Antique. , 
 
 Over the Pillars is painted in Oil the A- 
 dions of that Emperor by An dr. Sacchi , the 
 bell of his Work in Rome. Thele are to be 
 taken down, and others not fo good put in 
 their places, becaufe of aDampnels here which 
 would Ipoil them. 
 
 The Scala Sandla. 
 
 At the very top over the Holy Chapel is a 
 Crucifix, the Virgin, and St .John. My Father 
 has the Drawing of the Virgin. 
 
 San cl a Croce inGerufalemme. 
 
 Th zMezzo Cupola of theTribunal painted; 
 
( l ?7 ) 
 
 by Pinturricchio ; the utmod Prefervation, 
 and the mod Beautiful Colours. The finding 
 of the Crofs by St. Helena. She is (landing, 
 and holds up her Hands join’d together, fee- 
 ing the Dead Man revive. On the other fids 
 is an Old Man, Admiring. 
 
 Marc Antonio Sabbat ini. 
 
 Has a Book in ix°. with Miniatures of "Don Bonjul. cU 
 Giulio Clovio,zx. lead ’tis the fame Hand with vt0% 
 thofe of the famous Manufcript of ‘Dante in 
 the Vatican \ but to me they feem more Mo- 
 dern than Don Giulio, asThefe alfo do. 
 
 He has another very fine Book ofMinia- 
 
 es in theTafte of Tinturricchio, oxPeru- 
 gino. 
 
 A Woman’s Head Larger than the Life, a 
 Model in Terra Cotta as fine as ever \^|$ 
 done. Bed Antique. 
 
 In the Church call'd. In Nome de Maria. 
 
 Under the Altar a Madonna , laid to be of St. Luki, 
 
 St. Hike's Painting. TheFrame Silver Foliage, 
 cover’d with Diamonds (Ibme very large) and 
 other Precious Stones. TheFrame lhines pro- 
 digioully ; the Picture is Black, and Hard, and 
 without Tade; tho’ indeed ’tis almod gone. 
 
 ’Tis rarely open’d, but I faw it on the Holy- 
 day of this Church. 
 
 The Villa Mattel. 
 
 Livia Augujla, One of the fined Figures 
 in Rome, and the mod engaging. The Air of 
 the Head exceffively Good, and the Drapery 
 
 N Exquifite, 
 
( 178 ) 
 
 Exquifite. This Statue has a vaft Grace, and 
 Dignity. She is (landing', and one Hand co- 
 ver'd with Drapery, but not hid ; upon an An- 
 tique Capital, and That fet upon an Altar, on 
 which are Bas-reliefs. See p. 1 3 
 
 On One fide of her (lands a Woman, Small. 
 A Fine Air, and Admirable Drapery. On the 
 Other 
 
 A Small Apollo. 
 
 A very fine Capricious Silenus ; a Bull. His 
 Head funk into his Shoulders, and his Mouth 
 open’d as if juft (tided with Drink ; Exquifite 
 in its kind. I burft out Laughing as (oon as 
 my Eyes touch’d upon it. 
 
 Cicero ; my Father has a Call of it. The 
 No (e, Lips, and Chin, are all Modern ; and 
 though perhaps as Fine as the Antique was, I 
 don’t fee how the Refemblance can be de- 
 pended on, nor confequently that it can juft- 
 Jy be confider’d as a Cicero . 
 
 There is an Unlucky Pafiage in a Letter of 
 this Patriot, and Philolopher to his Friend 
 Atticus , fLib.x.,Ep.sJ ’twas written in the 
 time of the Firft Triumvirate, when accord- 
 ing to Him None but Cato, andHimfelf with- 
 ftood the Torrent that bore hard againft the 
 Conftitution. After he had been lamenting 
 the fad Condition of his Dear Countrey, he 
 fays, & quoniam * Nepos proficifcitur , cut- 
 vam Augur at us defer atur : quo qtiidem uno 
 Ego ab if is capi pojfum , vide levitatem 
 we am. Nor was Cato Himfelf Unbribeable ; 
 
 * MettUut Nepos* 
 
 Money 
 
 l 
 
( *79 ) 
 
 Money indeed would not have bought him* 
 nor a Title, nor a Place, nor aMiftrefs, nor 
 many other Fine things which Other People 
 value, but an Alliance did. ‘Plutarch tells the 
 Story in his Life : He fays, that “whenGzft? was 
 “ chofen Tribune, having obferv’d that the 
 “ Election of Confuls was grown very Mer- 
 “ cenary, he lharply rebuked the People for 
 “ this Corruption, and in the Conclufion of 
 “ hisSpeech protefted he would Accule whom- 
 “ ever he Ihould find giving Money ; yet he 
 “ excepted Silanus by realon of his Alliance, 
 “ for he had Married Servilia , Cato's Sifter, 
 “ fo that he did not prolecute Him; but Lu- 
 u cius Mur ana.) who was cholenConful with 
 “ Silanus , he accufed of Bribery. 
 
 Oh Liberty! Oh Virtue! Oh my Countrey ! 
 
 Addifon’j* Cato . 
 
 In a Drawing of my Father’s, Rubens has 
 a Thought which Ihould go along with Thole 
 Reflections that are apt to arife on thisOcca- 
 fion. An Angel is Interceding with the Blefi- 
 fed Virgin in behalf of a Dead Bilhop holding 
 up a Pair of Scales, One of which preponde- 
 rates. TheBeftMen have fome Weight in the 
 Wrong Scale ; as the Word Sometimes make 
 Excurfions into Virtue. 
 
 Two fine Malks compos’d of Efcollop 
 Shells; Antique. 
 
 YovLWgHercules, the Head, and Bread on- 
 ly ; a piece of the Lyon’s Skin on the Breaft. 
 A moft Beautiful Air. My Father has a Call 
 of the Face, 
 
 \ N % 
 
 Two 
 
Pietro Paolo 
 Olivian. 
 
 Ditto. 
 
 ( 180 ) 
 
 Two Statues of Antinous, the fame as that 
 of the Belvedere ; the Head of One of them 
 judg’d to be finer than That. Both thefe are 
 Intire. 
 
 Blotina the W ife of Hadrian , a Coloffal 
 Statue ; the Head exceeding good. 
 
 Marcus Aurelius as Bont if ex Maximus. 
 
 Amicitia , a Beautiful Figure of a Woman; 
 Naked, holding her Hand upon her Bread* 
 which is open’d by a fort of Incifion to ex- 
 preft Sincerity ; a Modern Statue, bigger than 
 the Life; of BietroBaoloOliviari : ’twas a 
 Prefent. Under it is written, Virginius 'Urji- 
 nus Cyriaco Matthaio Amicitia Monum ; 
 Statuere Illufrius me ip fa Amicitia non po- 
 tuit M. DC. V. 
 
 A V enus , the fame Hand, the fame Size, 
 and over-againfl: it; Extremely Fine, Except 
 the Drapery, which is Execrable ; it flies out 
 on each fide like two Wings, and without In- 
 vention. 
 
 An Eagle, Antique; call’d the Famous Ea- 
 gle of the Mattei. My Father has feveral 
 Drawings of the Head of it by Giulio Ro- 
 mano. 
 
 O11 the Outfide of the Houfe againft the 
 Wall are feveral Statues: One of Julius Ca- 
 farm his Confiilar Habit, Sacrificing: One of 
 the fined that can be feen. 
 
 A Coloffal Head of Alexander the Great , 
 call'd the Alejfandro Mattei. 
 
 Balazzo Mattei. 
 
 The Great Court is full of Bas-Reliefs 
 4 round 
 
'( i8i ) 
 
 round the Wall: Amongft the reft that of the 
 Triumph of Love, where Cupid is on the Back 
 of a Centaur. 
 
 The nine Mules with Apollo and Minerva. 
 
 Both perfectly well prelerv’d; Small. 
 
 My Father has Drawings of both thefe by 
 Battifta Franco. 
 
 Ralazzo Borghefe. 
 
 A Madonna , St. Francis , and St. Jerome , Pietro Perugi - 
 as big as the Life : my Father has the Head of no - 
 the Madonna , a Drawing with a Pen, which 
 is afcrib’d to Raffaele when Young, which 
 probably it is, and taken from This, of which 
 my Father has other like Inftances. The great 
 Splendour of Raffaele , and forne few others, 
 has Eclips’d much of the Merit of the Old 
 Mailers. Berngino is not in this Picture Stifl^ 
 or Dry, nor in many other of his bell things ; 
 but in a manner equal to Raffaele himlelf: 
 SoBinturricchiohzs done Admirable Things, p'wturricchio ; 
 The Library in th z'Dome of Sienna is paint- 
 ed, and they fay There ’tis by Rerugino^ and 
 Raffaele ; but Vafari fays ’tis of Bintnrric- 
 chio , and I believe it. 
 
 The Adoration of the Shepherds, a moll Mich. Angola 
 Extravagant Defign, faid here to be of Mich. °p Pele z rmo 
 Angelo . ’Tis in That Tafte, but gives me a di- aBoogna ' 
 ftindtldea from that I have of him. I believe 
 it is of Relegrino Tibaldi of Bologna , and the 
 rather becaule of aDrawing my Father has of 
 one of the Figures in this Pidture, and which 
 he always judg’d to be of Him, as it certainly 
 is. His Tafte is indeed Mich. Anvelefca ; 10 
 
 N 3 that 
 
( i8» ) 
 
 that Count Malvajia fays Annibale Caracci 
 call’d him il nojiro Michel Angelo Riforma- 
 ta, but the Bolognefe is manifeftly diftindt 
 from the Florentine. 
 
 Fnd. Barocci. JEneas and Anchifes ; the fame as the Print 
 
 o(AgoJl. Caracci. There is another of thefe 
 in the Palace Odefcalchi of the Duke de Brac- 
 ciano ; Figures as big as the Life. This feems 
 to be Original ; that Other is lb damag’d, that 
 no Judgment can be made of it. 
 
 In another Room. 
 
 Correggio. 
 
 Jndr.dcl Sar- 
 to. 
 
 St.Cecilia, famous under the Name of Cor - 
 reggio , more Curious than Excellent; Ex- 
 tremely Hard, and theDrapery exactly like that 
 of Andrea Mantegna , but undoubtedly of him 
 to whom it is afcrib’d: ’Twas alfo the Opi- 
 nion of Cav. Lutti the Beft Connoijfeur in 
 Rome ; where there are fo few that’tis lurpri- 
 zing, ’till one confiders how few good Paint- 
 ers there are too, as well as in the reft of Ita- 
 ly, and indeed every where elfe. This Picture 
 is in Correggio's Firft Manner coming out of 
 the School of Mantegna : ’Tis of that part of 
 the Saint’s Life when a Young Gentleman 
 comes in to Ravifli her, and looks upon her 
 Aftoniftfd, feeing Angels holding a Crown o- 
 ver her Head. There is a certain Gleam of 
 Light from thefe Angels, which fpreads it felf 
 all over the Picture in a manner that is pecu- 
 liar to Correggio-, befides the Airs are His. 
 
 A Saint led to Martyrdom, of which my Fa- 
 ther has the Drawing ; the whole Picture is 
 but about z Foot long, by i Foot 4. In the 
 
 Lonta - 
 
( l8 3 ) 
 
 Lontanezza are feveral upon Croffes, and o- 
 therwile tormented ; ’tis Excellent, but much 
 Mildew’d. 
 
 Cardinal Borgia^ znAMachiavelfaiA to be Titian, or 
 of Raffaele, but I think ’tis rather of Titian. Ra ^ ae!tM 
 Half Figures, Big as the Life, Standing. Ma - 
 chiavel looks the Cardinal ftedfaftly in the 
 Face. The Drawing of MachiaveP s Head by 
 Cav.Giacinto Brandi which my Father has, 
 and which he always judg’d to be after 77- 
 tiaHj is the fame Face, the Attitude different. 
 
 The famous Crucifix for which (as theSto- Mich, Angelo, 
 ry goes) the Porter was kill’d. ’Tis the fame 
 as that at St.John Later an, only This has the 
 St.John , and the Virgin, which That has not. 
 
 This is Lefs than the other ; I believe the Fi- 
 gures are about a Foot long, and not Good. 
 
 ’Tis fb far from being probable, that a Man 
 was Murther’d on purpofe to make the Ex- 
 preffions Strong, and Juft, that there is hard- 
 ly any Expreffion at all either in the Face, or 
 Body, but a Tame Ordinary Figpre : My Fa- 
 ther has two Old Drawings of this with a lit- 
 tle Variation (not Original.) The Virgin, and 
 St .John are no better than the reft; the At- 
 titude, and Expreffion are Improper in the 
 one, and Mean in the other; but painted La- 
 borioufly as the Manner of this Mailer, and 
 in general of thole of this time was, in Eafil 
 Pictures, elpecially Small ones, as This is. ’Tis 
 pity this great Man ever meddled withWorks 
 of Devotion, whereTender and Lovely Cha- 
 racters enter ; he had a certain Ferocity in his 
 Temper which difabled him from treating 
 
 N 4 thole 
 

 Correggio. 
 
 L.da Vine 
 
 Tithn. 
 
 ( i g 4 ) 
 
 thofeSubje&s with Succefs ; tho’ in fome O- 
 ther refpeefts, and in what his Genius was fit- 
 ted for, no Man ever Equafd him. 
 
 Titians School-Mailer, (fo call’d) and one 
 of the Famoufeft Pi&ures in Rome , a Half 
 Length, fitting in a Chair, leaning back, hold- 
 ing one Wrift over t’other. Exquifite! Such 
 a Force! Such a Spirit! Such a Beauty! Eve- 
 ry part is Fine ; and ’tis well Prefer v’d. 
 
 A Study in Oil Colours upon Cloth of an 
 Old Man’s Head in the Cupola: my Father 
 has the Drawing in Black Chalk, the fame Size, 
 and exactly the fame Attitude, and Air. 
 
 In the Room where theRrince jleeps after 
 \ Dinner . 
 
 ThtLeda of Lionardo da Vinci , the fame 
 my Lord Rembroke has ; Soft, Mellow, and 
 well Drawn. 
 
 The ^ enusj where there are Servants in a 
 Room within, opening Cherts ; the fame the 
 King has. ’Tis very fine, and Undoubtedly 
 Right; much efteem’d, and always kept co- 
 ver’d with a Curtain. My Father has the 
 Drawing; a firft Thought. There are feve- 
 ral of thele Pictures. I have mention’d them 
 ellcwhere. 
 
 In the Room of 'Drawings, 
 
 1 hey make a great Affair Here of thele 
 Drawings, and they fay a great Price was gi- 
 \ cn for them. There are feveral aferib’d to 
 ' Jtu ”0* a nd one or two to Raffaele? in Frames 
 
 and 
 
( * 8 5 ) 
 
 and GlafTes : All Evident Copies, and fo judg’d 
 to be by the Connoiffeurs here. 
 
 A Copy of the Picture, faid to be of Raffa- After Raffa- 
 ele, but who This is done By, or After, is not e ' e ' 
 faid Here. Venus is putting in the Quiver of 
 Cupid , the Arrows brought her by Vulcan: 
 there are alfo feveral other Cupids. Agoft. 
 
 Venet. has made a Print of this, where the 
 Defign is afcrib’d to Rajfaele , and ? tis doubt- 
 lefs of him. My Father has a good Drawing 
 of it, and of the Good Age ; but not Right. 
 
 An Ornament about this Picture in the Style 
 of "Don Giulio Clovio is begun, but not car- 
 ry 'd round. 
 
 By this is a Copy of Sophinisba Angufcio- 
 Afs Pidture. 
 
 In the Apartment of theRrincefs. 
 
 Titian and his Miftrefs ; the fame as the Titian, 
 Print in Teniers Gallery. 
 
 In the Garden. 
 
 A Bas-Relief of five Figures, One fits up- 
 on a Rock playing on a Fiflula. 
 
 Two Antique Statues, extremely Fine, of 
 th zHer cules of Farnefe : Lefs than that, but 
 as big as the Life. 
 
 A Venus of Medicis\ Antique. 
 
 Cav . del Tozizo. 
 
 Our Lord giving the Keys, full of Expref- pouffin. 
 fion, and A6tion, but ill Colour’d, and Paint- 
 ed. The Colouring looks like Whitilh Clay. 
 
 The 
 
Ditto . 
 Ditto. 
 
 Ditto. 
 
 Ditto. 
 
 Ditto . 
 
 ( i8« ) 
 
 The Landfkip where the Man flies from the 
 Serpent. 
 
 Bacchus and Ariadne^ Bacchus Hands up- 
 on his Chariot, and Ariadne lies down; he 
 looks with great Tendernels towards her. 
 
 TouJJin has taken the Dying Cleopatra , , to 
 make this Ariadne.* Tis a Noble Picture, Fine- 
 ly Colour’d, and good Clair-Obfcure . 
 
 Rachel giving the Meffengers Water. Di- 
 vine ; My Father has the Drawing, Slight; 
 and a more perfed one of one of the Maids. 
 
 A Fine Landfkip, in it a Woman fitting, her 
 Chin upon her Hand, her Elbow fupported 
 on her Knee; aChild afleep, and another Wo- 
 man pointing to fomething. 
 
 Another fine Landfkip, where Bhocion is 
 carry ’d out to be buried, of which Groupe my 
 Father has the Drawing. This Pidure is ex- 
 tremely well Painted, and Colour’d, but the 
 Lontanezza is too Strong. 
 
 Landfkips are in Imitation of Rural Nature, 
 of which therefore there may be as many 
 Kinds, as there are Appearances of This fort 
 of Nature ; and the Scene may be laid in Any 
 Countrey, or Age, With Figures, or Without; 
 but if there are Any, as ’tis necefTary there 
 fliould be, Generally {peaking, they muft be 
 Suitable, and only Subfervient to the Land- 
 fkip, to Enrich, or Animate it; Otherwife the 
 Pidure lofes its Denomination, it becomes Hi- 
 ftory, a Battel-piece, or at leaft ’tis of an 
 Equivocal kind. This fort of Painting is like 
 Paftoral in Poetry; and of all theLandfkip- 
 Painters Claude Lor rain has the moft Beauti- 
 ful^ 
 
( i8 7 ) 
 
 ful, and Pleafing Ideas ; the mod Rural, and 
 of our own Times. Titian has a Style more 
 Noble. So has Nicolas Rouffin^nd. the Land- 
 fkips of the Latter are ufually Antique, and is 
 feen by the Buildings, and Figures. Gafpar’ s 
 Figures are Such, otherwife he has a Mixture 
 of Nicolas , and Claude. Salvator Rofa has 
 generally chofon to reprefont a fort of Wild, 
 and Savage Nature ; his Style is Great, and 
 Noble ; Rubens is pleafant, and loves to en- 
 rich his Landfkips with certain Accidents of 
 Nature, as Winds, a Rain-bow, Lightning, &c. 
 All thefe Matters are Excellent in their Seve- 
 ral Kinds, but I think Roujfin has fometimes 
 Err’d in the Figures he has put into his Land- 
 fkips, as in two of thofo I have mention’d ; 
 the Man flying from the Serpent, and the Fu- 
 neral of Rhocion ; the One an Accident, the 
 Other a Hiftory : in Neither the Scene agrees 
 with the Adors; for the Subjects in Both are 
 Grave, Dreadful, or Solemn; but the Land- 
 fkips are Gay, and Riant; Thus the Mind is 
 diftraded with contrary Sentiments ; One can- 
 not have the Delight which aBeautifulRepre- 
 fentation of the Countrey naturally gives, 
 when one foes at the Same time what awa- 
 kens Other kind of Thoughts ; as one is in- 
 terrupted in thofo Serious Refledions by the 
 Gayety, and Beauty of theLandfkip. Befides 
 the Figures are too confiderable for Landfkips, 
 as the Landlkips are if the Pidures are to be 
 confider’d as Fliftorical. Let the Figures, or 
 theLandfkip be apparently Principal; but two 
 contending Powers of Equal Confideration 
 
 ill 
 
Ditto. 
 
 ( 188 ) 
 
 in aPi&ure, as well as in a State, will create 
 Difturbance, andConfufion. 
 
 There is a Set of eight large Prints of Touf- 
 fin’s Landlkips, amongft which are the two I 
 have been Ipeaking of, and the Pictures are 
 There faid to be in the Gallery of th t Louvre. 
 ’Tis not unulual for a Mafter to repeat his 
 Works : ‘Pouffin may perhaps have done it in 
 Thefe Inftances, as well as in fome Others. 
 
 The Sacraments ; in which there is much 
 Variety, as to their Manner ; Some of them 
 have at firft Sight a great Air of Copies, O- 
 thers are much better Painted. None of them 
 are well Colour’d, tho’ Some better than O- 
 thers ; without doubt they were Raw at firft : 
 They are in General Laborioufiy done. But 
 what makes amends for all their Defeats is, 
 they are finely Thought, and the Expreflion 
 throughout Admirable ; in which refpedts I 
 think they are better than thole the Regent 
 has, and confequently are preferrable to His, 
 whatever Difadvantage they may Otherwife 
 have in cheComparifon. 
 
 TheBaptifm has no good Clair-Obfatre , 
 but is remarkable for the Exprelfions of Sur- 
 prize, and Devotion upon the Sight of the 
 Dove. 
 
 The Communion, or LeBiJiernium , has ex- 
 cellent Airs of Heads, and Actions ; but has 
 more of the Air of a Copy than any of them, 
 tho’ ’tis undoubtedly not lb. 
 
 That of Marriage; and 
 
 That of Extreme Undtion, are chiefly re- 
 markable for the fine Airs. 
 
 That 
 
( i8 9 ) 
 
 That of Confirmation is befl Painted of 
 them all ; there is a Bold Pencil feen,and bet- 
 ter Colouring than in any other of them. 
 
 Here is a Copy of th cNozze Aldobrandi Ditto. 
 alfo done byTouJJin^ but ’tis ill Colour’d, nor 
 are the Airs well obferv’d. 
 
 An Indifferent Copy of the Joconda of Le- 
 onardo da Vinci which the King of France 
 has, but laid Here to be an Original. I have 
 feen another of thefe Copies atBruffels. 
 
 The Ralace Savelli. 
 
 This was the mod ancient Family in Rome, 
 
 Horace calls it ancient. Extind about two 
 Years ago. 
 
 Over the Gate on the infide is a Fight of 
 Lyons, and a Man combating aTyger; of a 
 fine Style. 
 
 An Antique Bas-Relief. 
 
 The Ralace Colonna. 
 
 The Gallery for the Strudure, Elegance, 
 and Antique Pillars , the moll Magnificent, 
 and mod Famous in Rome. 
 
 A Pelt, about a Yard long, and not quite Poujftn. 
 fo much high : Finely Colour’d, and Painted. 
 
 My Father has a finilh’d Drawing (Original) 
 of the Principal Groupe. 
 
 Several other Pidures of Good Mailers. Claude Lora • 
 
 nefe , Gaffer 
 
 The Church of St. Carlo Catinari. Pouffin, &c. 
 
 The fir ft Altar on the Right-hand of the Lanfranc. 
 Marquis Cojiaguti has the Annunciation by 
 Lanfranco. My Father has the Drawing. 
 
 The 
 
Annibale. 
 
 An. del Sarto. 
 
 Guido , 
 
 ( r 9° ) 
 
 The Church of St. Gregorio. 
 
 The Bifliop at Prayers. (St .Gregory.) The 
 Duke of Dcvonfbire has the Drawing. 
 
 Palazzo Spada. 
 
 In the Gallery. 
 
 The Salutation of SS.Mary and Elizabeth , 
 a Finilh’d Sketch, the fame Defign as that 
 Painted in the Scalzo in Florence , only This 
 is in Colours, about a Yard long. 
 
 Cardinal Belardino Spada ; Whole-length, 
 Sitting. The Clair -Ob fcur e in Perfection ; the 
 Face is Evidently the Principal, the Light de- 
 fends gradually, and Iweetly fpreads it felf 
 throughout ; for all is Light, and Gay ; but 
 with luch due Gradations, that all is Harmo- 
 ny, and very Strong. The Face has a prodi- 
 gious Relief, tho’ upon a Broad Light Ground, 
 a Curtain of a Laky Colour which Guido great- 
 ly delighted in. The Flelh is Warm, and the 
 Colouring Clean, andTranfparent. No Hair 
 is feen, he has a Red Cap, and the Drapery Ex- 
 quifttely Painted, ’tis a Cardinal’s Summer 
 Drefs, Crimfon Sattin, and the Rochet fhows 
 the Silk under it wonderfully well. The Car- 
 dinal fits at a Table with a Pen in his Hand, 
 and his t’other Hand falling in his Lap : his 
 face turn’d from his Writing, and what Sha- 
 dow it has is on the Broad fide. This Picture 
 is much talk’d of, and with good reafon. 
 
 Ihe Death of Dido, Ihe is fallen on the 
 Ground, and the Sword comes above a Yard 
 
 through 
 
 ’ / ^ \ *• 
 
 Gnercino. 
 
( x 9 l ) 
 
 through her Body ; the Expreflion is fome- 
 thing Savage, and Outre , but withal very 
 touching ; the Picture is bigger than the Life. 
 
 ’Tis in a Strong, Black manner, as almoft all 
 His are ; particularly the St. Petronella at 
 St. Peters. In this Picture is a Man drefs’d like 
 one of the Swiffes of the Pope’s Guard. 
 
 The Statue of Pompey as bigj again as the Antique, 
 Life, holding a Globe in One hand, and the O- 
 ther ftretch’d out as making aSpeech ; ’tisExcel- 
 lent ; and moreover, ’tis the very Statue at the 
 foot of which JuliusCtefar fell, and is the On- 
 ly one in Rome of this Great Man, and found 
 in the time of Julius III. in the Ruins of the 
 ^AzczPlutarch has defcrib’d. 
 
 On the Houfe call'd il Mafchera d’Oro, and 
 
 that fl/Belloni 
 
 Is painted the Rape of the Sabins (of part Polidore . 
 of which my Father has two feveral Draw- 
 ings) pretty well preferv’d, except that part 
 of the Wall is broke juft under the Window. 
 
 There was another Story which is now quite 
 ruin’d ; ’twas divided from this by the Cato 
 (painted as a Bronze , of which my Lord So- 
 mers had the Drawing.) Here is alfo the fa- 
 mous Frizes of the Apollo , and Niobe> and 
 the Mutius Scavola (of which laft I think 
 my Father has the Drawing, Capital) but as 
 they are almoft gone, part is plaifter’d over 
 again, I cannot be very pofitive ’ds the Same. 
 
 Thele were painted on the Outfide Walls in 
 Chiaro-fcuro. The Houfes are not Contigu- 
 ous, but Oppofite to each other. 
 
 4 
 
 Villa 
 
Cuercino. 
 
 Cui t. 
 
 ( ) 
 
 Villa Palombara, heretofore the Villa of 
 Mecamas. 
 
 The fine Trunk of Apollo the fame as that 
 of Black ftone in the Gallery Farnefe. Lately 
 dug up. As big as the Life. 
 
 Palace Ottoboni. 
 
 In the Chancellery is a Buft inTouch-ftone 
 of Vefpafian ; very Fine, and 
 
 Hercules Fame fe<> 1 4 foot* Antique: Ad- 
 mirable ! 
 
 Nothing elfeHere, whether Statues, or Pic- 
 tures very confiderable. 
 
 St. Marino ; in the "Home, 
 
 Flaying St. Barthol. one of his Belt. 
 
 In the Forum Nervar. 
 
 Is a long Bas-releif of the Works of Mi- 
 nerva , exceeding fine, but much damag’d; 
 ’tis in the Admiranda from 35, to 41 inclu- 
 five. 
 
 Santo Faolo decollato alle 3 Fontane. 
 
 St. Teter with his Head downwards, re- 
 markable particularly for the Swing the Figure 
 has; and withall for thofe other Circumftan- 
 ces Natural to a Body in that Uneafy Atti- 
 tude. Thefe together with the Darknefs of 
 the Picture give it a fine Expreffion. This 
 was done w hen Guido was Y oung ; and ftrug- 
 gling for Reputation againfl Caravaggio who 
 then bore down all before him ; Tnfomuch 
 
 that 
 
( *9 3 ) 
 
 that Guido had Thoughts of leaving Painting, 
 and of applying himielf to Buy, and Sell Pi- 
 ctures, and Drawings, which at That time 
 was grown to be a Trade of confiderable Ad- 
 vantage, not only mRome, but in France, 
 Holland , and England. FelfinaFittr . tom, 
 2 . 21 . 
 
 the VATICAN. 
 
 When I enter’d the Gates of Rome I found 
 iny felf at the utmoft of my Wilhes, as to the 
 Places I was to lee in this World; the Vati- 
 can is That to Rome, which Rome is to all the 
 World befides. 
 
 For Here are the Moll, and the molt Cele- 
 brated W orks o {Raffaele, the Apollo of Paint- 
 ing. Here it maybe laid was Rajfaele's Paint- 
 ing-Room : Here he Began at his firlt coming 
 to Rome , and Here he was employ’d at the 
 time of his Death, and in all the intermediate 
 time, whatever other Works of his were go- 
 ing forward Elfewhere. 
 
 Thofe Apartments call’d le Logie di Raf- 
 faele , are a Suite of Four Rooms* Beginning 
 with the Hall of Conjiantine , and Ending 
 with that call’d the Chamber of the Signa- 
 ture. Thele have been defcrib’d by Vafari , 
 Filibien , and others, but efpecially by Bello - 
 ri , who has been very Particular, and to my 
 certain Knowledge very ExaCt, for I read him 
 upon the Spot, and compar’d his Delcription 
 with the Things themfeives, which therefore 
 lav’d me the Pains of taking Notes,asIlhould 
 
 O other- 
 
( *94 ) 
 
 otherwife have done, His Book being to me 
 inltead of Such, fo far as it goes ; by the help 
 of which therefore I lhall defcribe thefe Cele- 
 brated Works in my Own way. 
 
 The Vatican is a Vaft Palace, and very Ir- 
 regular: Part of it is very Ancient, Other 
 part Built, or Repair’d in Later Times : Much 
 of the Furniture that was there in theDays of 
 JuliusW. and LeoX. remains ftill. There are 
 Paintings by feveral of the Old Mailers, and 
 Some by Rajfaele , or his Scholars, befides 
 thole in the Rooms I am about to lpeak of. 
 
 One mounts up to thefe by a Stair-Cafe 
 which is Circular; the Stairs are of Brick, and 
 of lb Ealy an Afeent, that a Horfe might al- 
 moll Gallop up. Thefe Apartments are Three 
 Stories high, and even with the open Gallery,, 
 where are the Paintings call’d Raffaele’s Bi- 
 ble, of which I lhall lpeak in their turn. 
 
 The * Pope has chang’d his Refidence for 
 about n Years pall; and probably this Pa- 
 lace will not be the Habitation of future Popes, 
 it being neither fo Commodious, nor in fo 
 good an Air as Monte Cavallo , where he now 
 refides. I was furpriz’d to find the Painters* 
 and Lovers feem to have forlaken this Place 
 as well as the Pope; for tho’I was here about 
 xo times, and often llaid Long, I never law 
 any Creature (befides the Servant that let me 
 into the Lodgings, and always attended me) 
 but Once a Painter that was making a Wretch- 
 ed Copy of the Battel of Conjiantine. 
 
 * This was writ before the Death of Clement XI. 
 
 The 
 
( 1 95 ) 
 
 The Rooms are well Shap’d, and the Ceil- 
 ings of a good Height, the Hall of Conjian - 
 tine is the Largeft, and has the Higheft Ceil- 
 ing: This alfo is by much the Lighted, for 
 the reft are Dark, all Three pretty Near, or 
 probably Exactly of the Same Dimenfions , 
 but the Windows (on the Infide at leaft) jet 
 out from the Room with Seats round them, 
 as if they were fo many fmall Apartments. 
 Thefe Windows are divided into Little parts 
 with Thick Frames, and thofe Divifions Glaz’d 
 with little Quarrels ( as I think they ule to 
 call thofe lmall Pieces of Glafs in Old-fafliion’d 
 Windows.) One of the Ceilings, That of the 
 Chamber of the Signature^ (I am not certain 
 whether there are more of them So) is divided 
 into Rounds, and Squares by a like Frame, 
 Thick, and Handing off from the Superficies 
 as the Rafters of a Cottage cover’d onlya-top 
 with the Floor of the Room over Head, from 
 whence the Hint was undoubtedly taken for 
 thefe fort of Ceilings, commonly leen in Old 
 Noble Buildings. 
 
 All the Paintings in thefe Apartments are 
 not of Rajfaele : the Chamber of the Signa- 
 ture had been Begun by Others, but whatThey 
 had done was Now Demolifti’d by the Pope’s 
 Order, Except a Part of the Ceiling which 
 faele Preferv’d. The Hall of Conjiantine was 
 Painted after his Death by Gudio Romano 
 Francifco Rennie call’d il Fattore di Raf- 
 faele , tho’ by the Defigns which were made 
 by their Great Mafter, for the Principal Pi- 
 ctures There, if not for the Whole Work : 
 
 O i And 
 
( ' 9 6 ) 
 
 AndThcfe, and Others of hisDifciples paint- 
 ed the Little Hiflories, and Ornaments, and 
 probably Aflifted in the Large Pictures in the 
 Rooms that were finifh’d in his Life-time. 
 
 Rajfaele was employ’d in this Work imme- 
 diately upon his coming to Rome. In what 
 Year That was, I am not certain. But there 
 is* a Letter of His extant, Dated from Thence 
 in i 5-08, (He was then 15 Years Old) and he 
 Dy’din ifxo ; fo that he was at leaft 12 Years 
 aboutThefe Works: tho’ he did many Others 
 alfo in That time, as well in Architecture, as 
 in Painting. 
 
 On the Tides of the three Rooms are the 
 Large Pi&ures , which with a fort of Frame, 
 or Ornament in Old-fafhion’d Work us’d in 
 that time, and is a little upon a Gothick Tafte, 
 reach up to the Ceiling, and down to about 
 the height of a Tall Man; the reft to the 
 Ground is Divided by Cariatides in a Brown 
 Colour, between which are little Hiflories, as 
 Bas-Reliefs painted in Clair-Obfcure upon 
 a Yellowifh Ground, which refembles Draw- 
 ings upon that Colour’d Paper Heighten’d, on- 
 ly they are Larger, for the Figures (as I re- 
 member) are about two Foot long. 
 
 In the Hall of Confiantine the large Pictures 
 are at a greater height, fo that I could not 
 reach the bottom of them till I got up many 
 Steps of a Machine which is There for That 
 purpole, on which one fits Commodioufly to 
 
 * leljina Pittrlce. P. i, p. 45 . 1 
 
 obferve 
 
( 1 97 ) 
 
 obfervethofe parts of the Works which other- 
 wife would be too remote from the Eye. And 
 in This Room there is an Interval between 
 the Large Pictures, and the Frizes and Orna- 
 ments underneath. 
 
 Nor are thefe Principal Pictures in the fe- 
 veral Rooms of a Like Form, or Dimenfion, 
 fome are Larger than Others ; moft of them 
 Arch’d a-top, and fome being over Windows, 
 and coming down on each fide make a Shape 
 accordingly. 
 
 The Different Pofitions of thefo Works 
 make a like Difference in the Advantage of 
 Seeing them ; Some are feen in a Good Light, 
 but That is only in the Hall of Conftantine ; 
 All the other three Rooms are too Dark, and 
 even of thofo Pictures that are the Beft feen, 
 the Ends are more obfcur’d than the Middle, 
 the Reft are feen, Some withWindows glaring 
 in your Eyes, and which you cannot Always, 
 or Wholly remedy, and Some are in fuch Dark 
 places that they muff needs have been paint- 
 ed by Candle-light, or the Windows Were not 
 as they Are Now. 
 
 The Colouring in General is Blackifli, and 
 Difagreeable ; whether ’twas fo at Firft, or 
 Chang’d by Time; but in This, as in Other 
 Matters there is a Difference : Some are bet- 
 ter, and more Agreeable than Others. 
 
 There is Another confiderable Circumftance 
 which makes thefe FamousWorks appear with 
 Lefs Advantage than Otherwife they would 
 have done, and that is a General want of Har- 
 mony, not only in the Pictures themfelves, 
 
 O 3 .but 
 
( r 9 8 ) 
 
 but in the whole Rooms, being too much 
 Crowded ; the Leffer Works Embarals the 
 Greater, which would have Ihewn themfelves 
 Better had there been no Other ; and the Eye 
 bounded, and kept to Thefe by Frames that 
 had only ferv’d for that purpofe, and not fuch 
 as to Allure, orDiftrad it. 
 
 The Painting is all Frefco*> and allowing 
 for That Difference, and the different Times 
 in which they were done one may have an I- 
 dea of the Merit of the Pidures done by Raf~ 
 faele himfelf, by comparing them with thofe 
 of Him at Hampton-Court : Here is that 
 Greatnels of Style, thofe Noble Attitudes, Airs 
 of Heads, and even the like Pencil, and Co- 
 louring; Only Thefe are not fo Gay , and Plea- 
 fing ; which is Partly Owing to the Colour- 
 ing it felf, and Partly to Circumftances I have 
 been remarking; the want of Harmony, the 
 Diiadvantageous Pofitions, theParknefs, and 
 not a Little to the Gothic k Old-fafhion’d Place, 
 and That Heighten’d by its being Uninhabi- 
 ted, and Unfrequented, which together with 
 the Reft fpreads a fort of Melancholy Air 
 throughout, Efpecially in the Rooms painted 
 by Raffaele Himfelf, which (as I faid) want 
 Light extremely. 
 
 As to their Prefervation,befides what Time 
 has done, they have receiv’d no Great Injury. 
 And what Has happen’d is fo well Repair’d, 
 that ’tis not Perceiv’d without one Looks for 
 it with Care. 
 
 1 he Room firft Painted was the Chamber 
 of the Signature . 
 
 The 
 
( *99 ) 
 
 The General Defign of the Paintings of 
 This Room is to diiplay the Power of the 
 Human Mind, capable by the Divine Affi- 
 ftance, Ordinary, or Extraordinary, to attain 
 the Nobleft Sciences, Divinity, Philofophy, 
 (Moral, and Natural) Civil Law, and Poetry, 
 which are reprefented in the Four Principal 
 Pictures, and to which the Lefler Ones Seve- 
 rally have relation, and they help to Explain 
 them. 
 
 It cannot be doubted but that not Only This 
 General Defign was Given Him, but that Raf- 
 faele was Affifted in the Condud of it : And 
 confidering the Time, Place, and Subjed, ’tis 
 exceeding Probable he was More under Dire- 
 dion than Painters commonly are; and more 
 than would have been Necefiary to Him in 
 moll Other Cafes. Nor was This Affiftance, 
 or Diredion Impos’d upon him Altogether, 
 He Himfelf Defir’d it, at Lead: Some of it. 
 He apply’d himfelf to Painting from his In- 
 fancy ; and fo Diligently as not to leave Time 
 for fo much Reading as in fuch Subjeds as 
 Thefe was Neceffary. A Friend of mine has 
 feen (in the Hands of Cav.Rozzo a .tRome , 
 about 25* Years ago) an Original Letter of 
 Raffaele to Ariofto^ the Bufinefs of which was 
 to defire his Help in thePidure of Theology, 
 as to the Charaders of the Perlons that were 
 to be introduc’d, their Countreys, or whate- 
 ver Other Particularities related to them in 
 order to reprefentThem feverally as Perfed- 
 ly as poffible, and as they Ought to be repre- 
 fented. 
 
 O 4 
 
 But 
 
( 200 ) 
 
 But Whoever Affifted him, to Execute Such 
 Works as Thefe are, requir’d as Great a Man 
 as Any of Them. I defire it may be Remem- 
 ber’d, and Obferv’d, that in the Remarks I 
 have taken the Liberty to make upon thefe 
 Celebrated Pictures I apply my lelf chief- 
 ly to the way of Thinking in them, which 
 how far it is Raffaele's, or Whole it is, is Un- 
 certain in many Cafes ; consequently in Thole, 
 we know not Who is Applauded, or Combat- 
 ed. But if That part which one may Realon- 
 ably judge to beHis in thele Works, be com- 
 par’d with What ’tis Probable He is Not Ac- 
 countable for, I believe it will be found that 
 a Greater lhare of Glory, and Lefs of Blame, 
 will belong to Him than to his Affillanti, and 
 Directors. 
 
 Nor is it Always the Man that anfwers to 
 the Idea which is Commonly annex’d to the 
 Name of Raffaele that I Cenfure when I Cri- 
 ticife the Works of That Great Painter. Con - 
 noijfeurs are not fufficiently Careful to Diftin- 
 guilh between theTimes, and Kinds of Work 
 of a Mailer. We have a great Idea of Mich. 
 Angelo (for example) but lb great a one does 
 not belong to him when 20, as atyo, or when 
 he Painted, as when he cut a Statue: That 
 Great Idea which we have of him from his Belt 
 Works mult not be carry’d along with us 
 Throughout, and apply’d to All he did. He 
 fs lo many Different Men in thefe Different 
 views; and you may Attack M. Angelo^ with- 
 outAttacking the Great Mailer. Thus if when 
 * u as speaking of the Galatea in the Lungara> 
 
 (P a g* 
 
( 201 ) 
 
 (pag. 113 .) I had faid that That Figure was 
 too Little for That place, I had Criticifed Raf- 
 faele indeed, but Another Raffaele than when 
 he painted the Cartons ; fo much had thofe 
 few Years that Interven’d Chang’d the Man. 
 And I Ihould have been Juftify’d in my Cen- 
 lure by the Authority of Mich. Angelo who 
 faid the lame thing, (would to God I could 
 fay it as He did!) When He, with all Rome , 
 came to fee that Pi&ure when ’twas firll O- 
 pen’d, He only drew that fine Head of the 
 Faunus upon the Wall fo much Bigger than the 
 Life. Which Language i?^^^underftood fo 
 well, as it put a Stop to his Labours There. 
 
 This Account of That Matter I have heard 
 fince I wrote That, which was Then the On- 
 ly Realon I knew to have been given for the 
 Bare Walls in the Remaining part of That 
 Room (as it Now is, tho”twas formerly more 
 open to the Air) and This being Probably the 
 Belt, I have takenThis Opportunity to inlert 
 it: Both however do Juftice to Raffaele as a 
 ModeftMan; andBothmight havebeenTrue 
 Reafons whether he gave any more than One 
 of them to thePublick, or Not. 
 
 I mull premife One thing more concerning 
 My Remarks on thele Pictures, which is That 
 as Raffaele wanted the Affiltance of Thofe 
 that had More Learning than Himfelf in the 
 Painting of them,lo do I inConfidering them. 
 I pretend therefore to give Only Some Hints 
 which Others Better cjualify’d may pleale to 
 make Ufe of (if they find them of Any) to- 
 wards a more Accurate Examination of thele 
 Celebrated Works. Out 
 
( * oi ) 
 
 Our Writers differ upon theQueftion as to 
 the Pi&urc Rafaele Began withal : V %fari y 
 and after Him Filibien , and Others; fay it was, 
 That call’d the School of Athens. But I ra- 
 ther believe Bellori, who makes it to be That 
 of Theology ; or to fpeak more Juftly, I ra- 
 ther believe my Own Eyes ; for there is an 
 Apparent difference in the Style, and Man- 
 ner of Painting of This, compar’d with That, 
 and all the Reft : The Glory, and Orna- 
 ments are Heighten’d with Gold, which was 
 the way of the Old Painters ; and there is a 
 Regularity, and StifFnefs in the Difpofition 
 of the Figures, and which alfo favours of Go- 
 thicifin , and is more than is to be found in a- 
 ny of the Other Pidtures, as indeed the whole 
 is in a Style Inferior to what he did After- 
 wards, as lhall be farther fhewn prefently. 
 
 The General Thought of This, as of other 
 Great Pictures in this Chamber is, Here is the 
 Principal of the Science, with a number of the 
 moft remarkable Profeffors of it. This more- 
 over is a kind of Local Syftem of the Chri- 
 ftian Religion ; and in That refpe<ft, and be- 
 caufe the Principal Figures are fb vaftly Supe- 
 rior inDignity to all the others, as is alfo the 
 Subject itfelf, it might have been the Nobleft 
 of all thofc in the Vatican, if it had not been 
 done ’till about the time he painted the Car- 
 tons which are at Hampton-Court, or even if 
 this had been deferr’d forae time longer : ’tis 
 however a very magnificent one. 
 
 The Eternal Father is reprefonted as prefi- 
 ding over the Univerfe : This is not quite a 
 
 Half 
 
( 2 °3 ) 
 
 Half Figure, plac’d Fore-right upon the top 
 of an Arch which is over the (Shrifts and in 
 which are feveral Cherubims, very Regular- 
 ly plac’d, and all Alike Regularly form’d : He 
 holds a Globe in his Left-hand, and with his 
 Right is giving the Benediction. The Vice- 
 gerency of the Son appears manifeftly , and 
 That as exercis’d with great Benignity ; his 
 Head reclines a little, and with Open Arms 
 he feems ready to receive the Supplications of 
 all Mankind: But his fetting his Foot (fome- 
 thing rais’d) upon a Cloud, and juft as it were 
 upon the HolyDove, has fomething Choquing , 
 and that Reprefentation of the Third Perfon 
 of the Trinity does not ftrikethe Eye in Such 
 a manner as might have been expected, and 
 So as in any degree to exprefs the Equality; 
 nor does it even extend its Rays farther than 
 to make a Small Circle ; but being near the 
 Fathers, and Doctors of the Church, which 
 are juft under on each fide, there was a Fine 
 Opportunity to exprefs his Sacred Operations 
 on their Minds ; neverthelefs Raf'aele feems 
 not to have had any Thought like This, for 
 even the Four Gofpels which are yet Nearer, 
 Two on each fide, reprefented by as many 
 Books held up by Boy- Angels, Thefe partake 
 not at all of the Rays fent forth by the Holy 
 Spirit as here reprefented. 
 
 On the Right hand of the Chriji is the bleffed 
 Virgin in an Adoring, Supplicating Pofture, 
 and addrelfing herfelf wholly to Him; The 
 Mediatorlhip feems to belong to her, as the 
 Regency does to her Son ; but very little re- 
 
 gard 
 
( 2 °4 ) 
 
 gard is flieWn to the Father by any of the Or- 
 ders of Angels, (of both kinds) Saints, or Men, 
 the Firft in Clouds on each fide of the Upper 
 part of the Pi&ure, the Second Order on like 
 Clouds on each fide about the Middle ; One of 
 the Old, andoneoftheNewTeftament Alter- 
 natively ; and the Others on Steps at the Bot- 
 tom, on each fide of an Altar on which is the 
 Confecrated Hoft. 
 
 All thefe three Rows of Figures of Angels, 
 Saints and Men are plac’d Archwile, and that 
 not only as each end is Higher than the Middle, 
 as in the two Uppermoft, or Lower, as in that 
 on the Bale of thePi&ure, fo that This Lalt has 
 an Arch’d form, and the other two make Arches 
 inverted; but the Extremities are nearer the 
 Eye than where thefe Rows are difcontinued 
 by the three Perlons of the Trinity, and the 
 Altar on which is the Hoft, All which are per- 
 pendicularly one under the other through the 
 Middle of the Pi<fture ; that is, thefe threeRows 
 are fo many Semicircles plac’d Horizontally ; 
 feen in Perfpetftive, and cut in the Middle by a 
 Perpendicular. 
 
 On the Left hand of the Son of God is feated 
 St .yohnBafttift. I cannot imagine why that 
 Preheminece is here given to him, who is e- 
 qually Conlpicuoully plac’d with the Virgin- 
 Mother : if the ftrange Regularity which is 
 leen in this Picture mull be continued through- 
 out (for the Virgin, th zChrift, and this Saint, 
 make the Bale of a Triangle which the Father 
 compleates) one would have thought St .<Peter 
 fhould have been preferr’d, but he is remov’d 
 
 to 
 
( 10 5 ) 
 
 to the very Extremity of the Picture in the row 
 of Saints of both T eft aments, and is feated next 
 to Adam-t He to St. John the Evangelift, &c. 
 as St. Baul is in the extreamity on the Other 
 fide next to Abraham^ &c. only This Prefe- 
 rence is given to St. Deter^ he is on the Right 
 fide ; but as I faid as Remote as poftlble from 
 the Principal Group in the Centre. 
 
 TheDocftrines of the Trinity, Incarnation, 
 and Mediatorlhip, being thus exprefs’d, that 
 of the Crucifixion of our Lord is noted by the 
 Wounds appearing in his Body, the Glorifica- 
 tion of which implies his Relurredlion ; and 
 the Saints on the Clouds a Future State. There 
 remains only the Euchariftical Prefence in the 
 Church tocompleattheSyftem, which accor- 
 ding to Their Dodlrine of Tranfubftantiation, 
 is exprefs’d by the Hoft in the Golden Often - 
 forio on the Altar. 
 
 Thelower Order of Figures confifcs of Di- 
 vineSjandothers ; of which the four Fathers of 
 the Latin Church , two on each fide of the 
 Altar are the Chief ; the reft are Ecclefiafticks, 
 and fome Lay-men, in various Attitudes, Con- 
 templating, Writing, Dilating, Difcourfing, 
 and two or three adoring the Hoft. 
 
 Amongft thofe of this Lower Order is 
 Dante the Poet, Bellori fays He is plac’d 
 with the Divines, as having in his Poem de- 
 fcrib’d Hell, Purgatory, and Heaven. Don 
 Qnevedo had he been Then, might as well 
 have had a place there as He if This was his 
 Title to it. The truth of the matter I believe 
 was; Here are feveral Figures, Laymen, as 
 
( to 6 ) 
 
 well as Ecclefiafticks, and Without any Name, 
 or Particular Character, as well as With fuch, 
 ‘Dante’s Face, he being a Favourite Writer, is 
 put to one of Thefe. Thus, but not Othervvife 
 is Raffaele to be juftify’d in this Affair. 
 
 I wifh I could as Eafily get over Another 
 Objection to this Pfoture, and that is with rela- 
 tion to the Management of the Light. The 
 Holy Trinity is here reprefented, the Three 
 Perlons feverally, Each of them furrounded 
 with his Own peculiar Glory ; but they receive 
 no Light fromThence Themfolves, nor do they 
 communicate Any to the Other Figures in the 
 Picture, not even to the molt Contiguous ; All 
 partake of the Common Day-Light juft as if 
 none of that Brightnefs had proceeded from 
 thofe Sacred Perlons. 
 
 ’Tis very Choquing to fee a Figure all in 
 Glory, and Another juft by it fhadow’d on 
 That fide, which is Neareft to it, and a great 
 many Others all around not in the leaft Influen- 
 ced by fuch Splendor. There is indeed Three 
 feveral Figures fo Irradiated, and it may be 
 Thought that had thisLight been made to have 
 had its Natural Effedt, it would have created a 
 Confufion in the Picture, and fuch as would 
 have been a Greater Evil than what was a- 
 voided by fo doing : If This were the Cafe 
 ’twas certainly well judg’d to make it as it is, 
 it would beThen a Beauty, not a Fault. But 
 I believe with a much Lefler Licence than is 
 Here taken, the Light might have been fpread 
 as Advantagioufiy upon All the Figures as it 
 Now is, and have proceeded from that part 
 S from 
 
( 2 °7 ) 
 
 from whence it would Naturally come : nay 
 I will venture to fay farther, that it would 
 Thus have had a Better Effect than it Now 
 has ; befides that it would have given a great- 
 er Dignity to Thefe Repr dentations. 
 
 The Three Perfons of the Trinity are All 
 Near each other, and would have made One 
 United Light ; and Thefe Figures being Paint- 
 ed with T ender Shadows only, and their Com- 
 mon Glory Diffus’d on Each Side, and Below, 
 Diminifhing gradually as the Objects on which 
 it ftruck were Remov’d from It towards the 
 Extremities of the Picture would have had a 
 Lovely Effed ; efpecially fince the Subordi- 
 nateFigures have that Semicircular Form, and 
 are fo Plac’d as has been Noted ; for Thus not 
 only That Light would have gone off, aslfaid 
 towards the Outfides of the Pidure, but all 
 thofe Figures which in thole Semicircles are 
 Behind the Perpendicular, or in the Middle, 
 would have been in Full Light indeed, but 
 That Weaken’d by theDiftance as They Seve- 
 rally have, and fo as to make a Fine piece of 
 Aerial Perlpedive. This alfo would have De- 
 tach’d the Principal Figures from all the Reft, 
 and have occafion’d a fine Subordination in 
 the Whole, and with That a moft Beautiful 
 Harmony. What I have Advanc’d will be bet- 
 ter comprehended by confidering It together 
 with the Print. 
 
 Tho’ this Pidure is commonly call’d the 
 Difpute of the Sacrament, Here is no appea- 
 rance of any fuch thing ; the Divines and O- 
 thers are employ’d as Men of their feveral 
 
 Charaders 
 
( 208 ) 
 
 Characters muft be fuppos’dto be if there was 
 noControverly intended to be reprefented. 
 
 The Dodtrine of the Real Prelence is of lb 
 Sublime a Nature, and indeed the higheft 
 Stretch that ever was made by Man in the Af- 
 fair of Religion, that ’tis no wonder if Raffaele 
 has had fo much regard to it as to reprefent 
 many of thefe People greatly concern’d about 
 it. But it cannot be thought he would have 
 done it Himfelf, or have been directed by O- 
 thers to have admitted the thing to be Dilpu- 
 table,or to luppofe that any of thePerlonages 
 Here introduc’d ever Doubted of the Truth 
 of this Dodtrine ; Nor were the Oppofers of 
 it at That time Confiderable enough to be Thus 
 taken notice of by the Court of Rome ; for 
 ThisPidhare was done fome Years before the 
 Reformation was begun by Luther , who ap- 
 pear’d not ’till in the Pontificate of Leo X. 
 the SuccelTor of Julius II. in whole time this 
 was Painted. 
 
 This therefore was never intended by Raf- 
 faele when he defign’d this Pidlure ; but a 
 Senle put upon it afterwards when that Con- 
 troverly made a great Noile by Thofe who 
 confider’d not the Circumftances of the Time 
 when ’twas done : Vafari gave the Hint by 
 fancying there was a Difpute ; and the Sacra- 
 ment being There That was luppos’d to be 
 the Occafion of it. 
 
 The Bufinels of this Pidlure is to fet forth 
 the great Articles and Myfteries of Religion } 
 and to excite Sentiments of Piety, and Devo- 
 tion ; and this it does by Clear, Noble, and 
 8 Lively 
 
( 20 9 ) 
 
 Lively Reprefentations, and by Exprefiions 
 Juft, and Strong; and all with that Grace and 
 Noblenefs of Style peculiar to Rajfaele , but 
 in what degree I have obferved already. 
 
 The next Picture in Dignity, and which Va- 
 fari fays was Firft done, is that call’d the 
 School of Athens. ’Tis indeed a very Mag- 
 nificent one ; but this Magnificence is purely 
 Humane, as that of the Other is of a more 
 Sublime kind. The Thought of Raffaele ^ as 
 Obvious as it is, has been Shamefully miftaken 
 by Vafari , who has imagin’d it to be the A- 
 greement of Philofophy and Aftrology, with 
 Divinity ; and that there were Evangelifts, 
 and Angels, and I know not what, which he 
 defcribes with great Pomp, and Applaule. 
 Thomajyn who has Retouch’d the Plate done 
 by Giorgio Mantovano has given a formal Ac- 
 count of it, as of St. Raul difputing with the 
 Epicureans and Stoic ks ; and has put Glories 
 about the Heads o iRlato, and Arijiotle , fup- 
 pofing thefe Figures to be Apoftles. This is 
 an Addition of his Own, for ’twas not in the 
 Plate Originally, as there is no fiich thing in 
 the PiCture; which is evidently that of Phi- 
 lofophy, Moral, and Natural, reprefented by 
 the Teachers, and Learners of thofe Sciences, 
 in Attitudes, and Employments to exprefs 
 their feveral Characters ; and where AlTiftance 
 could be had from Medals, Intagliaes, Statues, 
 or Bufts, there Raff'aele has given us the Re- 
 semblances of the Perfons ; for the reft he has 
 Imagin’d them, or put the Faces of Other Per- 
 lons then living, as of his Friend and Patron 
 
 P Bramante 
 
( 110 ) 
 
 Bramante for Archimedes , of the Dukes of 
 'Drbin, and Mantua for Scholars ; at leaft fo 
 ’tis laid, he has brought Himfelf in as one of 
 the Latter fort, and amongft the Mathemati- 
 cians, and very Modeftly in the very Extre- 
 mity of the Picture. 
 
 Raff ae lew as the belt qualified of any Man 
 in the World for this Work, fo far as it was 
 giving the Portraits, (or what were to be con- 
 fider’d as fuch) of an Afiembly of Men who 
 have done the Greateft Honour to our Spe- 
 cies as Rational Beings ; for no Man in That 
 time, or any Other fince the Decay of the 
 Arts as they were polfelTed by the Ancients, 
 could exprefs that Dignity, Wildom, and Soli- 
 dity as he did ; and he Thought as finely as 
 any of Them in Subjects within his reach : 
 But as he was not a Man of much Learning, 
 if he committed Faults in Thole where hewas 
 out of his Depth, the Blame ought to be plac’d 
 to Their Account under whole Direction he 
 was, or who Ought to have Alfilled him. 
 
 Next theBafe of the Picture is a Pavement, 
 whence arife four Steps, upon which is rais’d 
 a Magnificent Building, confifting of three 
 Arches one behind another like Scenes : Juft 
 Under th e hithermoft of which Arches, and in 
 the Middle of the Pict ure, Hand 'Plato, and A- 
 riflotle ; and on each fide of them their Dif- 
 ciples ; only on the Right, ffPlato's fide) is 
 Socrates Reafoning with ALcibiades,a.n& two, 
 or three Others attending. On the Second 
 Step, and a little to the Left of the Pi&ure, 
 but very Conlpicuous fits ‘Diogenes., and one 
 * • - Figure 
 
( 2ti ) 
 
 Figure is juft by him Mounting from that Step 
 to the next as going to thole above, Another 
 is Defending. On the Pavement below* and 
 on the Right fide is Pythagoras with his Dif- 
 ciples,a large Group e that reaches to the mid- 
 dle of the Picture ; Another Idler Groupe of 
 Figures is on the other fide, where is Archi- 
 medes^ with his Compaftes forming a Figure 
 on a Tablet on the Ground, Zoroajires , and 
 another, He with the Terreftrial, the Other 
 with the Celeftial Globe : Thele alio have 
 their Difciples. 
 
 The Statues of Apollo , and Minerva* * and 
 the Bas-reliefs which are feen in the Build- 
 ing, &c. Illuftrate, and Explain the Subject of 
 the Picture, as they refer to Moral Philofo- 
 phy, Arts, and Sciences. 
 
 Blato was always efteem’d by the Chrifti- 
 ans as one whofe Notions agree with Theirs* 
 more than thole of any other of the Heathens 
 as to Divine Things* aiid he has the Principal 
 Place ; Arifotle has the Next being Then* 
 and for fome Ages in the greateft Efteem. So- 
 crates is a Beautiful Character, and is nobly 
 Employ’d in Reclaiming a Fine Gentleman* 
 and conducting him into th,e Paths of Virtue, 
 and he is Juftly plac’d very Confpicuoufly. 
 ^Pythagoras alfo is where he Ought, and With 
 proper Dignity . As Diogenes is well known* 
 ne is plac’d in full View ; and with equal Judg- 
 ment Raffkele has flung him upon the Steps. 
 His Drefs, and Air is moreover very Cynical. 
 TheLooks, and Behaviour of the Difciples of 
 Archimedes Ihew tlieWonders* and Bemon- 
 
 P % fixations 
 
( * 1 * ) 
 
 ltrations of theMathematicks, for they feem 
 to Admire, but to be SatisfyU The My- 
 fterious, and Surprizing Dodhrines of Pytha- 
 goras arc feen by the greatThoughtfulnefs of 
 rhofe that attend to him; Even the Manner 
 of the Reafoning of Socrates isExprefs’d ; he 
 holds the F ore-finger of his Left-hand between 
 that, and the Thumb of his Right, and feemsas 
 if he was faying, You grant me This, and 
 This; and ‘Plato points to Heaven, which 
 fhews his Chara&er. An OldDecrepid Man 
 with a Staff comes in on one fide at the Ex- 
 tremity of the Picture on the top of the Steps, 
 as a Child appears at the other end below, in 
 a Man’s Arms, to fliew that none are too Old, 
 or too Young to Learn. 
 
 Thefe, and perhaps many More, (befides 
 thofe comprehended in the General Character 
 of thefe W orks already given, and which eve- 
 ry one knows mud be found in what Rajfaele 
 did) are the Beauties of this Picture. I wifli I 
 could here finiih my Remarks upon it, or go 
 on in the fame way ; but fomething alfo mufl 
 be faid on the Other hand : That the Books 
 throughout are of the Modern Form, not 
 Rolls, except in one Inftance, is of no great 
 Confequence, tho’ ’tis Wrong; the Ancients 
 having no fiich. Nor is it to be efteem’d a 
 lault either in RafFaele , or thofe that Diredt- 
 ed him that Zoroajlres is reprefented as a King, 
 twas the Opinion of that Time: Neither do I 
 objcdt againft his having a Terreflrial Globe, 
 tis a fort of Liberty, but being a Man of Ge- 
 nera! Knowledge, as well as the Reflorer of 
 
 the 
 
( M 3 ) 
 
 the Secft of the Magians , (tho’ That was his 
 Chief Character) he might be introduc’d to af- 
 fift in reprefenting thofe two great Branches 
 of Learning, Aftronomy, and Geography. By 
 the way I will obferve that Rajfaele once in- 
 tended Him that holds the Other Globe for 
 Zoroajlres ; for my Father has his Study for 
 That, and fome other Figures in this Picture, 
 and he has given fome Touches for a Radial 
 Crown on his Head, but refolv’d on the Cap. 
 
 My great Objection is, that here is no> No- 
 tice taken of the j Epicureans, and the Stoicks, 
 two fuch very confiderable SeCts in Philofo- 
 phy. Here are about Threefcore Figures, of 
 which but Seven only are Principal ones : 
 Tlato.> Arijlotle , Socrates , ‘Diogenes^Bytha- 
 goras , Zoroafires^ and Archimedes ; or if you 
 pleale let Alcibiades make an Eighth, for the 
 great part he has in Exprefting Moral Philo- 
 lophy, the Chief of the two Branches of which 
 the Whole confifts: All the reft are Difciples 
 only, and without any particular Character : 
 Here was Room, and Opportunity to reprc- 
 fent thofe two great Sedts, and to do this far- 
 ther Juftice to them; to fliew the Real Do- 
 ctrine of Epicurus , and the Beauty of it ; and 
 what is truly Excellent in that of the Stoicks. 
 Epicurus might have been feen, not Gorman- 
 dizing, or Drunk; but Greatly Delighted with 
 his Roots, and Cold W ater : And Cato, as Lit * 
 can has defcrib’d him 
 
 Bearing his Arms in his OwnT atient Hand 
 
 would have made a Noble Figure, with Labie- 
 
 P 3 nus 
 
( *14 ) 
 
 nus alking him to enquire of the Oracle what 
 Ihould be the Fate of the Republick; which 
 Story Monfieur St. Evremont prefers to any 
 thing in Homer, or Virgil. This great Stoick’s 
 Aniwer is too long for roe to inlert, and per- 
 haps Would be too much a Digreffion, Beauti- 
 ful as it is ; I will however venture to give 
 the Words of the Poet at the Conclufion of it 
 as I find them trandated by Mr. Row-. 
 
 So Jpake the Hero-, and to keep his Wordy 
 Nor Ammon, nor his Oracle explor’d ; 
 
 But left the Cro wd at Freedom to believe. 
 And take fitch Anfiwers as the Brief Jhottld 
 
 give. 
 
 After Divinity, which is to teach us the 
 Knowledge of the Supreme Good, and pro- 
 vides for our Happineis, not only Here, but 
 throughout our whole Exiftence, that is for 
 Endlels Ages ; and Philolbphy, which is to 
 Regulate ourPaffions, andlnlarge ourUnder- 
 ftandings in the Prefent State, and fo to pro- 
 mote our Happinefs Here: After Thele comes 
 Poetry, whole Bufinefs it is to Improve that 
 Happineis, to add Delight to Inftrudtion, and 
 to Impregnate our Minds with the moft No- 
 ble, and Beautiful Images, and fo to advance 
 us into a State above that of Common Men, 
 as the Other Sciences raife us above Brutes. 
 
 And This Ihe does by a Well-go vern’d Li- 
 berty of Invention, by the Elevation of her 
 Thoughts, and by a Style too Florid forProfe. 
 All the Images Divinity furnifhes us with ought 
 to be Eftcem d True, whether they Seem to 
 
 • be 
 
( ) 
 
 be So, or No : Thofe of Hiftory fhould be 
 True* and Probable. Poetry, with an Appea- 
 rance of Truth, lifts our Imaginations Above 
 it ; as its Language muft be more Mufical than 
 Common Speech, but fo Like Nature as to 
 hide the Art. And as Here Bombaft is to be 
 Avoided, the Thoughts ought no more to have 
 it than the Words ; that is, tho’ they are Bold* 
 they muft not be Extravagant. 
 
 Tho y Deepy yet Clear , tho' Gentle , yet not 
 "Dully 
 
 Strong without Ragey without o'er -flow- 
 ing Full. Denham. 
 
 ThisPi&ure (as feveral Others in thefe A- 
 partments) is of an 111 Shape, Arch’d a-top, 
 and Over, and on each fide of a Window; and 
 ’tis therefore Difadvantagioufty plac’d with re- 
 fpe<ft to the Light, which ftrikes not on It, 
 but on the Eye : That is dazzled, and perplex- 
 ed with a Bright Sky, when it ought to be in 
 Repofe ; and the Picture is in the Dark. 
 
 fits juft in the Middle upon Rarnafl 
 JiiSy with the Sacred Spring flowing out at his 
 Feet, and under a Tuft of Laurel Trees; the 
 like Trees are at each Side of the Picture ; T wo 
 of the Mufes are Sitting, One on either Side 
 of the God, the reft are Standing behind, 
 Three on his Right, and Four on his Left- 
 hand : In the remaining part the Poets are 
 plac’d, Some on the fame Line on Both Tides 
 of ApollOy and the Mufes, the reft defcending 
 to the Bafe of the Picture, Some Equal with, 
 and Others Below the top of the Window. 
 
 P 4 The 
 
( ) 
 
 TheSubjed of This Pidure being Different 
 from the reft in This Room, occafions a fine 
 Variety, and Contraft. TheDivinity-Pidure 
 has its Figures in Heaven, and on Clouds, as 
 well as on Earth, and thefe are God, (the Fa- 
 ther, and Son) with Angels, Saints, Men, 
 That of Philofophy has a Magnificent Build- 
 ing for the Scene of its Figures, who are 
 Grave as the Other, but not fo Awful, and 
 Sublime. This has a Hill, a Fountain, and 
 Trees, and is Peopled with aFiditiousDeity, 
 and Other Imaginary Beings, as well as with 
 Poets their Creators, and who are Eternally 
 Creating more fuch Non-Entities. 
 
 I wirn however that This Difference in the 
 Subjed had been farther confider’d than it Is; 
 and that all Here had been Graceful, Light, 
 and Gay; whereas the General Tind of Co- 
 lour, and the Figures of this Pidure are no 
 More fo than in the Others ; on the contrary, 
 they are rather Left, and confequently Left 
 Agreeable, which is by no means the Chara- 
 der of Poetry, or of the Perfbns in This Pi- 
 dure. 
 
 And as in the Former Philofophy is Imper- 
 fcdly reprefented, in This Poetry is lb, theE- 
 pic, and Lyric, and perhaps fome Other kinds 
 of Writers in Poetry have Here their Repre- 
 sentatives; but either the Dramatic Poets are 
 Not here, or w hat is as bad, they are not Known 
 to be lo. I have feen feveral Accounts of the 
 Names which are judg'd to belong to each Fi- 
 gure, and which agree tolerably well with 
 each Other ; but none of them have thole of 
 
 Mfchylusy 
 
( ) 
 
 JEfchylus , Sophocles , Euripides , Menander , 
 Terence^ and others who had a betterTitle to 
 a place Here than feveral of thofe that arc 
 fiippos’d to have that Honour ; Poffibly as 
 Thefe Accounts are for the Moft part Conje- 
 ctures only they may be Miftakes, and Raf- 
 faele might have intended the Figures to 
 whom the Names are align’d to reprefent O- 
 thers; but as there is nothing to denote Who 
 is meant, the Picture fays only there was a 
 Homer , a Virgil , and fiich Others as are Ap- 
 parently here; and that there were Several 
 more; without fay ing Who, orWhat they were. 
 Ir is only faying that Poetry confifts of the 
 Epic, Lyric, &c. Which whoever fhould have 
 faid, and no More muft be confefs’d to have 
 fpoken very Inaccurately, and to have given 
 a very Confus’d Account of the Thing, how 
 Beautiful foever the Language, or Elocution 
 might have been. 
 
 Of thofe Poets that are known, One has her 
 Name Written, This is Sappho, and who might 
 have been denoted without that Expedient ; 
 and with great Advantage to the PiCture ; file 
 might have had a fine Exprelfion of a Lover 
 inDefpair for her? ^baon-, whereas here fhe is 
 a Tame Figure without Any Character, but 
 what her Name, and the Inftrument file holds 
 in her Hand gives her. 
 
 The reft of Thefe we know by their being 
 Portraits, or by certain Circumftances, as Ho- 
 mer is Singing his own Immortal Verles, and 
 a Young Man writing them down, which 
 fhows the Hiftory of their being Collected 
 
( * i8 ) 
 
 into a Book from Scatter’d Pieces; Virgil is 
 Dante’s Guide, for which we have this Mo- 
 dern’s Own Authority : Horace feems Liften- 
 ing to, and Admiring Homer , and Pindar ; in: 
 regard no doubt to the fine Ode, and Epiftle 
 he has left inPraife of thofe two Poets. 
 
 As Horace is only known by the Regard 
 he has to P indar, tho’ he might have beenO- 
 therwife Indicated, and Better, “Pindar is 
 known by the Regard Others have to him, 
 not by any Particularity which his Charadter 
 demanded ; ’tisa Figure that would have lerv’d 
 better for one of lei's Force, and Fire than he 
 was remarkable for. 
 
 Homer is veryConlpicuous, as he ought to 
 be, and lb as to put one in mind of what (as I 
 remember) Mr. Addifon faid of him, that he 
 Seem’d to look Down upon the reft of Man- 
 kind as a Species Below him : But^’/rji/does 
 not make that Appearance which the place he 
 holds amongft the Poets requires. He may 
 however have the Conlblation of oblerving 
 that even Apollo , which upon all accounts 
 ought to have been a Noble Figure, is a very 
 Indifferent one, and indifferently Employ’d ; 
 he is playing upon a Violin, and feems in Rap- 
 tures upon hearing it, but very little regard is 
 had to him by any of the Poets, only Virgil 
 feems to diredl©*?®^ to attend. Bellori fays 
 he has heard This Inftrument was put into 
 the Hands of the God to complement aMufi- 
 cian at that time much Efteem’d ; admitting 
 this to be true, I fear the Excuie is not Suffi- 
 cient. 
 
 The 
 
( **9 ) 
 
 The Place in which Apollo fas, is indeed the 
 Proper one, the Middle of thePi&ure, and the 
 molt Confpicuous; but he is not Sufficiently 
 diftinguifh’d from the Mufes as he Might have 
 been by Standing, in an Attitude as fome of 
 the Antique Statues reprefent him. Nor is 
 there a due Diftance obterv’d by the Poets, 
 They make a Part of This Groupe, which 
 ought to have been diftinguifh’d by being 
 kept Intire. 
 
 The Print of Marc Antonio was doubtlefs 
 made Since this Picture, and perhaps feme 
 Years ; whether from fome Former Defign,or 
 that This was afterwards Corrected by Raffa- 
 ele ,is hard to determine, xha* Bellori is of the 
 Firft Opinion : But Some of the Faults of the 
 Pi&ure are not in the Print; particularly A- 
 pollo Here has his Lyre, and that Groupe is 
 detach’d from the Poets. The Print is indeed 
 an Excellent one, and Worthy of the Efteem 
 it has, becaufe of the Fine Airs, and Attitudes 
 one foes in it, which alfo muft be laid of the 
 Pi&ure. Neverthelefs the Other Defeats in 
 That, which I have taken the Liberty to men- 
 tion are far from being repair’d in This ; Poe- 
 try is not Truly repretented, there are fewer 
 Poets Here than in the Painting ; and Thofo 
 Left out are fome of the Bell Figures There ; 
 and very Confiderable ones : But fome Boys 
 are Added, flying in the Air, every one of them 
 with a Laurel Crown in each Hand; Ifuppote 
 to exprefs the Bounty, andGoodnefsofy^?//? 
 ready to beftow Rewards on Future Poets; 
 for all Here are Already fupply’d with foch. 
 
 I can- 
 
( 110 ) 
 
 I cannot pafs by an Inftance of Vafaris 
 Carelefnefs, and Luxuriant manner of Writ- 
 ing, nor forbear thereupon obferving with 
 vvnat Caution one ought to read This, and in- 
 deed all Italian Authors in general on thefe 
 fort ofSubje&s. He fays (defcribing this Pi- 
 cture) that there are an Infinity of Boys in the 
 Air — — I will give you the whole Paffage : 
 Nella facciata dunque di verfo Belueaere 
 done & il monte Tarnafo , il fonte di Eli - 
 
 cona y fee e intorno a quel monte una felua on - 
 brofijjima di lauri ; ne'quali ft conofce per la 
 loro verde zza quafi il tremolare delle foglie 
 per Vaure dolcijfme ; & nella aria una infi - 
 nit a di Amori ignudi con belliffime arie di 
 vifo che colgono rami di lauro y & ne fanno 
 ghirlande , & quelle fpargano , & gettano per 
 il monte. Whereas inltead of this Tweet fliady 
 Grove, there are only three little Tufts of 
 Trees, one on each Side, and the other in the 
 Middle, widely detach’d, and not one Boy in 
 the Pi&ure ; in the Print indeed there are Five. 
 
 Amongft the other Differences, This Print 
 has notRaffaele’sVidiMxz: In the Painting ’tis 
 with Homer , Virgil y and r Dante y who Groupe 
 with thofe Mufes that are on the Right-hand 
 of Apollo. 
 
 Bellori takes it that Rajfaele perfonates 
 Himfelf, and that he had a Right to be there, 
 as having very early done fbmething in Poe- 
 try : Or to quit my own Profe for this Wri- 
 ter’s Poetick Style, e ben qui degnamente e 
 co Hoc at o in 'P arnafo y ove da primi anni gujio 
 
 Vacque 
 
( 221 ) 
 
 Vacque del fonte Ippocrene , e fu dalle Gra - 
 zie, e dalle Mufe nutrito . 
 
 Whatever has been written by Rapfaele, ve- 
 ry Little is Known, whether Publilh’d, or in 
 Manufcript : All that I have heard of is Four 
 Letters, and a Sonnet ; Two of thefe Letters 
 are All that is Publilh’d, One by Count Mai- 
 vafia in * FelfinaBittrice-, and the Other by 
 | Bellori. This lafl has no Date, but by One 
 of the MS. Letters (and of which I ihall give 
 an Extract at the end of my Remarks on the 
 Works of this Mailer in thefe Apartments) it 
 appears ’twas written about the Year 
 Here is a Third; and the Other Letter of him 
 isThat I mention’d p . 199. Written to Ariofoi 
 The Sonnet is This: 
 
 c Vn penfier do Ice erimemhrare , e — 
 di quello afalto , ma pin grauo el dantio 
 del partir , chio re flat, como quel cano 
 S mar per fo lafella fel tier odo. 
 
 Or lingua di parlar difogli el no do , 
 a dir , di quejlo inujitato ingano , 
 chamor mi fece per mio grauo afano ; 
 ma lui piu ne ringratio , e lei ne lodo. 
 
 Lora Sejlera che locajo , tin foie 
 aveua fatto , e laltro furfe in locho 
 ati piu da far fati che parole 
 maio ref at pur vinto at mio gran foe ho 
 che mi torment a che done Ion foie 
 defiar di parlar piu riman fiocho. 
 
 * p 1. />. 45. 
 
 | Defc.nzz.ione dsllg lmaf.ni dip nig da Rojfaele, c rc % p. ico. 
 
 It 
 
( 222 ) 
 
 It ought to be confider’d that this is but a 
 Sketch of a Sonnet, not a Finilh’d Poem; ’tis 
 written on a Drawing of Rajfacle , a (firft 
 Thought for two or three Figures with a Pen) 
 and feems to have been done at the fame time 
 when the Pen was in his Hand, and his Imagi- 
 nation full of the Accident he here mentions. 
 The Drawing is in the Collection of the Ho- 
 nourable Mr. Bruce, and is indilputablyanO- 
 riginal. And that this Sonnet is allb of him is 
 as little to be doubted ; for befides what isno- 
 ted juft now, and the Corrections I lhall 
 mention prefently, the Characters, and Spel- 
 ling agree with Others that are of Him. 
 
 The laft Word of the firft Line is torn off ; 
 the Words Sejta in the ninth, and fati in the 
 eleventh Lines, were nera and patto , but air 
 ter’d with the fame Pen ; the Pointing and 
 Spelling are exactly as in the Original. Which 
 if Incorrect let it be imputed partly to the 
 Hafte in which it feems to haye been writ- 
 ten, and partly to the Manner of That Age : 
 But becaufe This may have made it lbme- 
 thing Unintelligible, I got the Aftiftance of 
 Mr .Rolli, who reads it Thus: 
 
 ' Vnpenjier do Ice e Rimembrare, e go do 
 * Perch}, di quell' Affalto^ ma pin pravo il D anno 
 
 del partirf ctiio re fiat come quei ch' anno 
 in mar perfo la : Jlella , fe il Ver odo . 
 
 Or lingua di parlar difcicgli il nodo y 
 a dir di queflo inujitato Inganno. 
 che Amor mi fece per mio grave affanno: 
 ma lui pin ue ringrazio 5 e Lei neLodo. 
 
 L'oja 
 
( 223 ) 
 
 L'ora fefia era , che Voccafo nn Sole 
 aveva fatto , e I'altro forfe in loco 
 atto piu da far Fatti ; cheTarole: 
 
 Ma io reftaipur vinto f al mio gran foe o t dai - 
 
 che mi torment a : * che dove l 9C Vom fuole * Perch% 
 defiar di parlar ; pin riman fiocp . 
 
 Sweet Remembrance ! Hour of Blifs 
 IVhen we met , but Now the more 
 I Mourn, as when the Sailor is 
 Star4efs, dijiant far from Shore. 
 
 Now Tongue, tho' 9 tis with Grief relate 
 How Love deceiv'd me of my Joy ; 
 
 T^ifplay theT)naccuftom 9 d Cheat , 
 
 ButTraife theNymph,andThanktheBoy. 
 
 It was when the declining Sun 
 Beheld Another Sun arife ; 
 
 And There where Actions Jhould be done , 
 
 No Talking, only with the Eyes. 
 
 But I tormented by the Fire 
 
 That burnt within, was overcome: 
 
 Thus when to fpeak we Mojt defire 
 The More we find we mufi beDumb . 
 
 Divinity, Philofophy and Poetry, Enrich, 
 and Adorn the Mind of Man, but the Welfare 
 of Society is not fufficiently provided for, if 
 the Precepts Thefe teach relating to it are not 
 Explains, and Enforc’d by Pofitive Human 
 Laws : Here is Another Noble Science which 
 therefore remains to bereprelented in this A- 
 partment ; ’tis done on the fide of the Room 
 
 oppofite 
 
( 224 ) 
 
 oppofite to that where the Tarnajfus is paint- 
 ed, and in a PiCture of the Same Form. In the 
 upper part of this PiCture is Prudence, Tem- 
 perance, and Fortitude, properly reprefented 
 by Figures as ufual. Thefe Virtues, tho’necd- 
 fary to every Private Man that would be Juft, 
 and the beft Security againftlnjuftice, are here 
 chiefly intended to reprefent the Qualifica- 
 tions of good Legiflators, and Magiftrates. On 
 the Right fide of the Picture is Pope Greg.X. 
 giving the Decretals, together with his Bene- 
 diction to a Lawyer, kneeling. Others Hand- 
 ing by : To this Pope Raffaele has given the 
 face of his then Patron Julius II. who is ac- 
 company’d by feveral Cardinals; Here are 
 the Portraits of John Cardinal of Medicis ; (af- 
 terwards Leo X . ) Anthony Cardinal del Mon- 
 te, Alexander Cardinal Farnefe , (afterwards 
 Raid III.) On the Left fide of the PiCture is 
 the Emperor JuJUnian delivering the Code to 
 Trebonius , who is On his Knees ; Others in 
 the Habit of Lawyers aflifting. 
 
 We Artifts know very well how great a 
 lhare Other People have in our Works, which 
 neverthelels our Cotemporaries, andPofterity 
 Confider, and Defcant upon as purely our 
 Own. ’Tis exceeding Probable that This was 
 Ra ffaele’s Cafe, Here Efpecially ; but the Sub- 
 ject would have Admitted, and indeed Requi- 
 red a Nobler Picture than This : Prudence, 
 Temperance, and Fortitude, might have pre- 
 fixed as Here ; but if inftead of thefe particu- 
 lar Hiftories which make a very Reftrain’d, 
 and ImperfeCt Reprdentation of the Science 
 i here 
 
( ) 
 
 here to be treated, there had been the Foun- 
 ders of Empires as to their Civil Government, 
 thole that have collected fcatter’d Savages in- 
 to Societies, or given Laws to Kingdoms or 
 Cities ; If here had been Mofes j, Confucius , 
 Romulus , Numa , Solon., Lycurgus , and fuch 
 renown’dBenefa&ors to Mankind ; not with- 
 out Juftinian, and if Raffaele’s Directors had 
 pleas’d Gregory IX, and fome particular fa- 
 mous Lawyers in their Habits. If this Pi&ure 
 had been Thus manag’d I take upon me to 
 lay it would have done more Juftice to the 
 Science, and to Rajfaele , and might have Com- 
 pleated the Portraits, or Remembrances of the 
 Great Men to be Commemorated in this A- 
 partment. 
 
 The Liberty with which I treat thefe Cele- 
 brated Works will (I doubt not) be Severely 
 Cenliir’d by Some; I defire therefore it may 
 be confider’d whether, whilft I oppo feRaffa- 
 ele, or Thofe under whofe Direction he was, 
 whoever They were, I have not on My fide 
 That which is a Sufficient Support, though the 
 Whole World were on the Other, thatis,Rea- 
 fon. And I defire it may be Further obferv’d, 
 that as I faid at my Entrance into thefe Apart- 
 ments I might Criticize thefe Works without 
 touching Rajfaele , I may do fo without op- 
 pofing the General Opinion as to their Excel- 
 lence. What has been fo much Admir’d in 
 them is the Fine Airs, and Attitudes, the 
 Great Style of Painting, and Drawing, and in 
 Some parts the Colouring, the Artful Manage- 
 ment of the Clair-Obfcure , and fuch Parcicu- 
 
 Q lars 
 
( n6 ) 
 
 lars which I do little more than Touch upon, 
 but Admire for the molt part as much as Any 
 one : But the Manner of Thinking, as Impor- 
 tant a Circumftance as it is, has not been So 
 muchConfider’d, and ’tis That which I chiefly 
 concern my felf with : It being I think fuflfi- 
 cient to give a General Idea of the Reft as I 
 have done, for to be Particular in Remarks in 
 Thofe would be Tedious, and of little Ufe, 
 and That to a very Few only. 
 
 If my Remarks are juft Thefe are Excellent 
 Pi&ures of Human Figures, tho’ notasRepre- 
 fentations of Philofophy, Poetry, &c. They 
 have Parts Exceeding Fine, but Thofe put to- 
 gether are not fo. 
 
 Thefe Inequalities muft not be wonder’d at 
 in the Works of Men, the Greateft have had 
 them : There is One very remarkable Inftance 
 of This in Shakefpear^ a Man as Great as Raf- 
 faele in his Way, and like him in fome Other 
 Refpecfts : What I mean is in his Second Part 
 ofKingHenrylV. AEt.i.Sc .3. Harry *P eir- 
 f/s Widow isDifluading his Father Northum- 
 berland from Engaging in an Affair he was 
 then upon. 
 
 Oh yet for Heaven's fake go not to thefe Wars . 
 
 The Time was (Father) when you broke your Word , 
 When you were more endear'd to it than now 9 
 When your Own Peircy, when my Heart-dear Harry 
 Threw many a Northward Look to fee his Fa ther 
 Bring up his Powers j but he did Long in vain . 
 Who then perfuaded you to flay at home ? 
 
 There were two Honours loft , Tours , and your Son's . 
 hor 1 ours may Heav'nly Glory brighten it : 
 
 8 
 
 For 
 
( ) 
 
 For His it fiuck upon him as the Sun 
 In the Grey V ault of Heaven - 
 
 What Beauties are Here! And yet within the 
 compafs of three or four Lines is a Flat Contra- 
 diction. This may be Expounded into Senle 
 by Thofe that Relolve to have it fo, as is fre- 
 quently done in Other Cafes, but So Anything 
 may be Good, or Bad at Plealure. 
 
 In the four Rounds in the Ceiling of this 
 Room are Painted Figures reprefenting the Sci- 
 ences treated more at large in the Sides of the 
 Room; Thefe are accompany ’d with Little 
 Pictures in the Angles, {till referring to the 
 fame Grand Subjeds ; fome are Hiftories, and 
 fome Allegorical. 
 
 The like is done in the fmall Pictures in 
 Clair-Obfcure , that are between th eCariati- 
 des under the large Works on the Sides of the 
 Room, and which little Pictures are all of Ro- 
 lydore , or other Difciples of Raffaele. 
 
 The General Defign of the Pictures of This 
 Chamber is to do Honour to Human Nature : 
 That of thofe in the reft of thefe Apartments 
 terminates in a Complement to the Papacy, 
 not without Some that are Perfonal, efpecial- 
 ly to the Popes, in whole Pontificates thefe 
 Works were done. 
 
 In the Chamber next to that of the Signa- 
 ture is painted the Heliodorus , and the Mira- 
 cle oiBolfenna finillf d in iyix, JuliiisW. then 
 being in the Chair ; and the Atti la, and Deli- 
 very of S t.Teter finilli’d A\ 1514, in the 
 time ofhisSucceflbrL^X. 
 
 O x 
 
 The 
 
( 2l8 ) 
 
 ThePidlure call’d th z Heliodorus is a Deli- 
 cate Complement to the then Pope, who va- 
 lued himfelf as having by his Arms driven his 
 Enemies out of the Patrimony of St. ‘Peter ; 
 and is properly rather the Picture of what He 
 had done in That Affair, than of the driving 
 Heliodorus out of the Temple. The Language 
 of this Picture is like that of an Opera , and 
 the highed of that kind, a Song ; which being 
 dripp’d of its Mufical, and Poetical Orna- 
 ments, the plain Senfe lies in a very narrow 
 compafs, compar’d with its Beautiful Ampli- 
 fications. What this Pidture fays is in fliort 
 no more than this ; That the Holy Father 
 drove out of the Ecclefiadical Patrimony his 
 Sacrilegious Enemies, as the Angels of God 
 drove Heliodorus out of the T emple which he 
 had wickedly pillaged in the Days of Onias , 
 a very Holy High Pried. 
 
 Thus underflood, this excellent Picture is 
 not liable to an Objection which every one 
 will be apt to make, for you fee the High 
 Pried at his Devotion before the Altar ; Heli- 
 odorus is driven out by aHorfe-man, and two 
 Young Men Miraculoufly fent by God, as the 
 Story is finely told in 2 Mac cab . iii. and on 
 one fide of the Picture the Pope is brought in 
 fitting in his Chair born on Men’s Shoulders 
 in their Modern Habits. Here is indeed a 
 Mixture of Ideas widely different, and of 
 Things, and Perfons that never could be To- 
 gether, but with the Reading I have given to 
 this Pidlure, indead of an Objection you have 
 a Beauty ; no Other Pidiure that could have 
 
 been 
 
( 2i 9 ) 
 
 been made to Complement the Pope on this 
 Occafion, no particular Action, or Victory of 
 His, tho’ painted by a greater Hand than that 
 of Raffaele (were That pofiible) could have 
 done it fo Effectually, and fo Delicately as 
 This. 
 
 The Archite&ure of this Picture has a Scene- 
 like Regularity, as in the School of Athens ; 
 but the Story is admirably told, and particu- 
 larly whereas theHiflory lays the two Young 
 Men flood by Heliodorus , one on each fide 
 Scourging him. Raffaele has made a Noble 
 Improvement; He has not only avoided put- 
 ting thefe two Figures Regularly one on each 
 fide of the Sacrilegious Enemy of God, this 
 was very Judicious as a Painter, but thefe An- 
 gelick Figures are Sufpended in the Air in a 
 Swift Motion towards him, Neverthelefs with- 
 out Wings: This Thought is truly Sublime. 
 The Pope’s Attitude, and the Air of his Head 
 is extremely proper to the Senfe I have gi- 
 ven this Picture; he feems Bold, Fierce, and 
 Menacing. 
 
 The Miracle of Bolfenna in the Diocefe of 
 Oruieto , a City of Tufcany , follows next. 
 This Picture is painted Over, and on each fide 
 of one of the Windows in this Room, and fo 
 is of the fame Form as thofe in the other 
 Rooms over like Windows, fome of which 
 have been already deferib’d. The Story is, 
 chat in, or about the Y ear 1264. in the Pontifi- 
 cate of^OrbanfSf . aPriefl celebrating Mafs in 
 the Church of St .Chriftina in Bolfenna having 
 confecrated the Hoft, doubted of the Tranfub- 
 
 3 ftantiation, 
 
( * 3 ° ) 
 
 ftantiation , whereupon Blood fpiited out of 
 the Wafer as he held it in his Hand, in Me- 
 mory of which was inftituted the AnnualFeaft 
 of CorpisTtomim. 
 
 Over the Window is the Incredulous Prieft 
 performing the Sacred Office, and Convinc’d 
 by the Miracle, with the Affiftants, and Spe- 
 ctators There, and on One fide ; and on the 
 Other is Pope II. on his Knees with his 
 Hands join’d, Devoutly intent upon the Sa- 
 crifice of theMals, and attended by two Car- 
 dinals; and as many Prelates in like Devout 
 Attitudes, together with feveral Officers of the 
 Holy See, all Portraits. 
 
 Raffaele has here taken the utmofl Li- 
 berty allow’d to a Painter ; I don’t mean 
 in inferring the Portraits of the Pope his Pa- 
 tron with thole of other of his Cotempora- 
 ries, inftead oiUrbanYV, &c. That (as has 
 been obferv’d more than once) is allowable e- 
 nough : But in bringing in the Pope at all; for 
 the Hiftory, at leaftFlatina who is my Au- 
 thor, fays no luch thing : However it gives a 
 Dignity to the Picture, which would have been 
 too Plain had the Story been Nakedly related; 
 and ’tis a Double Complement to the People 
 1 hus introduced, as being a Commemoration 
 of I hem to Pofterity, and that with a Chara- 
 cter of Faith, and Piety. 
 
 A late Anonymous French Author (but 
 who is laid to be the Abbe de Boffe J in his 
 Reflexions Critiques fur la Foe fie , & fur la 
 Peinture, fpeaking of this Picture upon occa- 
 sion of the Colouring of Raffaele, (for this by 
 
 the 
 
( ) 
 
 the way is faid to be the belt Colour’d of any 
 of Theie) obferves very Ingenioufly upon the 
 Different and Juft Expreffions to be feen here. 
 The Prieft, his Affiftants, and the Swijfes of 
 the Pope as they are all mov’d, they are mov’d 
 in Character; but I muft take leave to fay I 
 think he has encheri upon the Pope. This 
 Writer, Part II. p. 46. fays, u Jules regarde 
 “ bien le miracle avec attention^mais il n'en 
 “ paroit pas beaucoup emu. Le Peintre 
 “ fiippofe qiiil fut trop perfuade de la pre- 
 cc fence reele , pour etre furpris des evene- 
 u mens les plus miraculeux qui pujfent arri- 
 <c *ver fur une hojlie confacree. On ne fgau- 
 a roit caraElerifer le chef vifible de rEglife , 
 cc intro duit dans un femblable evenement par 
 u une exprejfion plus noble , £f) plus conve- 
 “ nable. 
 
 I hope this was not Rajfaele's Thought. 
 Surely the fame Expreffion that would have 
 been proper at an Ordinary Mafs, is not fo on 
 fo Extraordinary an Incident ; nor is it incon- 
 fiftent with the Character of the Head of the 
 Church to be greatly affected on fuch an 
 Occafion. I believe the Truth is, Rajfaele 
 when he refolv’d to infert This Portrait took 
 it from the Life as he faw it, without thofe 
 Sentiments which the Pope would have had 
 if he had feen fuch a Miracle, and either would 
 not give himfelf the Trouble, or did not think 
 it neceffary to Invent fuitable Expreffions ; or 
 perhaps did not enough Confider it. What I 
 have here faid is upon the Suppofition that 
 the Picture is as this Author has repreftnted 
 
 0.4 
 
( *30 
 
 it, but I confefs I do not remember whether 
 ’ris fo, or not. 
 
 Attila King of the Huns having ravag’d 
 great part o iltaly^ with vaft Cruelty was on 
 his way to Rome in the time of Valent inian 
 the Emperor, Leo the Greats call’d alfo S t.Leo, 
 being then Bilhop of Rome , about the middle 
 of the the fifth Century. To flop his March, 
 the Diftrefs’d Emperor could think of no bet- 
 ter Expedient than to fend the Pope, Ecdefk 
 aftically attended ; He by the Awful Sandtity 
 of his Appearance, by his Prayers to God, or 
 his Rhetorick with the Enemy, was to try 
 to do That which the Dejected Prince could 
 not hope to do by Arms. They met; and 
 whilft the Pope was Speaking, the Barbarous 
 King was terrified by the Apparition of two 
 Horfe-men (fiippos’d to be St. Reter and St, 
 Raul fays? latina) who with drawn Swords 
 in their Hands threaten’d Death to him if he 
 obey’d not the Pontiff: Thus terrified he de- 
 fifted from his intended Enterprize, and 
 march’d into Rannonia. 
 
 This Story is the Subjedt of the Pidhire on 
 the fide of the Room oppofite to the Helio- 
 dorus , and is admirably told by Rajfaele. He 
 has made the two Apoftles in the Air threat- 
 ning the King, not Furioufly, but with great 
 Dignity, and as Commanding, and being Allu- 
 red of Regard. They are not Horfe-men as 
 the Story is ; Such Figures, unlefs in Little, 
 would have clogg’d, and embarafs’d the Pi- 
 cture too much ; and if in Little, they would 
 not have had the Noble Appearance they now 
 
 have. 
 
( *33 ) 
 
 have. As they were feen by the King Only, 
 the Difficulty was to exprefs That Circum- 
 fiance in the Picture, and Raffaele has done 
 it by ffippofing the Adtion in that Inflant when 
 firft Saw, and was Terrified by the Ap- 
 parition; and before any Other prefent, had 
 obferv’d it long enough to look up alio, as All 
 would naturally do when they faw him in that 
 Confufion from fomething above; many of 
 them have not fo much as feen that firftDifor- 
 der. The Saint, and thofe with him exprefs 
 great Tranquillity, andFirmnefs of Mind, as if 
 Allured of Succefs. Here are feveral Ritrat- 
 toes , particularly that ofi>0X. the then pre- 
 fent Pope, which ferves for hisPredecefforSt. 
 Leo : and the Habits of the Court of Rome 
 are Modern, not fuch as when the Event hap- 
 pen’d. 
 
 To exprefs the Ravages of thefe Barbarous 
 Invaders, a Town on Fire is far in th zLonta- 
 nezza on that Side they are on, and from 
 whence they feem to have march’d. 
 
 There is a Print which I believe was done 
 from a former Defign of this Story, for’tis ve- 
 ry nearly the fame, except on that Side where 
 is the Pope, and His People ; and which I take 
 notice of chiefly to fliew how much better the 
 Picture is Thought than this Defign was : For 
 Here the Pope appears coming at a great di- 
 flance ; confequently the Figures are very 
 Small, and feem lefs confiderable than the part 
 they have in the Story requires. Thofe Fi- 
 gures moreover that are in That fide of the Pi- 
 cture, and which are of the Army of Attila . , 
 
( *34 ) 
 
 fee the Apparition above, or leem as if they 
 did, whereby a Material Circumlhjtnce of the 
 Story is loft. 
 
 It remains that I give an account of the o- 
 ther large Work in this Apartment. ’Tis the 
 Story of the Delivery of St .Refer out of Pri- 
 fon, and alludes to that of LeoX. who was 
 made Prifoner (being then Cardinal Legate) 
 at the Battel of Ravenna, but elcap’d by Flight 
 that very Day T welve-month on which he was 
 advanc’d to the Papacy. 
 
 This Picture being much fpoken of upon 
 account of the Particularity, and Variety of 
 its Lights, I Ihall confider That Circumftance 
 as Largely as I think the Nature of it will re- 
 quire, and null therefore be the more Exact 
 in theDelcription of the Picture it felf. 
 
 ’Tis over a Window, and (as the reft of 
 thole in thefe Apartments that are lo) of an 
 Odd Shape ; what That is has been faid here- 
 tofore. Over this Window is the Prifon, which 
 does not appear to confift of any more than 
 One Room, the Walls of which are very thick, 
 and continue the Perpendicular Line of the 
 Window ’till they end in an Arch a-top, very 
 near the greater Arch of the Out-line of the 
 Picture ; which Room is leen into through a 
 large Iron Grate, which reaches from Side to 
 Side, and from theTop to the Bottom. The 
 Walls I fpoke of ftand upon about half a do- 
 zen Steps, which however are only leen on 
 each fide of the Window, That going fome- 
 thing higher than thole Steps. 
 
 In 
 
( *35 ) 
 
 In this Picture are two feveral diflind A- 
 dions, S z.Teter is in the Prifon Sitting, and 
 almofl Lying on the Ground, with two Sol- 
 diers Standing on each fide of him ; the. An- 
 gel feems to awaken, and invite him forth, 
 Four Soldiers are on theOutfide, on the Steps 
 on the Left-hand as you look on the Pidure, 
 Two of them fee the Apparition in the Prifon, 
 and are frighted; One wakes another Soldier, 
 the fourth Sleeps yet. On the Other fide, the 
 Apoflle is with the Angel efcap’d from the 
 Prifon, and on the top of the Steps; on which 
 Two other Soldiers are afleep. 
 
 This Second Adion, though not the molt 
 confpicuous, is I think the Fineft; the Angel 
 and Apoflle have a vafl Grace, and Dignity, 
 which in the Prifon they have not, efpecially 
 the St. Teter, who looks too like a Common 
 Malefador. 
 
 Here is indeed Four Lights in this Pidure. 
 Two from the two feveral Angels, One from 
 the Moon on the Left fide, and the other from 
 a Torch which one of the Soldiers on This 
 fide holds in his Hand; but All thefe operate 
 not in All Places. The Principal Adion in the 
 Prifon receives Light from the Angel Only,fo 
 does the Secondary Adion : neither of thefe 
 could have any Benefit from the Moon, or the 
 Torch, nor from each other, the Prifon Walls 
 interpofing. The Soldiers might partake of 
 all ; though in truth the Moon being not a- 
 bove four or five Days old, and fomething 
 Clouded too, could afford very little any 
 where. 
 
 I will 
 
( 2 3 ^ ) 
 
 I will not take upon me to lay whether _ 
 All thefe Lights, and the Reflexions through- 
 out are duly plac’d of an exad Strength, 
 and with their juft Tinds ; of which there 
 muft be a great, and beautiful Variety: But 
 admitting them to be fo, ('as we have the 
 Judgment of Rafaele, and the General Ap- 
 probation to juftify fuch a Prefumption ) 
 This is inconteftably the Fineft Night-Piece 
 in the World, I mean confider’d merely as 
 Such. In the Famous Nativity of Correg- 
 gio the Light from the Bambino is marvel- 
 loufly Bright, and finely Diffus’d, and indeed 
 many of the Flemijh Mafters, particularly 
 Rembrandt have gone as far as Art could go 
 in the Fine, and Surprizing Management of 
 Lights ; but I never remember to have feen 
 luch an Amazing Effed from the Principal 
 one, together with fuch a Variety of Others, 
 as Here. Thofe great Mafters owe their Fame 
 in this Particular chiefly to the Unity of 
 Light, furrounded by Darknefs; Here all is 
 Night, but all Shines ; with fuch a due Subor- 
 dination however, that One does not hurt An- 
 other, or torment the Eye in the leaft, which 
 at eafe can confider the Whole, and every 
 Part ; and not at Eafe only, but with De- 
 light. 
 
 Had Raffaele done This only to fliow his 
 Art in the Management of th tCiair-Obfcure, 
 had it been a pure Jeu d' EJprit , in Painting 
 it had been much lefs confiderable ; but This 
 moreover contributes vaftly to the Expref 
 fion. That fierce Flafli of Light given by the 
 1 Angel 
 
 i 
 
( ) 
 
 Angel in the Centre of the Picture, together 
 with the Horror of a Prilbn ftrikes forcibly 
 upon the Imagination : The Iron Grate thro’ 
 which thole Figures appear is plac’d there ve- 
 ry Artfully, it immediately gives you the Idea 
 of a Jail, and thofe Dark Lines cutting the 
 Brightnefs behind into fo many fmall parts 
 gives a Flickering, and a Dazzle that nothing 
 Elfe could poffibly have done. And though 
 it mud: be confefs’d the Angel with the Apo- 
 ftle Deliver’d breaks the Unity of the Adion, 
 yet one cannot wilh this Picture was without 
 this Fault ; it is Enrich’d by it, and you have 
 one of the Fineft Pictures in the World of two 
 Figures as it were flung into a {pare Corner of 
 This; for thefe two Figures are exquilite: Nor 
 are they without their farther Ule ; the Mind 
 is fomething reliev’d from the Concern ’tis in 
 upon feeing the Abjed Condition of the Apo- 
 ftle in Chains : Here he is feen as we fliould 
 Wilh him ; at Liberty, and under theCondud, 
 and Protedion of his Heavenly Guide. 
 
 I have nothing farther to oblerve upon this 
 Pidure, but that Rajfaele has painted the An- 
 gel as fuch Luminous Beings mould be paint- 
 ed ; and Bellor i sWords are lb fine, they are 
 fo much a better Defcription of this Figure 
 than any I can give of my Own, that I will 
 tranfcribe them : LJ Angelico Spirito, inLu - 
 cida vejie di gloria , fcintillante da ogni can - 
 to, irradiando la prigione , rifulge , e traj - - 
 pare in Je Jieffb compofto di aria , e di luce 
 fenza mortal pefo. 
 
 IiV 
 
( >38 ) 
 
 In the Ceiling of this Room amongft feveral 
 Boys, little Stories, and Grotefque Ornaments, 
 done by fome of the Painters which wrought 
 here before the coming of Rajfaele, is paint- 
 ed by him four Scripture Stories correfpond- 
 ing to thefe larger Works on the Sides of the 
 Room. Over the Heliodorus is God appear- 
 ing to Mofes in the Burning Bulh, promifing 
 Deliverance to his People. Over the Attila is 
 Noah faved from the Deluge. Over the Mira- 
 cle of the Mafs is the Sacrifice of Abraham ; 
 and Jacob's Dream is over the Delivery of St. 
 Refer. Thefe are painted as fo many pieces 
 of Tapiftry fix’d to the Ceiling, and are not 
 inferior in Excellency to the other Pictures 
 here. 
 
 The Four large Pictures of the next Cham- 
 ber are the J unification of Leo III. and theCo- 
 ronation of Charlemain by the fame Pope; 
 th tlncendio di Bor go, or the Miraculous Ex- 
 tinguilhing a Fire at Rome , and the Victory 
 over the Sarazens at the Port of OJiia by 
 LeolY. 
 
 The Story of the firft of thefe is, that this 
 Leo, a mod Excellent Man, being acculed by 
 Malicious Enemies of certain Crimes, Charle- 
 maine then at Rome requir’d an Account from 
 the Prelates, and Clergy, of the Life and Man- 
 ners of the Pope; Thele infilled on the Privi- 
 lege of the Church, as being accountable Only 
 to God, but certainly not to Lay-men ; yet 
 Leo voluntarily purged hitnlelf by Oath in 
 the Prelence of the Emperor, and the whole 
 Aflembly. This happen’d in the Year 800. 
 
 The 
 
 I 
 
( 2-39 ) 
 
 The true Tafte of the Goodnels of a Pi- 
 cture, as to the Invention, and Thought of it, 
 is, Whether I have a better Idea of the Story 
 from Thence, or from Reading it in a good 
 Author : And I confefs if I had read the Story 
 before I faw the Pi&ure, my Idea of it would 
 have been Improv’d in Some Particulars ; but 
 as to the Main, and moft Effential Parts, I 
 Ihould have fuffer’d by it. The Zeal, Piety, 
 Innocence, and Humility of the Good Pope ; 
 the Dignity of the Aflembly, and the Effects 
 of all thefe Circumftances upon the Minds of 
 the People, are not So exprefs’d in the Pi&ure 
 as to make me Better by the Sight of it, what- 
 ever Advantage I might receive from it upon 
 other Accounts ; for as it is of Rajfaele , it is 
 not without its Excellencies. 
 
 This is over a Window, and of the fame 
 Form as the reft that are fo. 
 
 Of the Pi&ure of the Coronation of Charles 
 the Greats I remember nothing particularly 
 remarkable; the Subject is Magnificent, and 
 ’tis painted by Rajfaele. 
 
 Vafari miftakes thefe two Stories ; he lays 
 they are of Francis I. of France , not of a 
 Prince 700 Years before him. ’Tis probable he 
 was led into this Error by the Portraits of feve- 
 ral Men of Note of that time inferted in thefe 
 Stories; but that is foUlual,aswellElfewhere 
 as in Thefe Apartments, that I mention it ra- 
 ther as part of the Defcription I am upon, 
 than as an Excufe for that Author, who tho’ 
 in many refpecfts a very Valuable one, is not 
 always to be rely’d on. The vaft Variety, 
 
( 2 4 ° ) 
 
 and Multiplicity of Matter he was engag'd in, 
 will however in fome meafure excufe him, 
 tho’ what I juft now mention’d will not. 
 
 The Story of the next Picture is, that a Fire 
 happening in Rome, and approaching the Va- 
 tican, was Miraculoufly Extinguiih’d by the. 
 Pope (Leo IV.) by making the Sign of the 
 Crofs, and giving his Benedi&ion. 
 
 Raffaele has taken the Point of Time in 
 which the Principal Atftion was perform’d, 
 that of the Pope ; the Happy, and Aftonilhing 
 Coniequence of which does not appear, nor 
 could be known by the Picture it felf: And 
 tho’ This is as I faid the Principal Adlion, and 
 St. Leo the Principal Figure; and next to This 
 the Fire is the Main Circumftance of the Sto- 
 ry, yet This Figure is at a great Diftance, and 
 confequently he, and the Groupe that appears 
 with him at aWindow of his Palace are very 
 Small ; nor is much of the Fire leen, Some is 
 indeed on both Sides of the Picture : Buti?^ 
 faele has very Judicioufly made the Figure of 
 the Saint Confiderable by many Others on the 
 Fore-ground, and in the intermediate Space, 
 addrefting themfelves towards Him, with great 
 Faith, andDevotion, imploring his Aftiftance 
 in this their Extremity ; and the Calamity it 
 felf is leen more by the Diftrefs of the Peo- 
 ple, Varioully, and Finely exprefs’d, than by 
 the Flames themfelves. In this Raffaele has 
 follow’d the great Example of the Ancients, 
 who fill’d their Work as little as poftible with 
 things Inanimate, but made out their Story 
 by Human Figures where That could be done ; 
 
 tho’ 
 
( Mi ) 
 
 tho’ for the lake of That they took a liberty 
 with Nature it felf, making feveral People cost- 
 ing out ofaHoiife too little to hold One fingle 
 Figure; and the like Seeming Absurdities. And 
 this (as I have obferv’d elfewhere) is a Suffi- 
 cient, and the True Aiifwer to the Objection e- 
 very body makes to the Boat in the Carton at 
 Hatnpton-Courti 
 
 Another Rul zRaffaele has obferv’d in this 
 Picture is, that he has avoided much of the 
 Horror he might have given it. His good- 
 natur’d Genius delighted not in reprefenting 
 what would too much choque the Imagination. 
 He has (aslfaid)fhewn little of the Fire; he 
 has fix’d the time to be that of Reft* for the' 
 People are apparently frightned out of their 
 Sleep, and run abroad half naked fome, and 
 others wholly fo ; but ’tis broad Day-light, 
 and after Sun-rifing in the Morning. If he 
 would have painted Horror he had a fineOc- 
 cafion; he might have chofen the Darknefs of 
 the Night, and ffiewri the Pope at fome Di- 
 ftance lurrounded with Flames, and Smoak ; 
 from which Fire all the Light might have come, 
 which would have had a Wonderful Effedt, and 
 made This Picture very different from all the 
 reft in thefe Lodgings, which being Many that 
 Variety was the moreNecefiary. 
 
 Here is indeed a difference from the Others ; 
 but ’tis a Good-natur’d one, and with that he 
 has contented himfelf. He hasfhewn a great 
 Variety of Humane Bodies ; Men, Women , 
 Children, Old, and Young, Robuft, and Fee- 
 ble$ and in a great Variety of Attitudes, Va~- 
 R. f rioufly 
 
( 2 4 2 - ) 
 
 riouflyAffe&ed, and Employ’d; and all this fb 
 as to give a Compleat Idea of the Vaftnels of 
 the Diftrefs, and confequently of the Great- 
 nefs, and Importance of the Miracle. 
 
 Tho’ it has been obferv’d by Others, I mud 
 not omit One Circumftance artfully employ’d 
 by Raffaele,zn&tha.x. is, Toexprel's how great 
 this Fire was he has Ihewn there was a high 
 Wind at that time; This appears by the Flying 
 about of the Hair, and Drapery of the Figures ; 
 and befides the ufe of it already mention’d, it 
 more animates the Pi&ure ; all appears in 
 Motion, and in a Hurry. 
 
 The Naval Victory of the fame Pope (S. 
 Leo IV.) over the Saracens at the Port of OJlia 
 is the Only Picture in this Room remaining to 
 be fpoken to. 
 
 That here muft be a Navy, and Sea Port, 
 the Pope attended by his Ecclefiafticks, and 
 Prifoners brought by his Soldiers a Painter 
 of Lefs Invention than Rajfaele would have 
 found; tho’ none but he could have executed 
 This as he has done ; But to diftinguifh Such 
 a Pi dtu re from what might Ordinarily be 
 made, a Further Thought is neceflary : The 
 Character of that Pope, remarkable for his 
 Piety, andClemency; and the Greatnefsand 
 Importance of the Victory ought alfo to be 
 Exprefs’d, and So as to Touch the Beholder 
 ftrongly, and infpire him with fiich Senti- 
 ments as would arife upon reading a W ell-writ- 
 ten Hiftory, or Poem on the Subject. The 
 good Pontiffe is with Hands, and Eyes lifted 
 up to Heaven, Adoring, andPraifingGod for 
 
( M3 ) 
 
 hisGoodnefs in Delivering Him, and his Peo- 
 ple from his Cruel, and Barbarous Invaders. 
 His Clemency does not appear unlefs it be 
 inferr’d from his Piety ; Priloners are brought 
 Naked, and Abjecft before him, of whom he 
 takes no notice leeming intent upon his De- 
 votion: Nor do the Sarazens appear to have 
 been very Terrible Enemies: Thofe Diabo- 
 lical Paffions naturally arifingin the Minds of 
 Savage, and Barbarous Men in ftich a Circum- 
 ftance as this ; That Unconquerable Malice, 
 Implacable Hatred, Innate Cruelty, and that 
 Rage, and defire of Revenge which being Ex- 
 press'd, would have given a Luftre to the Vi- 
 ctory, and made a fine Contraft with the Airs 
 of Devotion inSome, and of Triumph in the 
 Other Chriftians; Thefe I think are not fo 
 pronounc’d as they ought ; But Raffaele had 
 ho fuch Paffions himfelf, and was better qua- 
 lify’d, and dilpos'd to exprefs thofe of Ano- 
 ther kind. 
 
 As in aHiftory, or Poem, the Goodnefs of 
 the Language, and the fweet Cadency, andSo- 
 noroufnefs of the Verfe will not be fufficient 
 if the Chara&ers be not Juft, Proper, and 
 and Firmly pronounc'd, and the Story fet in 
 the mo ft advantageous Light; So the Great 
 Style of Painting, Beautiful Colouring, True 
 Drawing, and a Free, Bold, or Delicate Pencil 
 make a poor amends for the want of fuch an 
 Effential, and Fundamental Quality of a Good 
 Picture, as the Fine, and Juft Thought. It 
 may be Good in thofe Lefler Refpebts, but 
 
 R x That 
 
( M4 ) 
 
 That being wanting its true General Character 
 muft be that ’tis Not lo. 
 
 If a Writer had laid a fmall Company of 
 Half Starv’d, Beggarly Rovers had invaded I- 
 taly ; and having been Oppos’d, and Con- 
 quer’d by a Strong, Well-difciplin’d, and Nu- 
 merous Army, the Pope return’d God Thanks ; 
 Such a Story, tho’told in Language the Fineft 
 one can conceive, would make little Impreflion 
 on the Mind of the Reader ; he would lee no- 
 thing in it worth relating; he would not ima- 
 gine the Devotion of the Pope was very Fer- 
 vent on Such an Occafion ; the Whole would 
 appear very Languid : and if moreover he had 
 Otherwile learn’d there was Other Material 
 Circumflances in the Story, or that the Affair 
 was much more Confiderable than it wasRe- 
 prefented, Such a Writer would be juftly 
 Blam’d, how well Qualified foever he was O- 
 therwife. 
 
 I don’t lay that All this is Exadtly the Cafe 
 of the Pidture of the Pope at OJiia ; How far 
 it is fo, thole that Ihall fee it hereafter may 
 be pleas’d to confider. 
 
 ^ What Time Rajfaele Ipent upon this laft 
 Chamber does not appear; thathefinilh’dthe 
 Second in 1514 has been laid, and he died in 
 1 5 ’ 2 '°; but he only madeDefigns for, and juft 
 Began to paint in the Hall of ConJlantine y 
 which was perfected leveral Years after the 
 Death of Rajfaele by Julio Romano-) and Gio. 
 / ranee fco Remit in the Pontificate of Cle- 
 ment Vll. So that this Hall is not properly 
 
( 2 45 ) 
 
 of Rajfaele : He made the Drawings indeed 
 for Some, if not for All of the Pictures here ; 
 but they were not Intirely follow’d in the Ex- 
 ecution, partly becaufe in Thole he had not 
 delcended to many Particulars neceffary to be 
 confider’d in a Fini fil’d Pidure, and partly 
 from a Liberty that Thofe took that Painted 
 them. 
 
 The Hall of Conjiantine has That part of 
 his Hiftory one would expert to find there : 
 The four Great Pidures are the Celeftial Vifi- 
 on, the Battel, his Baptifm, and the Dyna- 
 tion. 
 
 In the Firft, Conftantine is making an Ora- 
 tion to his Soldiers ; the Crofs appearing in 
 the Clouds, with the famous Words EN TOT- 
 Ti2 NIKA. Q£ thisGrouj?eM.ont\cm Flinck 
 of Rottefflam has the Drawing, and which is 
 that which was fold for ioo /. at Sir Reter 
 Lely's Sale ; I have Ipoke of it in its place, 
 Ghilio has added what is in the Clouds, and 
 fome lefs confiderable Figures, particularly a 
 Dwarf in one Corner of the Picture, who is 
 with both his Hands putting on a rich Helmet. 
 This is a Ritratto of one well known Then 
 in the Court of Rome, and moll Exquifitely 
 Painted; but I had rather have feen luch a 
 Ludicrous Figure in a Pidure whofe Subjed 
 was of lefs Dignity, and Serioulhefs. 
 
 The Battel takes up the Side of the Room 
 over-againft the Windows. This Pidure is 
 fomething above thirty four Foot long, and 
 fifteen Foot high* and the Bottom of it is near 
 asmanyfrom theFioor. ’Tis Black, and Hard, 
 
 R 3 and 
 
( *4^ ) 
 
 and without Great Malles in the Ckir-Oh - 
 [cure, fo that the Tont-enfemhle is Unplea- 
 fant,and Confufed. This Bellori fays TonJJi 'n t 
 thought to be a Beauty in This Cafe ; and ’tis 
 certain that thefe Properties help to exprels 
 the Hurry, and Tintamarre of a Battel, and to 
 raife a lort of Difturbance in the Mind which 
 Ihould not be in Repofe when ’tis employ’d 
 on a like Subject. But whether that Diftur- 
 bance lliould arife from fiich want of Harmo- 
 ny, or rather Purely from the Incidents, and 
 Expreffions in the Pidure, is worth con ft- 
 dering. 
 
 Not to mention an Infinity of fine Attitudes 
 of Men, and Horfes, what is peculiar to This 
 Pidure is admirably exprefs’d. That ’tis a Vi- 
 ctory, by the Afllftance of Heaven, the Con- 
 queror aChriftian, the Enemy not So, and 
 Drown’d in aRiver, All this is Wifely lhown, 
 and very Beautifully : As for theCircumftance 
 of the Bridge breaking, whether by Accident, 
 according toSomeHiftorians,or as Others fay 
 that’twas contriv’d by Max ent ins that it fhould 
 Break, tho’ defign’d by Him for the Deftrudion 
 otConftantine{Y\\\s no notice is taken of in the 
 Pidure ; Maxentius is in the River, but whe- 
 ther he plung’d in, flying from the Conqueror, 
 or tumbled off of the Bridge, is not feen: His 
 Diftrefs, andFear is Admirably fhewn, not on- 
 ly by the Air of his Head, (which alfo expref- 
 fes an Abfence of Piety, and Virtue,) and h^s 
 whole Attitude, but he endeavours to gain the 
 Shore,^ tho’ he runs diredly into the Danger 
 he fled from, for he attempts to lave himlelf 
 
 
( *47 ) 
 
 on that fide where his Enemies are in Crowds 
 perilling, and ready to deftroy him. Thus in 
 This fingle Figure is finely drawn the Chara- 
 cter of a Wicked, Mean-fpirited Wretch, Con- 
 founded, Abandon’d by Heaven, and Earth, 
 and knowing himfelf to be fo, and on the 
 Brink of utter Perdition. The contrary Cha- 
 racter is feen in Conftantine , and Exquifitely 
 Exprefs’d, particularly by three Angels ho- 
 vering over him, and Combating for him; nor 
 is any thing wanting in his Own Air, and At- 
 titude, and in all about him to complete this 
 Lovely Character. And to fhew this was a Ci- 
 vil War, ’twas not thought enough to make e- 
 very where the fame Habits, and Arms ; but a 
 Father is taking up his Son fiain in the Battel, 
 and expreffing Paternal Sentiments, which as 
 none but a Father can Feel, none but a Father 
 can fufficiently Conceive. This Incident is 
 upon the Fore-Ground, very conlpicuous, and 
 finely imagin’d. 
 
 This Picture is indifputably the Foremoft 
 in the World in its Kind ; when I am confides 
 ing It, all Lefler Names of Battel-Painters ap- 
 pear Little indeed ; and I imagine my felf read- 
 ing a Defcription of a Battel in Homer. The 
 Drawing of it, and which is the moft Capi- 
 tal one I believe in the World, I have faid to be 
 in the Magnificent Collection of Mr .Crozat. 
 
 TheBaptilmofG?^/?^/^^, helps to make a 
 fine Variety in thefe Works, and Contrajis ad- 
 mirably well with that laft delcrib’d : There we 
 fee a great Emperor encompafs’d with Victori- 
 ous Troops, and in the height of Worldly Glo^ 
 
 R ^ ry: 
 
( 2 4 8 ) 
 
 ry : Here humbly lifting himfelf a Soldier un- 
 der the Banner of the Crofs; Naked, Kneeling, 
 and with a Meek AfpeCt receiving the Sign of 
 Regeneration from the Hands of a Prieft. 
 
 Conftantine making a Prefent of the City 
 of Rome to the Pope is painted over the Chim- 
 ney, which is between the two Windows of 
 this Hall, and oppofite to theBattel. 
 
 This Donation being a fort of Magna Char - 
 ta of the See of Rome , and the Story it lelf 
 very Oblcure,as being rather Traditional than 
 Hillorical, and even at the time thefe Works 
 were done Derided, Exploded, or SulpeCted, 
 according as Mens Opinions happen’d to be 
 concerning it, One would imagine that when 
 it was to be told in This Manner, in This 
 Place, and fo declared to all the World, and 
 tranfmitted to Pofterity, a more particular 
 Care would have been taken by thole that had 
 the Direction of this Affair. 
 
 Now the Story is told Here in this manner : 
 
 The Pope fits in a Magnificent Church, on 
 a Seat advanc’d four Steps from the Pavement, 
 and under a Canopy : The Emperor kneeling 
 on one Knee on the next Step below the Pope, 
 One Hand is on hisBreaft, with the Other he 
 Offers a little Image reprelenting Rome , 
 which the Pope receives, and at the lame time 
 gives his Benediction; behind the Emperor 
 kneel two Figures which feem to be Ecclefia- 
 fticks, behind thole are two Lay-men Kneel- 
 ing alfo, which probably are Officers of the 
 City. The Emperor has a few Halberdiers, and 
 the P ope three or four Ecclefiafticks attending ; 
 
( 2 49 ) 
 
 the reft of the Figures are chiefly People of no 
 Diftindion, Men, Women, and Children, a 
 Lame Beggar, a Boy aftride on a Dog, &c. and 
 at a great diftance at a Hole very high over 
 the Altar appear feveral Muficians ; Thefe 
 muft be on the Out-fide of the Church, and fo 
 far off as their Mufick could give no great 
 Pleafure, or Difturbance to the Company. 
 
 One might have imagin’d the Emperor 
 fhould have been feated on his Throne with 
 all theEnfigns of Royalty, and the Pope hum- 
 bly receiving the Gift on his Knees. But if the 
 Emperor was fo Pious, and Meek, as to diveft 
 himfelf of his Majefty in the Prefence of the 
 Vicar of Chrift, I can’t fee why thofewho had 
 the Condud of this Story fliould reprefent this 
 great Tranfadion as done with fo little Dig- 
 nity, in the Prefence of few other than Mob, 
 and not without fomething Ludicrous, or Tri- 
 fling ; This debafos the Story, and the Pidure 
 too. 
 
 And to make it ftill worfo, fome of the Ha- 
 bits are Modern, and Gothick, as particularly 
 thofe of the Emperors Guards. The Military 
 Habit was not much chang’d in Conjlantine's 
 time from what it had been in the precedent 
 Ages: But Here inftead of the Roman Labels 
 we fee flafli’d Breeches, and the reft of the 
 Drefs accordingly. The Robe of Conftantine 
 himfelf is indeed agreeable to the Civil Habit 
 of that time, and the Pope’s Mitre on his Head 
 was probably put on with a View to the Hi- 
 ftory, which fays, when the Emperor prefont- 
 ed him with a Rich Diadem he refufed to wear 
 
( * 5 ° ) 
 
 it, contenting himfelf with a plain Mitre on- 
 ly, as moft luitable to his Character. 
 
 My Father has a Drawing of this whole Pi- 
 cture by Battift a Franco^ as he has Others of 
 many Parts of the Works in thefe Rooms, fe- 
 veral of them by Raffaele Himfelf There are 
 alfo Prints of moft of them ; I am told there is 
 a complete Set of fuch in Hand 2LtRome y and 
 near Finifh’d. 
 
 Thus I have gone through all the Principal 
 Pictures in thefe famous Apartments, remark- 
 ing in particular on the Invention in each of 
 them ; the Expreftion, Compofition, Draw- 
 ing, Colouring, Painting, and thofe indifpen- 
 fable Properties in a Picture, Grace andGreat- 
 nefs, I fpoke to in General, before I went into 
 the 'Detail of thefe Works ; as I alfo did of 
 the Lefter Paintings here, whether Hiftories,or 
 Ornaments, and of which I noted there are 3 
 great number : T o have dwelt upon every one 
 of thefe feverally, or even to have mention’d 
 them Catalogue-wife would have been Tedi- 
 ous (I believe) to a Reader; to Me it would 
 have been Infufterably fo, Excellent as they 
 are ; or even to have been more Particular in 
 the Large ones. By what I have done howe- 
 ver it will be eafy to form an Idea of thefe No- 
 ble Apartments. 
 
 I will add that they have the Greateft Col- 
 lection of the Works of the Greateft Painter in 
 the World ; but withal that they are not Alto- 
 gether what one would naturally expect from 
 the great Fame they have, and the Name they 
 are Adorn d with. Raffaele is feen Here in- 
 
( MI ) 
 
 deed, but not So as to give a Juft Idea of his 
 Merit ; nor do I believe That can be folly feen 
 in any One PiCture, or even in any One Pa- 
 lace, or Collection: But I believe there is a 
 Palace where one may receive a Higher, a 
 Jufter, and a more Complete Idea of him than 
 Here, or any where Elfe, and that is Ftamp- 
 ton-Court. 
 
 The only Places befides thefe Two now fo 
 competition, where any Quantity of his Works 
 are feen, or reputed to be lo, are the Gallery in 
 the Vatican , where is painted what is call’d 
 the Bible of Raffaele-, the Longara, or Little 
 Farnefe , which has the Story of Cupid and 
 FJyche, with the PiCture ofth eGalatea; and 
 the Church of theF ace, where are the Sibyls, 
 and the Prophets ; the Firft of thefe tho’ De- 
 fign’d,is not Painted by Raffaele \ the Second 
 has very little of his Hand, and the whole is 
 now in a manner loft, and Ipoil’d ; and the Ci- 
 ther is in a very 111 condition ; and though it 
 was as w r ell preferv’d as either thofe in thefe 
 Lodgings, or thole at Hamp ton-Court, there 
 could have been no Competition ; theSubjeCt, 
 and elpecially the Number of Pictures* being 
 by no means Equal. 
 
 There are two Single Pictures, in One, or 
 Both of which Some may imagine may be 
 found the Utmoft Merit of Raffaele : Thefe 
 are the Holy Family, the Glory of the Royal 
 Collection of France, and the Transfiguration 
 of San Fiero in Montorio . They are both in 
 Oil, highly Finifli’d, and of great Force; And 
 Thefe Advantages they have indeed oyer thofe 
 
 Other 
 
( 1 5 1 ) 
 
 Other Works of him I have mention’d : But 
 Thefe are not what are the Characterifticks 
 of Rajfaele ; in Thefe he is not the Great 
 Man; for Others have been much Superior to 
 Him in the managing of Oil Colours, in Fi- 
 nifhing, and in Force: Nor are Thefe Proper- 
 ties in a Picture at all confiderable, compar’d 
 with thofe Other which Diftinguilh’d Him ; 
 and which only make Painting worthy our fi- 
 fteen!, and Admiration. And as for Thofe, the 
 Thought, the Expreffion, the Grace, and Dig- 
 nity, nothing in Thefe two Pictures, not even 
 the Befl of them, and when it was in its Per- 
 fection, is beyond what is feen in the Apart- 
 ments I have defcrib’d, or i&Hampton-Court. 
 That there can be that Variety, and conle- 
 quently that Rajfaele can be fo Fully feen, in 
 Either, or Both of thefe Pictures, as even in One 
 of thofe Collections will hardly be Suppos’d. 
 
 Let us then compare Thofe. And here it 
 muft be firft of all confider’d, that of the fix- 
 teen Capital Pictures of the Vatican , the four 
 in the Hall of Conflantine muft not be put in- 
 to the Account, as being not of Rajfaele , nor 
 fo much as conducted by him; nor is it known 
 how much of them are even of hisDefigning, 
 The Leffer Pictures, and Ornaments muft alfo 
 be fet afide as being for the moft part Execu- 
 ted, and fome evenDefign’d by Other Hands. 
 Befides being in Chiaro Scuro , only they are 
 properly not Pictures, but a fort of Drawings. 
 And as for thofe that are otRajfaele^ they are 
 too few and inconfiderable to weigh much in 
 prefence of the Greater Works. 
 
 There 
 
( M3 ) 
 
 There remains then but twelve Pi&ures to 
 compare with the feven at Hampton-Court . 
 Four ofthefe are not Hiltories, but Allegorical 
 Pi&ures, reprefenting as many Sciences ; which 
 admitting them to be as free from Faults as 
 you pleale, and to have all the Beauties their 
 Subjects are Capable of, have the Difad van- 
 tage of being Incapable of that Force, and E- 
 nergy of Thought, and Exprelfion, as in liich 
 Hiftories as thole at Hampton-Court . The o- 
 ther Eight are indeed Hiftorical : but General- 
 ly fpeaking they are not Subjects of that Dig- 
 nity as Thofe, nor confequently where Raf- 
 faele could poffibly exert his Great, and Pecu- 
 liar Talents to the Full, as is done in the Seven 
 Pictures of this Noble Gallery. 
 
 And as the Subjects of the Pi&ures in the 
 Vatican are not inThemfelves fo Advantagi- 
 ous to a Painter as thole Other, They are 
 moreover fuch as Raffaele was not fo well 
 Qualify ’d for as Thole, in which Learning was 
 not fo Necelfary, but that Fine way of Think- 
 ing, and Strong, and Lively Imagination, in 
 which he was lo Eminently diltinguilh’d. 
 
 I am now arguing upon the Suppofrtion of 
 an Equality as to the Painter’s part, and fup- 
 pofing Raffaele had been as much Raffaele m 
 thefe Works as in the Cartons, which I deny. 
 Thofe Latter are Better Painted, Colour’d, and 
 Drawn ; the Compofition is Better, the Airs 
 of the Head are more Exquifitely fine ; there 
 is more Grace, and Greatnefs Ipread through- 
 out ; in Ihort they are Better Pictures, judging 
 of them only as they are commonly judg’d of, 
 4 and 
 
( 2 5 4 ) 
 
 and without taking the Thought and Inven- 
 tion into the Account. For this I mult appeal 
 to the Pictures themfelves Finally : But what 
 I Now advance will appear Probable, and 
 fomethingMore than barely So, by onlycon- 
 fidering that Thofe We have were painted 
 Long After the Principal Ones in th tVaticariy 
 that is, Thole in the Chamber of the Signa- 
 ture-, and after Molt, if not All the reft; They 
 were painted towards the Clofe of Rajfaele’s 
 Short Life, which was his Bell Time. This 
 will have the greater Weight with Thofe who 
 know what Improvements he made as he ad- 
 vanc’d in Years, in which he was particularly 
 remarkable. 
 
 It will be of no Conlequence to lay that 
 Thole which I prefer were made for T apeftries 
 only, and that the Manner of Painting is a- 
 dapted to thePurpole, that is, ’tis Slight, and 
 not much Finilh’d: For tho’ This is True, it 
 gives them no Diladvantage, compar’d with 
 the Other which are not More Finilh’d ; Nor 
 would it if they Were; fince the Beauty of 
 Raff dele’s Painting does not confift in That; 
 as ’tis a verylnconfiderableCircumftance in it 
 lelft and rather furnilhes us with a Prelump- 
 tion to the Prejudice of a Picture, than in Fa- 
 vour of it. 
 
 But there is aMuch more Material Circum- 
 ftance remains yet to be Ipoken to in relation 
 to the prefent Competition : The Pictures at 
 Hampton - Court, (bating Ibme very few Ex- 
 ceptions) are perfectly well Thought : Such 
 Ideas are convey’d to our blinds, the Stories 
 
( MJ ) 
 
 are fo told, as tho’ we had Read, and Confi- 
 der’d ’em a thoufand times, we might go from 
 thefe Pictures with Clearer, and Nobler Con- 
 ceptions of thole great Actions than ever we 
 had before ; not from any DefeCt in the Di- 
 vine Writers, but becaufe they are Writers, 
 and becaufe Words cannot convey fiich Ideas 
 as Such a Pencil can. How thofe in t he Vati- 
 can are in This Particular, and elpeciallyfome 
 of the Principal ones has been obferv’d in 
 thisDifcourfe. 
 
 And to make the Difference frill the greater 
 ’tis further to be obferv’d That if a Picture is 
 fo fix’d as to be Immoveable, as if ’tis painted 
 on a Wall, or a Ceiling, ’tis foch as it appears 
 There, be it what it will in it felf; If ’tis in- 
 feparably accompany’d with what is disadvan- 
 tageous to it, ’tis Such as it is in That Cir- 
 eumftance whatever it might have been Other- 
 wife. The Melancholy Air of the Vatican , 
 the Darknefs of the Room, and the terribly 
 Difadvantageous pofition of Some of the Pi- 
 ctures (which has been noted heretofore) 
 makes great Abatements in the Excellency of 
 thefe Works; and the multitude of Little Pi- 
 ctures, and Ornaments painted about, and un- 
 der the Capital ones is no inconfiderable addi- 
 tion to thefe Abatements, as embarafling the 
 Eye, and drawing it off' from attending to 
 Thofe: Whereas at Hamp t on-Court all is juft 
 the contrary, all is Riant ? all the Pictures are 
 feenWell, and accompany’d to their Advantage 
 Only ; All is Perfection ! Such Perfection as 
 what is Humane is capable of 
 
 If 
 
( * 5 6 ) 
 
 If therefore in the Pictures at Hampton- 
 Court, the Subjects themfel ves, the T urn given 
 to them by the Painter, and the other Proper- 
 ties of a good Picture are preferable to thofe 
 in the Vatican ; Rajfaele is better feen There 
 than in the Vatican. 
 
 From whence, and from what has been laid 
 concerning the Other moft Celebrated Works 
 of this Great Matter it will follow that he is 
 Better feen at I L imp t on-Court than any w here 
 Elle: That is, that There is the Utmoft Per- 
 fection oftheArt of Painting Now in theWorld, 
 and probably theUtmoft that ever Has been. 
 
 I know what a Difad vantage I am under in 
 giving the Preference as I do ; but I think I 
 am fupported byReafon, and Demonftration. 
 What has been faid of thofe in the Vatican * 
 may be compared with what my Father has 
 remark’d (tho’ occafionally) upon the Car- 
 tons in his Theory of Tainting : But finally 
 I appeal to the Pictures themfelves, tho’ un- 
 der different Prejudices ; Some of them are in 
 Italy , and have been famous upwards of ioo 
 Years; the Others are in England, and were 
 bury’d in Obfcurity, almoft Unheard of, Un- 
 thought of till after the Revolution ; Which 
 Circumftances, tho’ they have not the leaft 
 weight intheMeritoftheCaufe, will certainly 
 have a great deal with a Majority of thofe that 
 will pretend to Judge. Let fuch only be pleas’d 
 to imagine the Cartons had remain’d always at 
 Rome, and fix’d in fbme of the Principal A- 
 partments of the Vatican ; would they not 
 have been then confider’d as theLaft, andBeft 
 
 Works 
 
( 2 5 ? ) 
 
 Works of Raffaele * and Celebrated accord- 
 ingly ? Certainly they would. Of which (be- 
 fides the Evidence arifing upon their Intrinfick 
 Excellence, and theConfeffion of All, even/- 
 /■^//^j'Themfelves that I have difcours’dwith 
 ontheSubje#)the great regard which is there 
 had even to the Tapeftries made from them, 
 is a fort of Demonft ration. 
 
 After having faidThus much of the Works 
 of Raffaele , I will lay hold of the Occafion* 
 and inlert Some Particulars relating to that 
 Great Man, which either have not been yet 
 madePublick, or are very little Known. 
 
 Mr. Hugh Howard has been fo kind as to 
 communicate to me a Letter, which Himfelf 
 Copy’d from the Original then in the Hands 
 of Cardinal Albania fince Pope : Carlo Marat- 
 ti had Another Copy granted Him at the fame 
 time. The Letter was written by Raffaele to 
 an Uncle of his Simone di Battifta di Ciarta 
 in 'Vrbin , and was fo much Efteem’d by the 
 Cardinal, that he faid he valu’d it Equally with 
 thofe he receiv’d from the Greateft Princes. 
 If it had not been for fome Engagements Mr. 
 Howard is under, the Publick would Now 
 have had the Whole: However I am permit- 
 ted to give an Extra# from it. 
 
 Befides Civilities, Excufes for his Own not 
 Writing, with Handfome Reproaches to his 
 Uncle, for his Deficiency in That Matter, the 
 Bufinefs of the Letter relates to his Marriage, 
 and theCircumftances he was inOtherwile. 
 
 S 
 
 He 
 
( * 5 8 ) 
 
 He thanks God he was yet Single, and be- 
 lieves Himfelf more in the Right in Refufing 
 the Offers he had had, than his Uncle in Ad- 
 vifing him to Marry. But goes on however 
 with laying, that a Sancla Maria in "Portico 
 had profer’d him a Relation of His, who he 
 had promis’d to take, with the Conlent of his 
 Uncle to whom he writes, and Another Un- 
 cle, a Prieft. He {peaks alfo of Other Propo- 
 fais of This kind that were then upon the 7 V 
 
 pis. 
 
 As to the Other Brahch of the Letter, he 
 fays his Perlonal Eflate in Rome amounts to 
 b 3 ooo Ducats oi Gold : That he has moreover 
 c 50 Crowns of Gold per Ann. as Architect! of 
 St. Peters, and a Yearly Penfion for Life of 
 d 300 Ducats of Gold; befides being paid his 
 Own Price for what he does: And that he 
 had juft began another e Room for the f Pope, 
 for which he ihould have « 1200 Ducats of 
 Gold. After all which he lays, “ Si che Ca- 
 “ rijp"’- Zio vifb honor e a voi , & a tutti li 
 “ parenti & alia patria , ma non refia che 
 “ fempre non ui habbia in mezzo al chore , e 
 “ quando ui fento nominare , che non mi pa- 
 “ ra di fintir nominare un mio Patre. 
 
 ■ Cardinal Bibiana . 
 b 861 /. 10 s. 
 c 1 4 /. 7 s. 6 d, 
 d 86/. 
 
 c The Room in the Vatican next to the Chamber of the 
 Th. Sl P ia * t4re was finifh’d Anno 1514. So that probably 
 n's he here mentions is the next to it, in which is the/»- 
 cendio di Borgo , &c 
 { LeoX. 
 g 34 S l. 
 
 He 
 
( M9 ) 
 
 He fays he is in Bramante* * s Place ; that 
 the Church of St .Tefer’s would coft more than 
 a h Million of Gold ; that the Pope had ap- 
 pointed to expend above * 60000 Ducats a Y ear 
 upon it, and thought of nothing elfe : That he 
 had join’d with him Fra. Giocondo , (a very 
 Knowing Man, and above Fourfcore Years 
 old) as his Affiftant ; and that he, who could 
 not live long, might communicate to Him what 
 Secrets in Architecture he had, that he might 
 be PerfeCt in that Art. And that the Pope lent 
 every Day for them, and talk’d with them a 
 great while on this Affair of St. Teters. 
 
 He concludes with Salutations ; but firfl 
 fays, “ Vi prego uoi uoliate andare al T)uca^ 
 u e alia c Ducheffd, e dirle quefto che Jo lo 
 “ haueranno charo d fenfire che un loro 
 u Ser re li farei honor e, e raccomandatemi d 
 * loro Signor ia. 
 
 Dated 1 July 15* 14, and Sign’d 
 
 El uoftro Raffae IT iff ore in Roma . 
 
 Fragmentum epiflolas Coelii Calcagnini ad 
 Jac. Zieglerum. 
 
 Eft Fabius Rhavennas fenex Stoics pro * 
 bitatis , quern virum non facile dixeris , hu~ 
 
 h 287500/. 
 
 * 17250/. 
 
 NiB. In reducing the Roman Money of That time to its 
 Value in Ours, I have had the Affiftance of Mr. Harms', 
 and the Authority of Vdrchi in his Hift ory of Florence Print- 
 ed within thefe few Years. Everyone knows howConli- 
 derable Thefe Sums were in Thofe Days, how Little foe- 
 v£r they may feem at Prefent. 
 
 S a 
 
 mamorne 
 
( 160 ) 
 
 maniorne fit-) an doBior Hunc alit , & 
 
 quafi educat vir predives & Tontifici gra - 
 tijjimus Raphael Urbinas, juvenis fumme 
 bonitatis,fed admirabilis ingenii. Hie mag- 
 nis excellit virtutibus, facile TiBorum om- 
 nium princeps , feu in theoricen , feu praxin 
 injpicias. ArchiteBus verb tante induftrie , 
 tit ea inveniat ac perficiat , qua folertijfima 
 ingenia fieri pojfe defperarunt. Fretermit- 
 to Vitruvium, quern ille non enarrat foliim, 
 fed certijfimis rationibus aut defendit, aut 
 , accufat ; tam lepide, ut omnis livor abfit ab 
 accufatione. Nunc verb opus admirabile ac 
 pofteritati incre dibile exequitur ( nec mihi 
 nunc deBafilica Vaticana cujus architeBure 
 prefeBus eft verba facienda puto) fed ipfam 
 plane urbem in antiquam faciem & amplitu- 
 dinem ac Jymmetriam inftauratam magnd 
 parte oftendit. Nam & montibus altijfimis 
 & fundamentis profundijfimis excavatis , 
 reque ad fcriptorum veterum defcriptionem 
 ac rationem revocatd, it a Leonem Font, 
 ita omnes Quirk es in admirationem erexit , 
 ut quafi cxlitiis demijfum numen ad eter- 
 nam Urbem in priftinam Majeftatem repa- 
 randam omnes homines fufpiciant . Quare 
 tantum abeft ut criftas erigat, ut multo 
 magis fe omnibus obvium & familiar em ul- 
 tra reddat, nullius admonitionem aut collo- 
 quium refugiens. Hie Fabium quafi pre- 
 ceptor cm & patrem colit ac fovet , ad hunc 
 omnia refert , hujus confilio acquiefcit . 
 
 I will 
 
( 2 <>i ) 
 
 I will add an Epitaph, in which tho’ (as in 
 that well-known one by Cardinal Bembo ) the 
 Thought is not Right, there are Beauties that 
 will make it acceptable to the Publick. Had 
 Raffaele' s Chief Character been as thefe Wri- 
 ters fuppos’d, and the mere Imitation of Na- 
 ture had been the great Bufinefs of a Painter, 
 Or her Names had fill’d our Lifts of Great Men : 
 Some other who Now is little regarded would 
 have flood in the place of Raffaele , and He 
 loft in the Crowd. 
 
 RaphaelisUrbinatisPitftoris eximii tumulus. 
 Iple loquitur. 
 
 Sic me a naturam mantis eft imitata, videri 
 Roffet ut ip fa me as ejfe imitata mantis. 
 S<epe meis tabnlis ip fa eft delufa , fuumque 
 Credidit ejfe , me a quod fuit art is opus. 
 Miraris , tie audit o nomine credes. 
 
 Sum Ri , . , ei mi, quid loquorl immo ftti. 
 
 Et tamenhis diStis, quia opus fuit adder e no-, 
 men ? 
 
 Alterutrum poteratcuilibet ejfe fat is. 
 Nam me a ES) audit o eft notijfima nomine virtus , 
 Et prgftare vie em nominis ip fa pot eft. 
 
 As the Principal Thoughts in this Epitaph 
 may lie in a Narrower Compafs, I have at- 
 tempted it in Englijb. 
 
 My Hand has imitated Nature fo 
 As Hers from MineHer felf can hardly know. 
 Tou c Doiibt : Know then I Raffaele am — Alas 
 Raffaele is now no more , /Raffaele was. 
 
 M. Ant.Muretus. 
 
 S 3 
 
 The 
 
Rajfaele. 
 
 ( ) 
 
 The Prolixity of this Latin Epitaph puts 
 me in mind of One I faw in fome Church at 
 Rome as remarkable for its Concifenefs, as 
 well as its Beauty . Befides the Name, and Date 
 is only 
 
 Vir Tr obits. 
 
 I will only add one more now I am upon 
 Epitaphs ; ’twas made by a Friend of mine 
 for Himfelf. 
 
 Quiet, fee where the Bujy Man is laid ; 
 
 No Tears, no Sighs, the Debt of Nature's paid-. 
 Remember me, and let your Thoughts be Kind, 
 I leave no Spot of Infamy behind. 
 
 In anOpenGallery in the Vatican 
 
 Are the Pictures fb well known by the 
 Name of Raffaele's Bible; they are painted in 
 Frefco on the Ceiling; the Figures are about 
 two Foot long; the Length of the Pictures, 
 which is about five or fix Foot with the Gro- 
 tefques, and other Ornaments round them is 
 the Breadth of the Ceiling. They are very well 
 preferv’d, and look very Gay, and Pleafant, 
 having an Advantage which (as I have faid) 
 thofe in the Lodgings have not, they have 
 Light enough. TheDefigns were undoubted- 
 ly given by Rajfaele, but they are all Execu- 
 ted by his Difciples , unlels a$ is commonly 
 faid the Eve is painted by himfelf. ’Tis cer- 
 tain That Figure is exceeding Fine, and the 
 Out-line of it is efteem’d as equal to any of 
 the Antique, and fam’d as one of the Beft of 
 
 any 
 
( 2< *3 ) 
 
 any painted Figure in Rome. My Father has 
 two of the Cartons for this Work ; that of the 
 Death of Goliah , and the Fall of the Walls of 
 Jericho , they are by Rierino , who probably 
 made them from Slight Drawings given him 
 by his great Mailer. 
 
 In the fide of this Gallery all along are ma- 
 ny Doors into the Lodgings, over which Doors 
 are the Names of Popes ; feveral have thole 
 of Julius II. LeoX. Clement VII. Between 
 every Door areGrotefques, and little Figures, Gl0 > da udine. 
 exceeding pretty, and as fine as any of that 
 kind in the Vatican , or Elfewhere. 
 
 In the Velvet Chamber where the Rope us'd 
 to give Audience is 
 
 A Madonna painted in Frefco. Admirable ! Rajfaele. 
 
 No other Picture. 
 
 In another Chamber . 
 
 The Carton of the Lower part of theTranfi nine. 
 figuration; ’tis in Black Chalk, exactly the 
 lame manner as a Carton my Father has of a 
 Boy, &c. It has been trac’d off, the Marks 
 of it are very evident. 
 
 In the lame Chamber are two other Car- nominhhm. 
 tons much in the fame manner, one of Uomi- 
 nichin , and the other of Carlo Mar atti. carlo Marat, 
 
 The Cupola of the Church of Sanbli Apo- 
 Jioli in th oRiazza of that Name was painted 
 by Melozzo da Forli, in which was a Hea- Melozzo da 
 ven, and God the Father lurrounded by An- f0 ' h - 
 gels, and the Apoftles underneath. In refitting 
 this Church This Work was desnolilh’d, but fo 
 
 S 4 that 
 
Incerto, 
 
 ( ) 
 
 that much of it was fav’d. That part where is 
 the God, and Angels, is pl ac’d at the top of the 
 Stairs going up to the Apartments of Monte 
 Cavallo, and the Heads of feveral of the Apo- 
 ftles are in rhe Vatican in the Rooms beyond 
 thofe of Raffiaele, { of part of which Pictures my 
 Father has the Drawing.) Cav.Lutti,\vhofav? 
 the Cupola before it was deftroy’d, allur’d me 
 there were feveral of the Attitudes of the A- 
 poltles the fame as thole of the Cupola of 
 ‘Parma, and the Work was Fore-ihorten’d 5 
 Certainly the Padre Eteruo is fo. 
 
 In the Vatican Library. 
 
 An Officio, with feveral Hiltories of the 
 Madonna in Miniature, done before the time 
 of Raffiaele, the Name is not known. Carlo 
 Marat particularly admir’d the Airs of the Vir- 
 gin throughout ; and Itudy’d much after them, 
 having a certain Simplicity, and Divine Beau- 
 ty Superior to any other, even Raffiaele him- 
 lelf. The Work in other refpedts is Well, 
 only Hard, and Still) 
 
 Virgil. In the Story of Orpheus and Eu- 
 rydice the Crowd of Figures in the Cave is 
 Retouch’d with a Pen much moreModern. 
 
 Scylla lying in the Sea under a Grotto is 
 but a Fragment, above Half is torn off In 
 that wher zAfcanius is alleep before theTem- 
 ple, Venus fitting, and a Cupid, the Names 
 are written over ; Cytherea, Cupido, 8cc. 
 
 P. Saucta Bartnh has taken greater Liber- 
 ties Here than in his Other Things. One would 
 imagine the Pictures to be of the Bell Antique 
 
 by 
 
( l6 5 ) 
 
 by feeing his Prints of this Book, whereas they 
 are altogether Gothic; and in feveral places fo 
 defac’d, that he was oblig’d often to guefs at 
 the Standing of the Figures, and always the 
 Drapery is his Own. The Colouring of them 
 is Vile, and the Drawing Grofs, andCarelefs. 
 
 The Title is, Virgilii Fragment a qua i°. 
 Jo.Joviani Fontani f tier ant pojiea Fet.Bem - 
 bi Card, deinde Fulvii Ur/ini. Vid. ejufd. 
 
 Fulvii lib. inventarum fol.z 5. 
 
 This Manufcript is (aid to be about 1400 
 Years old, and has feveral Errors. As in the 
 third Eclogue, FO RMONSU M for For- 
 mofum. ’Tis writ in the Character and Size of 
 this Word. 
 
 There are two Books in this part of the Li- Donjul. cb- 
 brary that were of the Dukes of Ur bin ; One vl0 ' 
 of the Life of Franc. Maria di Montrefeltro 
 della Rouere IIII. F). dlU rhino. The other 
 of Gironimo Mutio Giuftinopolitano de fatti 
 diFed. di Montifeltro F).d yC l)rbino. Each of 
 Thefe has three Hiftories in Miniature of 2 'ion 
 Giulio Clovio finely Drawn, and of a moft 
 Beautiful Colouring, but upon aTindt pretty 
 Gaudy, and wanting Simplicity. They are 
 all faid to have been Retouch’d by Fadre Pa dre Ramel - 
 Ramelli. Certainly they are of a quite diffe - li - 
 rent Colouring, and Manner from thofe(with 
 Frames, andGlaffes) at Florence in the Cabi- 
 net of Madama , and in the Studiolo ; and one 
 in Farma , in the Cabinet by the Gallery, all 
 which have never been Retouch’d. But the 
 Miffallof the fame Cabinet is infinitely above 
 them all for Drawing, Colouring, and Orna- 
 ments, 
 
p. Porugino. 
 
 1). Giulio Clo 
 via. 
 
 . ( 2 66 ) 
 
 merits, and was made by him for the Cardi- 
 nal Farnefe, as appears by the Inlcription at 
 the end of his Own Writing, and has continu’d 
 in the Family ever fince. 
 
 In thefe two Books of the D. D. of Ur bin 
 there are their Portraits often repeated, and 
 always exactly the lame Likenefs, and Fine 
 Airs. 
 
 The HDante of the D. of ’Dr bin (which is 
 the mod Beautiful Manufcript I ever law, up- 
 on Vellum, large Folio) has an Infinite Num- 
 ber of Miniatures, by different Hands, and 
 AllFine : There are many of 2 'Ion Giulio Clo- 
 vio, or at lead of the fame as did thofe in the 
 two Lives. But there are others that pleas’d 
 me better, particularly thole by ‘PietroFeru- 
 gino , as they lay, and very Probably if he e- 
 ver did inMiniature : They are of a Fine Raf- 
 /T'A'-likeTaile, and perfectly agree with the 
 Bell things of Rerugino. 
 
 In this Library are two or three Miffalls, 
 laid to be of Foil G iniio Clovio, but apparent- 
 ly very Different from any of him that I have 
 met withal eliewhere. 
 
 Capella Sifiina. 
 
 This Chapel was built by Sixtus IV. who 
 came to the Chair Anno 1474, the Year in 
 which Mich. Angelo was born; ’Tis a very 
 Ipacious one, and is fo in the Length, and 
 Height, rather than in the Width: Rarely 
 us d, but then the Pope, and all the Cardinals, 
 and Court of Rome, appear there in great Mag- 
 nificence. The Ceiling is flat in the Middle, 
 
( ) 
 
 but turns off as an Arch toward the Sides: On 
 this Ceiling at the upper end, for about Half 
 rhe length of the Chapel (as I remember) are 
 painted leveral Hiftories, and on the Turnings 
 off are the Prophets, and Sibyls, &c. of Mich. 
 
 Angelo , fo well known by the Prints, and fo 
 much celebrated by the Writers of that time. 
 
 But what is the mod So of all this great Man’s 
 Works of Painting, is the Laft Judgment. This 
 is over the Altar, and confequently at the up- 
 per end oftheChapel, and juft oppofitetothe 
 great Door, fo that it fir ikes your Eye as loon 
 as you enter. It fills all that end, for it reaches 
 from the top down to about the height of a 
 Man from the Ground ; ’tis therefore vaftly 
 large, and ’tis well enough preferv’d, as are 
 the Sibyls, and Prophets : But for the Hifto- 
 ries painted at the top of all I could not Well 
 judge of them as to That particular, or any o- 
 ther ; for they are fmall Figures, at a great 
 height, and the Chapel has not over much 
 Light; the Vault efpecially, the Windows be- 
 ing underneath. This helps to give this Cha- 
 pel the Melancholy Air it has; to which its 
 being fo little frequented does alio contribute, 
 together with other Circumftances, as will ap- 
 pear prefently. 
 
 The Vault was painted by order of Ju- Mich. Angelo. 
 liusW. about the Year 15*1 z. The Pope had 
 refolv’d that Mich. Angelo fliould make his 
 Tomb, which as it was projected would have 
 been one of the moft Magnificent ones in the 
 World, but Bramante artfully diverted him 
 from That, and perfuaded him to have This 
 
 Vault 
 
( *68 ) 
 
 Vault painted, for feveral Reafons I will not 
 flay to mention. This Work was finilh’d in 
 twenty Months without any manner of Affi- 
 ftance, even for the Grinding, and preparing 
 the Colours, all was by Mich. Angelo himfelf 
 He had 3000 Duckets for his Pains, about 10, 
 or if of which his Colours colt him. But as 
 he went unwillingly into this Affair, he was 
 forc’d to leave it lefs per fed! than he intend- 
 ed, particularly without Retouching it, and 
 giving it a little more Life by Heightnings of 
 Gold, and Blue, as he would have done : But 
 the Pope being the moft Impatient Creature in 
 the World, and withal very Furious, oblig’d 
 him to ftrike the Scaffolds, leaving it as it is. 
 He w r as defirous to have had it done after- 
 wards, as the manner of thofe People is, but 
 Mich. Angelo avoided the Trouble of it. 
 
 Mich. Angelo. The Judgment was done many Y ears after, 
 ClementVU. caus’d it to be begun, but hedy- 
 ing foon after, ’twas finilh’d under ‘Paul III. a- 
 bout the * Year 1 541 . eight Y ears after ’twas 
 enter’d upon ; though All that time was not 
 employ’d in it, he doing Works of Sculpture, 
 (which was his Favourite Art) atluch Intervals 
 as he could find. There are Prints of This, as 
 well as of the Prophets, and Sibyls, which to- 
 gether with the Dclcriptions at large by V tfa- 
 ri,zniCondivi, give a tolerable Idea of them, 
 abating for the great Partiality of thefe W riters, 
 
 1 * S° me Accounts fay ’twas open’d in the Year 1 54a. on 
 the Pope's Birth day. 
 
 and 
 
( ) 
 
 and the Circumftances of That Time; toge- 
 ther with the ufual Defeats of Prints ; which 
 Idea I am endeavouring to improve as far as I 
 am able. 
 
 Whether Aretine fufpedted Mich. Angelo's 
 way of Thinking, or had a mind to introduce 
 fomething of his Own, or only to fhew his 
 Wit he wrote him a long Letter, with rnofl 
 Extravagant Complements in th tltalian Man- 
 ner, but ingenioufly introduces his Own De- 
 fcription of the Laft Judgment, by pretending 
 to imagine what the Picture was to be : His 
 Thoughts are very Poetical, and Some of them 
 what Mich. Angelo might have profited by, 
 and perhaps did fo. But the Anfwer is, that 
 he had advanc’d the Work too far to be now 
 put out of his Own way ; He fays it how- 
 ever very Civilly, and adds Complements fit 
 to go in Exchange for Aretine's. This is Da- 
 ted from Rome zo Nov. 15-37. the Other is 
 from Venice 1 5 Sept, before. Both are in Are- 
 tine's Letters, Lib.\. pag.zjy. 5*13. Edit.z. 
 
 TheThought of This Work after all is not 
 Intirely Mich. Angelo's Own if it be true as 
 Malvafia fays (in FelfinaRittrice, Part IV. 
 p. 338.)that’tis ftolen from a Judgment paint- 
 ed by Luca Signore lladaCortona in the Prin- 
 cipal Church of Orvieto. 
 
 As Mich. Angelo had a vaft Genius, and a 
 Greatnefs of Mind equal to any Man ; and 
 had acquir’d a thorough K nowledge in a Hu- 
 man Body as to its Proportions, Contours, A- 
 natomy, and Ofteology, had thefe Qualities 
 been rightly conducted, he might have been 
 
 as 
 
( * 7 ° ) 
 
 ds gfcat a Painter as ever he was thought to 
 be : But being withal Reierv’d,and if not Me- 
 lancholy, very Sombrous, and perhaps inclin- 
 ing to Savage, (of which his Ihutting himfelf 
 up, and grinding his Own Colours when he 
 painted this Vault is one great Proof) his man- 
 ner of Thinking was Tinned with this his na- 
 tural Temper, and his Figures, and Compofi- 
 tions, though excellent in their Kind, were of 
 a Kind fomething Capricious, and Difagreea- 
 ble. c Dante was a Poet much of the lame 
 make, Him Mich. Angelo perpetually read, 
 which I believe contributed much to the form- 
 ing thofe Ideas we find he had in all he did : 
 What kind of Oddnels that was is only to be 
 foen by his Works themfelves, or by Copies, 
 or Prints. Now the Characters of Prophets, 
 and Sibyls having fomething Bizarre , and not 
 unlike that kind which was in Mich. Angelo , 
 he confequently focceeded better in Thefo 
 than in Others more Delicate, as a Saint, a 
 Madonna , a Chrift, or the like. The Vault 
 therefore is I think better than the Judgment, 
 which is full of Choquing Improprieties, and 
 Abfurdities, though fome of Thefo have been 
 Corrected fince by other Hands, by covering 
 with Draperies what was molt O fie n five ; but 
 the wrong manner of Thinking in other re- 
 fpeCts could not be fo eafily alter’d, unlefs by 
 demolifliing the Whole Work. There is indeed 
 a great Variety of Attitudes of a Human Bo- 
 dy, in which is feen profound Skill in Anato- 
 my, as the Authors who fo extravagantly com- 
 mend this Picture lay : This would have been 
 
( ) 
 
 a good Character for a Drawing-Book, but is a 
 very improper one for fueh a Subject as the 
 Laft Judgment. 
 
 The Writers uponPainting feldom concern 
 themfelves much with the mod Confiderable 
 Circumftance in a Picture, which is the 
 Thought* but Thofe juft now mention’d tell us 
 of Two of Mich. Angelo in this Chapel; One 
 in the Story of God’s creating the Sun and 
 Moon, which is painted among others in the 
 Vault; a little Angel is frighted at the Moon, 
 and flies for Shelter to the Creator. AThought 
 too low for the Subject! The other Singly 
 confider’d is a Noble one; ’tis in the Judg- 
 ment. To exprefs the Terror ofthatDay,the 
 BlefTed Virgin, (even She!) clings clofe to her 
 Son : Enter not into Judgment with thy 
 Servant, for in thy Sight Jhallno Man liv- 
 ing bejufliffd. But as the other Saints do not 
 exprefs the like Terror, or indeed any Degree 
 of it, the Beauty of that Thought is deftroy’d. 
 
 The Thought of the Charon , and his Boat ; 
 that of putting the Face of the Pope’s Matter 
 of the Ceremonies to a Devil, (and this with 
 an additional one not very Modeft, becaufe he 
 laid this Picture was more proper for a 
 Bawdy-houfe than a Chapel;) the Ludicrous 
 Thoughts in many parts of it, and Others too 
 many to be fpoken to , or even mention'd ; 
 Thefe are generally well known, or may be 
 feen by any one that will confider the Print, 
 
 The Compofition of this Pictture is no bet- 
 ter than the Manner of Thinking, an abfolute 
 want of Harmony; and the Colouring ofThis, 
 
 3 and 
 
( * 7 * ) 
 
 and the reft of Mich. Angelo's Works in this 
 Chapel is Black, and Harlh, fo that thcTout- 
 enfcmble is very Difagreeable : Nor is there 
 that Bold, Noble Pencil, as one that don’t re- 
 member that Painting was not this Matter’s 
 Excellency will be apt to imagine. The Con - 
 tours , and Airs of the Heads are not equal 
 in any degree to what one fees in his Draw- 
 ings. The Air of the Charon which my F ather 
 has in Black Chalk, and one of his Legs (for 
 the reft is moftly gone over with a Pen by 
 another Hand) is vaftly finer than what is to 
 be found here. The like maybe laid of lbme 
 few other Drawings for part of both thele 
 Works which my Father alio has : As he has 
 ieveral Others of this Mafter, where in gene- 
 ral is greater Beauty than in any Paintings of 
 him that ever I law. In his Drawings ’tis cer- 
 tain Mich. Angelo is leen to greater Advan- 
 tage as a Painter than in the Cap ell a Sijlina, 
 or any where elfe. 
 
 The old Matters of the Roman, and Floren- 
 tine Schools were in general defective in Co- 
 louring, and Compofition, and wanted that Fa- 
 cility in working their Colours, which thofe 
 oiVi mice, and Bologna had, as alfomoft of the 
 Painters of the LatterTimes: whence it hap- 
 pens that the Idea one is apt to have of their 
 Pi&ures, from what one lees in their Draw- 
 ings, and reads in Authors, will never be an- 
 fwer’d in any degree, when one comes to fee 
 their moft CelebratedWorks. The Bad, or if 
 you pleale only the Indifferent Colouring, and 
 want of Harmony, and proper Contracts , takes 
 
 2 
 
( 2 ?3 ) 
 
 fofffrom the Beauty of Defign, luppofing it to 
 be never fo perfed ; But even That is in a great 
 mealure deltroy’d by the Perplexity which the 
 Management of Colours will neceffarily give 
 to thole that are not very expert in the Ule 
 of them ; fo that what the Mailer is really ex* 
 cellent in is loll, and whaf he is not, is liib- 
 ftituted in its place. A Pidure therefore of 
 fuch a Mailer as Mich. Angelo (for Example) 
 is not the Work of a great Mailer, though a 
 Drawing of him Is ; becaule he was not Such 
 a one in That in which aPidure isdiltinguilh- 
 ed from a Drawing. 
 
 After all, this great Man Deferv’d as much 
 Reputation as he Had ; ’twas not Wrong in 
 the Degree, but the Application only. Others 
 hadTry’d to get out of the SxiWfPetit Style of 
 Painting, the Remnant of Gothicifm: Mich. 
 Angelo Broke through furioully, and like a 
 Flam of Lightning dazzled theWorld withhis 
 Great Manner; no Wonder he was Then ad- 
 mir’d accordingly : He was the Luther of the 
 Reformation of Painting. I am perluaded we 
 owe our Raffaele Such as he is to this Mich. 
 Angelo ; He was capable of profiting by this 
 Vallnefs of Style, tho’ t’other ’s Ferocity, and 
 other Qualities were not at all Softned by what 
 he faw in that Sweet and Delicate, as well as 
 Manly Genius. The Truth is Painting was 
 not his Favourite, as I obferv’d before, but 
 Sculpture; and that Corredion of Defign, and 
 Noblenels of Contour , of which he was truly 
 a great Mailer, is a great part of the Excel- 
 lency of a Single Statue ; but there are other 
 
 T Confix 
 
Pttugmo. 
 
 Mich. Ang. 
 
 ( 2 ~4 ) 
 
 Confiderations in a Picture, efpecially a Large 
 one, for Which he was not Equally qualify’d. 
 
 The great Faipe thefe Works of th zCapella 
 Sijiina had at firft, and for many Years was 
 much owing to what Mich. Angelo had ac- 
 quir’d by Other Arts; to which the Extrava- 
 gant Praifes of them by thofe that wrote his 
 Life, which were his Friends, and of his Fa- 
 ction in Painting, has much contributed. But 
 tho’ thefe Writers were manifeftly Partial, and 
 in another lntere%Ra fiaele’s great Merit fup- 
 ported him Then, made him Superior to all 
 his Opponents, rais’d a Noble, and a Nume- 
 rous School, andPofterity has clearly decided 
 in his Favour as a Painter : ’tho’ as a Sculptor 
 Mich. Angelo is Supreme amongtl the Mo- 
 derns. 
 
 On the Sides of this Chapel near the Door 
 are feveral Sacred Hiftories painted by V.Ve- 
 rugino , but not his beft Works. 
 
 Cap el la Vaulina. 
 
 On One fide is theConverfion of St .Vaul-, 
 on the Other the Martyrdom of Sl Veter. 
 My Father has Drawings of part of both thefe, 
 but one of them is not of Mich. Angelo him- 
 felf. Thefe were his latt Works in Painting, 
 done when he was 77 Years old, about the 
 Year 1549 ; they are much of the fame Cha- 
 racter with the Judgment, but rather have 
 more of that Peculiarity of Tatte one fees in 
 this Matter. The Copy of the Martyrdom 
 (the Duke o fChandois has it) is much better 
 Colour’d than this Original. I know not whe- 
 
( *75 ) 
 
 ther there is a Print of it, there is one of the 
 Converfion of St. Raul. 
 
 The Garden of the Belvedere, 
 
 Or rather the Cortile , for ’tis not a Garden, 
 tho’ fo call’d : ’Tis a frnall Square, not quite 
 fo large (I believe) as that of Lincoln' s-Inn. 
 
 Round it are Statues Ihut up with Doors as in 
 Clofets ; thofe of the Tyber, and the Nile are 
 in the Middle, two Sepulchral Urns are at two 
 of the Corners. 
 
 The Tyber \ the Heads of Romulus , and Antiques. 
 Remus are faid to be of Mich. Angelo ; I con- Mich. Angelo. 
 fefs I did not oblerve them, thofe Boys being 
 very Indifferent. 
 
 The Nile was brought to Rome from AZ- 
 gypt long ago. R liny fays it was in the Tem- 
 ple of Peace in Vejpafan's time, but was af- 
 terwards remov’d ; he deferibes it as being 
 of a very hard /Egyptian Marble, of an Iron 
 Colour, Sfc. Lib.?>6. c.j. 
 
 Thele two Statues are larger than the Life 
 confiderably, and not of a good Tafte; The 
 Remains of the Children on the Nile make 
 an 111 Effed, and were never other than thole 
 kind of Additional Works generally are, that 
 is, very Bad; As the Boar’s Head in the Mele- 
 ager, the Dolphin, and Boys in the Venus, the 
 Animals in th eToro, &c. 
 
 The Apollo. The Face is intire, and the 
 Head was never broken off. (My Father has 
 a Call of the Bull, and a Drawing of the Head 
 by Guido.) The Right-leg has been broken 
 in pieces, and not having All ’tis ill let toge- 
 
 T a ther 
 
( ) 
 
 ther again, and what was wanting fupply’d 
 with Mortar ; the Left-leg is damag’d from 
 the Knee to the Foot, and repair’d alfo with 
 Mortar, but looks ragged; and but one Finger 
 remains on the Right-hand. ’Tis in Terrier 
 (N°.3o.)and in feveral other Books of Statues, 
 as Bifcof s, Roffi’s, &c. He has juft dilcharg’d 
 his Arrow at th zTython, and has an Air, par- 
 ticularly in the Head, Exquifitely Great, and 
 Awful, as well as Beautiful. 
 
 Sandrant fays ’twas the Opinion of rnoft 
 Virtuofi , that This was the Apollo o iT)el- 
 phos that gave the Oracular Anfwers ; and 
 that when it ceas’d to do fo, Angnjtns caus’d 
 it to be brought to Rome. 
 
 Abundance of fine things have been found 
 in the Gardens of Salufi ; theMonaftry of Tit- 
 tor ia ftands on part of that Ground : as I was 
 walking with lome of thofe Monks, they 
 fhow’d me in their Garden the Hole whence 
 this Apollo was taken. 
 
 The Laocoon ftands in a fort of Nich, not 
 fo near the Wall but that one may go round 
 it: ’Tis upon a Pedeftal near the height of a 
 Man from the Ground, and much Bigger than 
 the Life ; of Fine, White, Tranfparent Marble, 
 fo that it has a very Pleafing Look, without 
 confidering theWork, which is the moft Ex- 
 quifite that can be imagin’d, and highly Fi- 
 nifh’d, the Fore parr, but not Behind, being 
 made (it feems) to ftand as it does, againft a 
 Wall. & 
 
 Part of its Beauty is however impair'd, for 
 the Right-arm of the Principal Figure (for 'tis 
 1 a Groupe, 
 
( 277 ) 
 
 a Groupe, Laocoon , and his two Sons, with 
 the Serpents twilling themfelves about their 
 Limbs) is loft, and one of TerraCotta fubfti- 
 tuted in its place. This being Rough, Unfi- 
 nifli’d, and not good Work, and moreover of a 
 Colour Difagreeable, the Eye is fomething of- 
 fended. An Arm was begun for it by Mich. 
 Angelo , but not Finilh’d, as it Is it lies down 
 by the Figures, All which are Damag’d in fe- 
 veral other parts. My Father has a Call of the 
 Head of the Laocoon ; and a Copy of one of 
 the Thighs in Little by Flamingo. 
 
 This Ineftimable Groupe made in the 88 th 
 Olympiad, the Year 324 of the Building of 
 Rome , about 400 Years before Chriji, is the 
 Work of Agefander , Tolydore , and Atheno - 
 dorus , Rhodians , and cut out of one Block of 
 Marble, according to Fliny ; But’tisfaidAfi- 
 chael Angelo diUcowet* A. where two Pieces had 
 been join’d. ’Twas found in Dirt, and Rub- 
 bifh, in the Therms oi Titus , by Fee lix a Ro- 
 man Citizen, about the Year 1506. Others fay 
 ’twas in the Pontificate of Leo X a few Years 
 After therefore. As for that Seeming Diffe- 
 rence in Authors concerning the Place where 
 ’twas found, it arifes only from hence that they 
 have us’d feveral Names, and Manners of de- 
 feribing, which all fignify the fame thing. 
 
 There were Fragments, that is, Pieces of 
 the Serpent of fitch another Groupe found in 
 Ruins, which were always fulpedred to be 
 thofeof the Houle of Titus mention’d by F li- 
 ny as the place where this Groupe flood, and 
 which were imagiu’d therefore to be parts of 
 
 T 3 the 
 
( *78 ) 
 
 theTru zLaocoon, and That We have a Copy 
 only. 
 
 So little is left of Thofe Fragments, that 
 one can’t tell what the Work was; but as the 
 Laocoon we Have has all poffible Intrinfick 
 Marks of Originality, the Objection that may 
 arife from the finding of Thole pieces of the 
 Serpent can have very little Weight: Be- 
 fides, admitting the Place where Thole were 
 found was That mention’d by Pliny, it will 
 not follow they are parts of the Groupe he 
 Ipeaks of, That may have been remov’d to the 
 place where Ours was found, and a Copy put 
 inltead of it ; or perhaps the place where thofe 
 Fragments were is not That Pliny Ipeaks of. 
 That there Ihould be Two luch as This we 
 have, and but One only Known, or Heard of 
 is very llrange : But ’tis altogether Inconcei- 
 vable that there Ihould have been Another, a 
 Better than This, which is in the Utmoft Per- 
 fection of Antique Greek Sculpture. Thole 
 that have a mind to lee upon what Authority 
 lome Particulars I have mention’d is founded, 
 and to know more concerning this Groupe , 
 may conlult Pliny, Lib. 36. Cap. y. Mocoph. 
 Polyhijlor. Marti anus , and Nardini on the 
 Antiquities of Rome , Maffeis Notes on Rof- 
 Ji's Statues, Admiranda, p. 83,^. 
 
 Whatever was the Story from whence thele 
 Sculptors made this Amazing piece of Art, 
 and whoever it was Invented by, ’tis certain- 
 ly much more Ancient than Virgil ; but ’tis 
 (as He has told it) in his PEneid, Lib.a. Majfei 
 in his Notes on this Groupe fays that Virgil's 
 
 Account 
 
( *79 ) 
 
 Account of it is fo exadly like This as if he 
 had keen, and intended to defcribe This very 
 thing; but lurely this Writer never confider- 
 ed, and compared thefe two Works; forbe- 
 fides Other Circumftances in which they dif- 
 fer, the way of Thinking is very Unlike. 
 The Poet not only is rather more particular 
 in the Images of the Serpents than of the Prieft, 
 and his Sons ; but he makes Laocoon roar out 
 hideoufly 
 
 Clamor es fimul horrendos ad fldera tollit. 
 
 The Sculptors on the contrary have fix’d Their 
 point of Time to That when his Strength was 
 in a great mealure exhaufted, and he ready to 
 fink under the Weight of his Vaft Calamity; 
 His Mouth is open’d but a little, and he looks 
 up as Imploring Pity, and Succour from the 
 Gods, without any Appearance however of 
 Hope, but feeming in great Pain. This gives 
 an Opportunity of a Fine Expreffion, and one 
 more Noble, and more Suitable to his Sacerdo- 
 tal Charader, than that Violent Emotion that 
 muft have appear’d had the Sculptors taken 
 him in the fame View as Virgil did. And This 
 Opportunity thefe great Artifts have improv’d 
 to theUtmoft; as they have alfo done in That 
 which the Story affords, of a great Variety of 
 Attitudes, and a Fine Contraji from the feve- 
 ral Ages of the Figures, andtheMixture of the 
 Serpents with the Human Bodies; All which 
 were doubtlefs the Occafion of the Choice of 
 This Story for thefe great Men to exert them- 
 felves upon, 
 
 T 4 
 
 I will 
 
( z8o y 
 
 I will finifli my Obfervations on the Lao - 
 coon withThat of theNeceffity there is Some- 
 times of venturing on Obvious Improprieties, 
 If the People of Thefe Times thought as Thofe 
 in Ours, how would the Low Criticks have 
 Triumph’d on thefe Artifts reprefenting a 
 Prieft Naked, who was furpriz’d by this Ter- 
 rible Accident juft as he was Sacrificing! And 
 yet who fees not that had This been Regard- 
 ed, as it could not but be Forefeen, inftead of 
 the Fineft piece of Sculpture in the World we 
 mufthave had a very Indifferent One, or None 
 at all ? 
 
 V enus an&Cupid found buried in the Ruins 
 of their Own Temple, which is now call’d the 
 Church of SanLtaCroce inGerufalemme. All 
 the Pillars of that Church are the fame as of 
 the ancient Temple, and ftand as they did 
 then : They are of Parian Marble. 
 
 Antinous ; the Right-arm, and Left-hand 
 offj the Right-thigh broke in halves, both Feet, 
 and the Left-leg under the Knee broke off ; 
 but all very well put together again ; found in 
 Adrian's Baths by LeoX. 
 
 A fine Sepulchral Urn. Upon the Front of 
 it in Mezzo-Relievo is a Matron prefenting a 
 Child, and imploring the Emperor who is fit- 
 ting on his Throne ; a Slave bound in each 
 Corner at the Bottom, and another Slave bound 
 brought before the Emperor (who is Crown’d 
 with Victory ) and another Slave is on his 
 Knees. ’Twas found in the Septizonium of 
 Sept. Severus , and ftands in the Corner of the 
 Cortile . 
 
 Undes 
 
( * 8 . ) 
 
 Under it, is 
 
 TheBrazen Statue of the Nile, in a Nich in 
 the Wall, and pours Water into this Urn, ma- 
 king thus a fort of a Fountain ; but the Water 
 running over perpetually has made the Figures 
 Green, and Molly. My Father has a Drawing 
 of this Mezzo Relievo , done by Rattifta 
 Franco ; and ’tis in the Admiranda , N°. 20. 
 
 In the Apartments of Innocent VIII. 
 
 Over the Chimney are two Boys as big as 
 the Life in Frefco, and feveral things o iRie- 
 troRerugino over another Chimney, the An- 
 gel founding aTrumpet (of which my Father 
 has the Drawing) is here. Several of the 
 Rooms are painted withLandlkips, laid to be 
 of the fame Matter. 
 
 The Chapel is painted by Andrea Man- 
 tegna. 
 
 In an unfiirnifh’dDelart Room going out of 
 the Cor tile is the famous To?fo of Mich. An- 
 gelo as ’tis call’d, becaufo he was fo fond of it, 
 and ftudy’d fo much after it ; and indeed ’tis 
 Exquilitely fine: of White Marble, a Hercu- 
 les made by Apollonius an Athenian ; Juli- 
 us II. put it in the Cortile , ’twas brought where 
 it is by order of Innocent XI. and encompafs’d 
 with Iron Rails. 
 
 The Ralace oftheAmbajfador of England. 
 
 Several fine Frefcoes like thofe in the Va- 
 tican ; they are in Frizes round the Hall. 
 
 Chieja 
 
 Raff aele'. 
 Perugino: 
 
 A . Mantegnei 
 
 / 
 
 Julio PerinOt 
 e ?c. 
 
Piet . da Cor- 
 tona. 
 
 Giro Terri. 
 
 Cl. Lorrainl 
 JBorgognone , 
 SalvatorRofa. 
 
 Antiques. 
 
 ( 281 ) 
 
 Chiefa di Sapienza. 
 
 St. Ivone Avoeato de Touere ; the bottom 
 part is finiih’d by Giro Ferri. The Saint is di- 
 flributing Alms ; Angels hold up a Canopy, 
 over which is a Heaven where Chrift is, fup- 
 ported by Angels; under him a Pope reading; 
 another Figure prefents a Book to the ChrtJ}. 
 This Picture coll 300 oScudi ; the Figures all 
 as big as the Life. ’Tis the moll famous Altar- 
 piece of this Mailer in Rome. 
 
 The Falace Chigi. 
 
 Is full of Pictures of Claude Lorrain , the 
 Borgognone , and Salvator Ro/a, and very 
 fine of them. 
 
 In the Apartments below. 
 
 A finall Bull of Caracalla, the Drapery of 
 Oriental Alablaller, and the Head as fine as 
 that of that Emperor at the Palace Farnefe. 
 
 A Small Bacchante Handing with a Faunus 
 that fits ; ’tis exceeding Gentile. 
 
 A Fine Figure of T)iana, (I boughtaDraw- 
 ing ax. Rome which Ttominichin made after it) 
 fhe is taking Arrows out of her Quiver. ’Tis 
 the fame as that in the Garden Mattel , only 
 That is as big as the Life, which This is not: 
 They are equally fine. 
 
 On a Table by it is another Thin a Exadlly 
 the lame, the lame Size, 1 Foot 4 high. 
 
 Leda with the Swan ; Small ; Grav’d by 
 Bi/cop; Very Fine; as indeed all in this Pa- 
 lace generally are. 
 
 ' The 
 
( 28 3 ) 
 
 The Famous Head in Porphyry of Caligu- 
 la^ Intire. It Hands upon a Pillar, very high, of 
 one piece of Oriental Agate. ’Tis as Famous 
 as that of the Caracalla of Farnefe , but not 
 fo Good. 
 
 A Gladiator, perfectly well preferv’d, but 
 that the Face, and great part of the Body has 
 beenSmoak’d, and turn’d Black, (as they lay) 
 in the burning of Rome by the Goths : ’Twas 
 dug up with leveral Others in the lame Cir- 
 cumftance. 
 
 A Venus , the feme as that of Medicis : 
 Though there are many of thefe, none is e- 
 qual to That that I have leen ; Unlefs it be that 
 of the Duke of Bracciano , which however I 
 don’t fay Is. 
 
 A moll Beautiful Bacchus ; the fame Atti- 
 tude as a Drawing of a Bacchtis by Barmeg- 
 giano which my Father has, only That has a 
 Thyrfus which This has not. ’Ti> fo well pre- 
 ferv’d that the Vine Leaves that are on his 
 Head, which are thin, and bor’d through are 
 Intire. ’Tis probable it had a Thyrfus former- 
 ly, which in the Times of Baganifm might 
 have been adorn’d with true Vine Branches on 
 Feftiva! Days. 
 
 A Minerva with a Belt that hangs down to 
 the Ground from the Girdle ; and upon the 
 Belt is carv’d a Number of Gladiators, Two, 
 and Two. The Whole of an Excellent Talle. 
 
 Another Venus of Medicis ; very good. 
 
 An Excellent Silenus lying on a Bag of 
 Wine, Drunk; a fine Expreflion of Drunken- 
 nefs! 
 
Raffaele. 
 
 ( z %4 ) 
 
 Four Fauns, all in the lame Attitude, and 
 all Antique. Perfectly fine. 
 
 Three more fine Medicean Venufes , all in 
 the very fame Action. There is above ioo 
 of them in Rome. 
 
 Apollo Handing before, and going to cha- 
 ftife Marjyas. They look one another in the 
 Face with a liirprizing Exprefllon. The Apol- 
 lo the moft Gentile Figure that can be, and the 
 Air of the Head altogether Divine : He has 
 one Hand on the Shoulder of Marjyas , and 
 the Knife in t’other. This Apollo is in all re- 
 fpedts Equal to the Venus of Me diets , and the 
 Head perhaps Finer. 
 
 TheRalace of ^Marchefe Cafferelli. 
 
 JuliusW. This feems to be Original. The 
 Great Duke has one too which alfo has the 
 Appearance of an Original. 
 
 He has often attempted to buy This, but 
 the Price could never be agreed on. The Duke 
 of T)evonJhire has the Drawing of the Head. 
 The Picture is at Half-length, fitting in a 
 Chair. 
 
 The Villa <?/Cav. Calfali //z Monte Coelio. 
 
 Antinous , as a Bacchus , of Rarian Mar- 
 ble ; a Noble Statue ! ’twas broke in a great 
 many Pieces, but is well join’d : The Pieces had 
 been made ufe of by thzGoths to build aWall, 
 at the demolilhing of which, and the taking 
 out of thefe Pieces Ficaront told me he was 
 prefent. All the Statues of this Houfe had been 
 
 in 
 
( l8 5 ) 
 
 in the lame Circumftance ; They were part of 
 the Foundation. 
 
 Juno, no Head. This is much bigger than 
 the Life ; the Drapery in the Tafte of the 
 Flora. 
 
 Julia M<e fa, the Wife of Alexander S eve- 
 nts, and Mother of Julia Sooemias , a Half 
 Figure. ’Tis a perfed Madonna, only no Bam- 
 bino ; Hie is wrapt up in a Veil, ’Twas made 
 for the Goddefs Budicitia ; about her Head 
 are the Holes in which the Brafs RaysTvere 
 put. Her Air is Thoughtful, and Divine. It 
 was done in the time of the C arac alia ol Far - 
 nefe, and of the S events of whom I mention- 
 ed the fine Medallion, and probably All were 
 of the lame Hand, All being of the lame Tafte, 
 and in the B as- Empire, when ’tis ftrange 
 there was One Such Mailer ; but I have feen 
 no Medals of Julia Mtefa of a good Tafte. 
 
 A fmall Venus in the Attitude of that of 
 Me die is, only ’tis cloath’d from the Wafte 
 downwards, and has the Head drels’d as the 
 Apollo. (Of the Belvedere is always under- 
 flood.) 
 
 A Mercury, bigger than the Life; of Bari- 
 ^//Marble. Perfedly fine ; ’tis Handing. 
 
 In the Church of the Trinita di Monte, 
 
 Is nothing confiderable but two Pidures. 
 
 \!T\\dBtfcinaMirabilisoi < V.daCarpv,x\oi u«o da carpi 
 is That So but as ’tis of a Hand whofePidures 
 are Rarely feen ; I don’t remember to have 
 met with any other befides This; but he is ve- 
 ry famous and defervedly for his Wood-Prints. 
 
 Some 
 
Dan. da VoU 
 terra . 
 
 ( 286 ) 
 
 Some of the Canons here told me this Picture 
 was of TierinO) which neverthelefs I fhould 
 not have believ’d, it not being his Manner ; 
 but ’tis very probable ’tis of Ugo as Others faid. 
 ’Tis an uncommon Manner, the Drawing my 
 Father has of it is So too, and a great deal like 
 a Wood-Print. 
 
 2. The Defcent from the Crofs, a Pi&ure 
 extremely applauded ; I cannot tell why ; ’tis 
 in my Apprehenfion a Vile one. Not to infift 
 on the Colouring, which is very Black, and Dif- 
 agreeable; nor the Compofition, in which 
 there is an Ablolute want of Harmony ; there 
 are grievous Improprieties in what is princi- 
 pally Eflential to the Goodnefs of a Hiftory- 
 Pidnre, and efpecially one of Devotion, that 
 is, in the Thought and Expreflion. TheBlefled 
 Virgin Swoons away, but is flung in an Atti- 
 tude not only without Dignity, but ’tis even 
 Indecent; and what makes it appear the more 
 fo, another Woman comes to her with her 
 Handkerchief,notather Eyes, but at herNofe. 
 The Saint John in the mean time is wholly 
 Unconcern’d, intirely apply ’d to the fafe Ma- 
 nagement of the Dead Body of our Lord. 
 
 This gives me occafion toobferveupon the 
 Pi&ures of this Subject in General, that there 
 wants that Unity c f Action that is of fo great 
 Importance in aPidfure, and This is occafion- 
 ed by the introducing the Holy Virgin Mother 
 Here, as well as in the Crucifixion, (Where by 
 the way !he hardly ever Swoons, and Here al- 
 moft always.) This Diftrefs of Hers divides 
 the Attention of the other Perfons in the Scene, 
 
 and 
 
( 2 ^7 ) 
 
 and confequently of him that looks upon the 
 Picture. 
 
 If thisDiftrefs was fo manag’d as to be fub- 
 ordinate only to the main Subject, and help’d 
 to heighten That ’twould be a Beauty, but 
 when ’tis Not fo (as in this oFDan. da Vol - 
 terra) That is what I find fault with. 
 
 Rubens in his famous Picfture of this Story 
 has kept the Unity of A&ion, but has not gi- 
 ven a Sufficient Affliction to the Holy Mother 
 of God, and the other Women. Th c Clair- 
 Ob fcur e , and Harmony is Perfect. 
 
 The Church of JiV. Lorenzo without the 
 Walls . 
 
 A fine Urn ; upon the Front of it leverai 
 Figures on Horfeback reprefenting Human 
 Life. The firft is Apollo Alcending in a Cha- 
 riot ; the laft is Ceres going Down, cover’d with 
 a Veil by a little Genius; of This my Father 
 has a Drawing by Bolydore. There are a pret- 
 ty many Figures ; they Rife, andDefcend gra- 
 dually. 
 
 A large Urn, Bas-Relief almoft Flat; ’tis 
 Foliage, and Animals; the Same, or extremely 
 like a Fine Drawing of Giulio which my Fa- 
 ther has. This was taken up out of the Sepul- 
 chre of the Familia Vibia. 
 
 The Columns here are fine, and all Antique, 
 and almoft: as large as thofe of the Rotunda ; 
 They were taken out of the Temple of Mars, 
 as alfo the Architraves, which are Exquifite 
 Work, adorn’d with Foliage, and Animals like 
 thofe juft now mention’d. That of the Ty- 
 
 ger 
 
( 288 ) 
 
 get coming out of a Foliage of Giulio (another 
 Drawing which my Father has) is there. There 
 are a vail many Boys to the Middle, and lo 
 ending in Leaves, as in other Drawings of the 
 lame Mailer in my Father’s Collection. 
 
 Ovid’r Tomb. 
 
 Is near the Banks of th zTyber, about three 
 Quarters of a Mile out of the Town ; but that 
 Noble Trealury of Antique Painting (lb well 
 known by the Prints oiBeter Sanffa Barto- 
 li, to whom we are greatly beholden for This, 
 and many other of his Works) is now in a 
 manner utterly loll ; whether for Want of Care, 
 or Otherwife I will not lay, but ’tvvas left o- 
 pen, and People were allow’d to do what they 
 pleas’d there. Tramontanes would have beeii 
 reproach’d forThis as mere Goths. Nor isThis 
 the only Inltance of This kind of Carelefnefs 
 by a great many ; the like is frequently leen 
 in Italy. 
 
 Drawings o/'Cav. Benedetto Lutti. 
 
 This Collection is very Numerous, I believe 
 he may have near 3000 of almoll All theMa* 
 fters, except the Old ones, Thofe Anterior to 
 the Raffaele- age ; of thefe I don’t remember 
 that he has Any, Except of LionardodaVinci. 
 
 Among!! the reft he has leveral that my Fa- 
 ther allb has ; Not that Either has Copies, but 
 they are Repetitions of the fame thing fome- 
 thing vary’d, as is not Unulual with the Bell 
 Mailers of the Bell Age ; Lels fo than with 
 Thofe of Later Times. 
 
 A Head 
 
( 28 9 ) 
 
 A Head of Artus. My Father has another, 
 I have feen feveral Originals. 
 
 Hope painted in the Scalzo , Bl.Ch. Bad" 
 Air. 
 
 Jofephm the Salutation, Bl.Ch. Lefsthan 
 my Father’s, but Good. 
 
 The Figure in the Baptifm, Back turn’d, > 
 Naked below: Larger than my Father’s, but 
 not fo good. Both thefe laft alfo in the 
 Scalzo. 
 
 When Mr. Clofierman was in Rome about 
 20 Years ago he bought of Carlo Marat his 
 Collection of Drawings; Part of the Money 
 was paid, the Reft was to be remitted, and the 
 Drawings Then deliver’d. In th q Interim the 
 Pope hearing of it, Secur’d the Drawings; Or- 
 der’d Mr. Clofterman his Money again, with 
 Intereft, and Annul’d the Bargain. This Col- 
 lection is Now that of "Don Albania 
 
 Nuncio at Vienna when I was at Rome : which 
 Abfeiice of His prevented my feeing thefe 
 Drawings, for they were Lock’d up, with the 
 reft of his Collection, (except fome Antiques 
 he had order’d to be bought after his Depar- 
 ture.) What Thefe are I therefore cannot fay ; 
 But befidesThis, Cav .Lnttf s is the Only Col- 
 lection of Drawings I could hear of in Rome. 
 And as for Prints of Marc Antonio, or the O- 
 ther good Gravers of That time; or of Tar- 
 meggiano, the Carracci , or Guido , (Thole of 
 This Collection Excepted) They are Gone as 
 well as the Drawings. The late Lord Sommers 
 fhew’d my Father feveral Years fince a Pefl, 
 as the Belt he faid could be gotten for him 
 
 U There 
 
 Leonardo, 
 
 And, del Sar- 
 to. 
 
( * 9 ° ) 
 
 There feveral Years before that, and ’twas a 
 very Indifferent one, which my Lord knew 
 very well. After I have laid Thus much, it 
 will not be expe&edl Ihould lay there are ma- 
 ny Connoijfeurs in Rome ; Cav. Lutti is One : 
 Or that there are many Lovers ; Cav. Lutti is 
 One of Thofe too ; a very Hearty one, and 
 Extremely Obliging. The whole Nation have 
 a lort of Love to what they call the Virtu , 
 and Know Something of it ; and Here almolt 
 Any of Them that did but Pretend to be a Con- 
 noifeurwoxdd pals for a very Great One with 
 Thole who are not Really lb; though in 
 Truth Few Such are to be found Any where, 
 but Fewer in Italy, or in Rome, than in Some 
 Other Places where they are Lels expected to 
 be. 
 
 The Temple of Sibylla Tibertina juft by the 
 Cafcade ^Tivoli.- 
 
 Over the Capital of the firfl; Pillar of the 
 Arch are theft Words, not taken notice of by 
 any Author that I know of, 
 
 L. GELLIO. L.F. 
 
 From this Temple one fees the Cafcade of 
 Tivoli on One fide, on the Other is the Villa 
 of Catullus ; and beyond it that of Horace. 
 
 In the Monaftry built upon the Ruins of the 
 Villa of Cicero at Grotta Ferrata, a few 
 Miles from Rome. 
 
 Dominkhmo. Here are fDominichin' s bell Works; One 
 of which, where St. Nilo meets the Emperor 
 
 QthOf 
 
( 2 9 I ) 
 
 Otho , confifting of a great mafty Figures my 
 Father has the Drawing of. 
 
 The Caprarola near Rome. 
 
 This Palace is thus call’d from the Suck- 
 ling of Jupiterby a Goat, which they fay was 
 in the Mountains furrounding this Place, asal- 
 fb that he was Born here. ’Twas built by Vig-> 
 nola for the Cardinal Farnefe, and is an Intire 
 Study of Architecture, recommended as fuch 
 by Bernino. ’Tis now Uninhabited, and has 
 been fo for a long time. The Paintings are on 
 the Ceilings, and Sides of the Rooms, and done 
 by Taddeo Zuccaro.> affifted by his Brother 
 Frederico. 
 
 The Defign for one Room, That intended 
 for the Cardinal’s Bed-Chamber, was given by 
 Annibale Caro by the Cardinal’s Order, as ap- 
 pears by a * Letter to Taddeo Zuccaro , Dated at 
 Rome zNov.i$6z. ’tis very long, and parti- 
 cular. 
 
 In the firfi great Hall , dud the other four 
 Rooms contiguous are 
 
 Various Reprefentations of the Seafons of 
 the Year. In that of Autumn is the Baccha - 
 7iale , of which my Father has the Drawing. 
 The Whole is enrich’d with Ornaments, and 
 Grotefques, all Antic a> as beautiful as thofe 
 of Bierino,, and altogether as fine as any in 
 the Vatican*, and in the fame manner. 
 
 * De le Lettere Familiari del Commendatore Annibale Ca- 
 ro, Vol, i, 29 6« 
 
 u i 
 
 Taddeo Zucc. 
 Fred. Zucc. 
 
 Here 
 
( ) 
 
 Here is alfo the Birth of Jupiter , &c. 
 
 In the Chapel. 
 
 Some Hiftories in Medallions, one of which 
 my Father has the Drawing of. 
 
 Salone. 
 
 Actions of the Houfe of Farnefe. 
 
 On one fide of the Floor. 
 
 OBavianus Farnefius Camerini Flux 
 Margaritam Caroli V. Imperator. Filiam 
 Faulo III. Font. Max. Aufpice fhi defpon- 
 dit An. Sal.1539. thePope joins them. 
 
 On the other fde. 
 
 HenricusW. Vale f us Gal It a Rex Horatio 
 Farnefo Cantii F)uci Fianam fil. in Mat. 
 Co lloc at. An. is $%. My Father has theDraw- 
 ing. 
 
 On the fde Wall. 
 
 Francis 1 . receives Ch. V. and Card. Alex. 
 FarnefeCegaternFaris. My Father has the 
 Drawing. 
 
 Over-againft this 
 
 Cardinal onHorleback, fix Youths on Foot 
 by him. Infcrip: Meeting of Card. Alex. Far- 
 nefe with the Emperor CharlesY. and Fer- 
 dinand King of the Romans. My Father has 
 the Drawing. \ 
 
 Anti-Chamber. 
 
 Char lesY .and Franc. I. joinHands; Pope 
 Faul III. (Farnefe) between them; Several 
 others. The fineftGroupe of Portraits I have 
 feen of th zZuccari. 
 
 8 
 
 Stanza 
 
( z 93 ) 
 
 Stanza dell ’ Opificio di Lana frdgli Antichi . 
 
 In a Lozenge, ’one on a Tree gathering Fruit, 
 another below, &c. My Father has the Draw- 
 ing ; as he has alfo of fome others of thefe 
 Hiftories, but not remembring that he had 
 them when I faw the Pidures, I did not in- 
 form my felf what the Stories were. 
 
 Hall of Maps. 
 
 Americas Vefpufius , and Ferdinand. Ma - 
 gellanicus , the fame as the Drawings my Fa- 
 ther has. 
 
 St. Peters. 
 
 The Bark of Giotto in Mofaick is over the Giotto . 
 Pillars, and in the infide of the Portico , fo 
 that’tis feen at a great height as you come out 
 of the Church to go into the Piazza : ’Tis ve- 
 ry Beautiful, and much better Colour’d than I 
 imagin’d: The Fifherman is the Beft Figure, 
 and is really fine. My Father has the Drawing, 
 but without that Fifherman. My Lord Pem- 
 broke has one more Perfed. 
 
 There have not been many Pidures in this 
 Church, and of Thofe there are few remaining, 
 theDampnefs of the place (occafion’d by the 
 Thicknefs of theWalls, which So keepoutthe 
 Heat of the Sun, that when you enter it you 
 always feem to have chang’d the Climate , 
 This) having been found Mifchievous to them, 
 
 Care has at laft been taken of Some, by re- 
 moving them, and putting Copies in their 
 places. 
 
 The 
 
Guercino, 
 
 Lanfranco. 
 
 Bernini. 
 
 ( 2 94 ) 
 
 ’ TheS.Tetronella of Guercino is ftillhere, 
 5 Tis a vaftly great Pi&ure with many Figures. 
 The Story is the putting the Saint into her 
 Grave ; Chrijt is in the Clouds, with Angels 
 and Cherubims receiving her, where fhe is a 
 Lovely Figure. The Italians at prefent are on- 
 ly fond of the Black, Strong manner of Guer* 
 cino ; and this Picture, one of the mod Ad- 
 mir’d in Rome is of This fort, and ’tis indeed 
 mar velloufly Strong, and finely Colour’d, if 
 what is fo Black, and Difmal can be fo ; to Me 
 
 I muft own ’tis Difagreeable* but I have 
 
 taken the Liberty to give my Thoughts on this 
 Matter heretofore,/^. 99. 
 
 Chrift walking on the Water, and laving 
 St. Refer who attempted to do the like ; the 
 Figures much bigger than the Life ; the Co- 
 lours chang’d fo that the Mafles are feen in- 
 deed, but little of theTinbb. My Father has 
 the Drawing. 
 
 All the World knows there are in this 
 Church many Rich, and Beautiful Altars, Mo- 
 numents,^. a Particular of which Father Bo- 
 nani a Jefuit has given in aZ/^/i^Folio, a De- 
 fcription only of this Church. It has alfo been 
 defcrib’d by Prints which are well known. I 
 will therefore only mention two, or three Par- 
 ticulars. 
 
 The Monument oPVrbanMlll. ( Barber ini) 
 the Bees (the Arms of that Family) wandring 
 about the Tomb ; one of the Virtues there re- 
 prelented is Charity, but ’tis very Un- Antique. 
 In endeavouring to make the Marble appear 
 Soft, and Flefhy, the Sculptor has fallen into 
 
( * 9 5 ) 
 
 the Fault of Rubens, particularly in the Hands, 
 which are too Fat, andClumfy, tho’otherwife 
 Gentile. 
 
 A worfe Fault is in the Monument of Alex- 
 ander VII. fChigiJ the Charity There has 
 Breads which hang down, and are much too 
 large. 
 
 In the Church of St. Pietro in Vincoli. 
 
 The Statue of Mofes Sitting : as it is very 
 Famous, ’tis doubtleis very Excellent ; a cer- 
 tain Greatnefs of Style throughout in the Idea, 
 and in the Execution, and which is always 
 found in the Works of Mich. Angelo muft ne- 
 ceflarily make it fo ; ’tis feen in lome mealure 
 even in the Prints which are well known. But 
 I cannot forbear fanfying it has a Fault which 
 has not been taken notice of by an) 7 body that 
 I know of, and yet it ftruck me immediately ; 
 and upon my mentioning it to lbme very In- 
 genious Gentlemen that were viewing it with 
 me, they all agreed my Obfervation was juft. 
 Everyone knows the old Conceit that all Hu- 
 man Faces have a Refemblance to thole of 
 fome fort of Animal, fome more, fome lels ; 
 and when this Refemblance is very remarka- 
 ble, it muft needs be proportionably a Defor- 
 mity. Now this Mofes has lo much the Air 
 of a Goat, that either Mich. Angelo intended 
 it, (which he was as likely to be Guilty of as 
 any Man) or he Miftook his Air, and inftead 
 of railing it to the top of Human Nature as he 
 ought, has lunk it towards Brutality. The Airs 
 one lees in Prints are hardly ever to be de- 
 li 4 pended 
 
 Ditto, 
 
 Mich . Angelo, 
 
( ) 
 
 pended on, they feldom Reach the Character 
 in any Degree, and very often never ib much 
 as Enter into it. My Father has a Drawing of 
 this Celebrated Figure, which feems to be of 
 the Hand of Sebaftian del Biombo ; This will 
 in fome meafore juftify my Thought, but nei- 
 ther does This by any means reach that Vio- 
 lent Expreffion which one finds in the Statue 
 it felf; To which I appeal. 
 
 Antique. 
 
 Ditti. 
 
 Villa Borghefe. 
 
 r Y 
 
 This Villa takes in a Circuit of three Miles, 
 the Garden is very Large, and cut into Vijloes, 
 which come from the Palace, vaftly Great, 
 and Beautiful, and full of Antique Statues ; the 
 Walls on all Sides are cover’d with well cho- 
 len Bas-Reliefs , and fronted with Antique Sta- 
 tues; the Palace is full of luch, and of Fine 
 Pictures, ’Tis juft out of the Borta del Bo- 
 polo, 
 
 Cams Martins, and his Mother Veturia, 
 an Excellent Groupe. My Father has a fine 
 Drawing of it by Girol. da Carpi. 
 
 Seneca in the Bath ; Prodigious Expreflion 
 of a Weak Old Man! He has loft fo much 
 Blood that he can hardly lupport himfelf up- 
 on his Legs, which bend, and give way under 
 him- His Ajr is Savage, and very Dilagreea- 
 ble ; fo that if this Statue has any F ault, 1 think 
 it is that he feems to be a Criminal that has 
 been long kept in a Dungeon before his Exe- 
 cution ; for his Hair is all negledted, and na- 
 fty, and his Face, and the whole Figure has an 
 apparent want of Dignity ; tho’ perhaps fome- 
 
( 2 97 ) 
 
 thing of this may be owing to the Colour of 
 the Statue (which is Black) and the Alabafter 
 Whites of the Eyes. Van "Dyck has Etch’d 
 the Bull of this, but’tis exceeding rare, I don’t 
 remember ever to have feen it, though my Fa- 
 ther has : He has however the Drawing where 
 the Head is finely finilh’d by thatMafter, and 
 another, (a Slight one only) by Rubens. 
 
 "David going to fight with Goliah. This Eemini. 
 Statue is Extremely Light, as well as the 
 
 JEneas carrying Anchifes , but I think much Din ^ 
 lefs agreeable than the 
 
 Apollo and Daphne . In comparing the 
 Beauties of feveral Statues when I was giving 
 an account of thole in the Palace Farnefe , (fee 
 134.) I aDefcription of this exqui- 
 
 fiteGroupe, which therefore I will not repeat 
 here. What I have to add is, that as theMeta- 
 morphofis is juft begun, the Bark covering 
 fome parts, and the Branches fprouting from 
 the Extremities, the whole Figure rifes with 
 fuch a Tree-like Sweep as at once is very Beau- 
 tiful, as well as finely imagin’d : And not on- 
 ly the Sweep of the Figures, but theRaifingof 
 the Arms above the Head, and her Feet being 
 put upon a Ground fomething higher than that 
 on which Apollo is, fo as to bring her Head a- 
 bove his, All humours the fame Thought. 
 There are two other Particulars which I will 
 not omit ; one is, that when this Groupe is 
 fhewn they ftrike it with a Key, or fome fuch 
 thing, and it rings as if ’twas of hollow Metal. 
 
 The other, and much more confiderable is, that 
 Bernini was but 1 8 Y ears old when he did it. 
 
 Gladiator 
 
Antique. 
 
 And. Sac chi. 
 
 ( 1 9 8 ) 
 
 Gladiator going toftrikehis Adverlary. For 
 this purpofe he fprings forward, andgives him- 
 felf the utmoft Force that a Body io Robult, 
 and Well fet as His is capable of. The Strength 
 of the Hercules is of Another kind : He ap- 
 pears by his own Native Force to be able to 
 crulh any thing that refills him ; and one is 
 fure by only feeing That Figure, thatwhoever 
 comes again!! him will be immediately Finifh- 
 ed ; But the Gladiator who is much Lighter 
 built gives Himfelf fuch Activity, and Elalti- 
 city, that all hisMulcles leem to tremble with 
 Eagernels : And tho’ they would Equally be 
 M"\&OT\ovL$iHercules would be lo by the mere 
 Lourd Weight of his Blow, but the Gladiator 
 by that Vigorous Spring of His. 
 
 This Statue is the Work of Agatius an E- 
 fhefian , ’tis thought to have been in the Gar- 
 dens of Nero in Ant turn, amonglt the Ruins 
 of which it had been bury’d ’till the time of 
 ‘PaulV. who came to the Chair ^.1566. 
 
 Church of « 5 V.Romualdo. 
 
 At the Great Altar is theTitular Saint of this 
 Church, Dying ; a Celebrated Work of An- 
 drea Sac chi ; and remarkable not only for its 
 Excellence, but becaule ’twas in a great mea- 
 fure Stolen from a fmallGroupe in the Corner 
 of a Picture of * Cavedone in St. Michael in 
 
 * He was of the School of the Carracci ;, and a very 
 confiderable Matter ; but whether from a Fright, or Affli- 
 ftion, or both, he fo loft himfelf that he not only could 
 not Paint in any degree like what he had done, but he 
 would look upon his Own former Works, and afk if they 
 were of Cavedone : After a Miferable Life, he dy’d in the 
 Srreet of Age, and Penury. 
 
 Bofco. 
 
( 2 99 ) 
 
 Bofco. TisThat where the Angels are carry- 
 ing the Soul of St. Benedict into Heaven. 
 
 This is the more remarkable becaufe the 
 Theft was fo eafily difcover’d, being from a 
 Picture then lately done, and in a Place well 
 known. 
 
 Balazzo Bamfilia. 
 
 TwoRitrattoes, Bartolus , and Baldus,fa- Raffaeie. 
 moff. Giurifconfulti. Prodigious Nature ! e- 
 fpecially in the Looks and Spirit of the Eyes ; 
 pretty much Finilh’d ; Hands, and Drapery 
 Natural, and not Ricercato ; All fubfervient 
 to the Faces: which are Colour’d like Titian , 
 
 (as are thofe ofMachiavel, and Cardinal Bor- 
 gia in 'Pal. BorgheJe.J One has a Beard which 
 is only flung in, in a Broad manner, whereas 
 Raffaeie us’d to mark the Hairs with the 
 Point of the Pencil even to a Fault : Black 
 Caps, Green Ground. 
 
 Soldier, and Young Man; the lame as the Giorgion. 
 Print of D .Leopold's Gallery. To make the 
 Young Man more Bright, he has made the Sol- 
 dier Faint, Dark, and Warm, and by way of 
 Ground; the other very much Finilh’d, and 
 with a vaft Force of Colour, with great Vari- 
 ety, but much wrought in. 
 
 InnocentW . (TamfilioJ Infinite Force, and Don Diego 
 great Variety of Tindls, Unmingled. A Good la h ues - 
 Pi&ure, but lefs Judgment than Fire. Enrage. 
 
 He has not obferv’d what Guido in the Picture 
 of Cardinal Spada, and V.TOyck in his Benti- 
 i voglio has, that is, to make the Linen TranF 
 parent, which not only is more Natural, but 
 r ’tis 
 
( 3 00 ) 
 
 ’tis thereby united with the reft : Here ’tis a 
 Terrible Spot, and unavoidably draws off the 
 Eye from the Face. My Father has this Head 
 finely done in Crayons by Ant.Criccolini at 
 Rome ; as many others iby the fame Hand, 
 chiefly after Guido ; and thofe Cholen, and 
 from his moft Celebrated Pi&ures. 
 
 Rembrandt. There is by it a Ritratto of Rembrandt , 
 much of the fameCharadfer as to the Diftindt 
 manner of Colouring, and Bold Pencil ; but 
 Excels it even in Force, and incomparably in 
 Harmony, and the Beauty of the feveral 
 Tindts. 
 
 pamtiitano. Saint Beheading, as in the Prints ; Well Co- 
 lour’d for This Mafter ; in other reipedts his 
 Drawings are preferable. 
 
 In the Garden. 
 
 Is a Bas-Relief of a Rerfeus and Andro- 
 meda in a very particular manner : theMon- 
 fter is kill’d, and lies at their Feet, and he helps 
 her down from the Rock to which Ihe had 
 been ty’d. She is clad, and He naked. Admi- 
 randa , N°.34. 
 
 Ral. Lodouijlo. 
 
 Dominkh. Cardinal Lodouijlo coming to the Pope his 
 Unkle ; an Admirable Pidture ! but ( as His 
 very often does) it wants the fine Union of 
 the Figure with the Ground, which is the Fault 
 too of Albania otherwife the Expreffion as 
 Fine, and Touching, as Ufual. This, as almoft 
 all of this Mafter, is extremely Finifh’d, but 
 the Labour Appears, and warits that happy 
 
 Dilguife 
 
C 3 01 ) 
 
 Dilguife of Guido, Lodouico Carats , and Cor - 
 
 reggio. 
 
 Myrmillo Dying, has the Strongeft Exprefi Antique, 
 fion of any Statue I have leen : He leans up- 
 on one Arm which gives way a little to the 
 Weight of his Body, which evidently has no 
 Force, becaufe in that ACtion nothing can fup- 
 port it but holding his Thighs firm, and preft 
 fing his Legs to the Ground, but thele Flag, 
 ana are flipping from under him, as appears 
 by their being in a Pofition they can’t hold, 
 his other Hand is juft Aiding off his Thigh : 
 
 His Mouth is a little open, and his Under Lip 
 hangs ; His Eyes are naif clos’d, but incline 
 faintly on one fide towards the part where his 
 Body goes to fall : His Hair is Ihort, and clot- 
 ted, and he has a Rope about his Neck, which 
 adds extremely to the Pity we conceive for 
 him : Under his Breaft is a large Galh. See 
 the Print in Terrier. 
 
 Tat. Talavicini. 
 
 Here is the fineft Collection of Landlkips cl. urram. 
 in Rome. Th ePou d !ns - 
 
 In the Gallery. 
 
 Salv. Roja. 
 P. Bril , 
 
 Gibier kill’d, a Dog fleeping by them, &e. Snyders • 
 extremely fine in the kind. 
 
 Our Lord lyingDead; the Blefled Virgin is Guidt. 
 flung upon the Ground by his fide ; her Face 
 is prefs’d upon his Head, and almoft Hid. An 
 Angel has juft taken a long crooked Nail out 
 of one of his Feet, and Inews it to another 
 who burfts into Tears. Admirable! 
 
 Gapucini 
 
Guido, 
 
 ( 3 °* ) 
 
 Capucini Roma. 
 
 Guido is faid to have drawn the Cardinal 
 Tamfilio (who was afterwards Pope) in that 
 Devil under the St. Michael in that famous 
 Picture in this Church ; lb the Report ran ; 
 and he was well known to hate him fufftci- 
 ently upon a particular Account, having laid 
 leveral Bitter Things of him : However Gui- 
 do complain’d of the Injury pretended to be 
 done him by this Report, and Swore he had 
 not the lean: Thought of liich a thing when 
 he painted that Devil, and that he had not the 
 extreme Ralhnefs to affront fo Great a Man 
 in a Picture that was to remain in Rome : 
 That he only defign’d to make the Devil as 
 Hateful, and Difagreeable as he had made the 
 Angel Amiable ; but that if the Pi&rure hap- 
 pen’d to referable the Cardinal, ’twas not He 
 that was to be blam’d, but the Cardinal’s De- 
 formity. See Malvafia, Part 4. p. 35". This 
 puts me in mind of a Man of Quality, who 
 finding his Own Character in a Vile one of 
 Hudibras , when he law the Author he Ac- 
 cus’d, and Menac’d him upon it. My Lord 
 (lays Butler) I did not mean your Lordlhip 
 when I drew that Character, but if ’tis found 
 to be Yours, ’tis no Fault of Mine. 
 
 W e Boots Sales-men are of Wit, 
 
 We make our Clothes for them we fit. 
 
 The Devil in this Picture is not a right Idea 
 for the Subject, he ought to have an Air of 
 Conlequence, but he’s Infipid here. The An- 
 gel is in the utmoft Perfection, and has that 
 
 <■ marvellous 
 
C 303 ) 
 
 marvellous Lightnefs that is in the Apollo of 
 Bernini in theGroupe of the Villa Borghefe, 
 and the utmoft Beauty, and Propriety of 
 Tincfts. The Air is Heavenly, but I think not 
 altogether Proper in This place : He has an 
 Ardent Zeal, but ’tis with iuch a Mixture of 
 Effeminacy as agrees not well with his pre- 
 font Adtion : Here he fhould have had an Air 
 of Force, and Authority, fbmething like one 
 founding the Trumpet at the Laft Day, where- 
 as his Countenance is as Soft, and Mild, as an 
 Angel attending the Virgin in the Aflumption. 
 
 The Church of St. Girolamo della Carita. 
 
 St. Jerome Dying, Figures as big, or bigger nommlMm. 
 than the Life ; the Saint finks down, and dies 
 all over : His Mouth juft opens, and his pale 
 Chin falls upon his Macerated breaft : His 
 Eyes look up a little, but thofe Eyes have no 
 Speculation. They Had Devotion in them, 
 but all Thought feems now to be going. All 
 this is Finely, and Artfully heighten’d by a 
 Woman on her Hands, and Knees, lifting up 
 his Feeble Arm,andkifting his Hand withgreat 
 Fervency, and Refpedr. 
 
 Church of St. Maria Traftevere. 
 
 Aflumption of the Virgin ; ’tis I think the vine. 
 
 Bell of thisMafter in Rome, not excepting the 
 St. Jerome juft now mention’d; tho’ indeed 
 one can’t decide pofitively upon two Pictures 
 of fitch Different Subjects : Surely the Expref- 
 fion of St. Jerome touches the Heart as tho- 
 roughly as the Blaze of Glory about the Vir- 
 
 8 gin, 
 
( 3°4 ) 
 
 > 
 
 \ 
 
 ^ / It 
 
 ■ A< i 
 
 gin, and the Officious Duty of the Angels,- and 
 her own Awful Majefty, and Model!: Joy 
 ftrikes the Imagination ; One excites Pity, and 
 Devotion, as well as the Other Reverence, 
 and Exultation. She is in the midft of the vaft 
 Golden Roof of the Church, and whilll no- 
 thing takes off your Attention, Ihefeemsin- 
 lenfibly to glide up, and lole her felf in the 
 Heaven of Glory that fin-rounds her. This is 
 Brightnefs ; St. Jerome is the Reverfe ; all is 
 Melancholy ; and while every one about him 
 is folicitous, and attentive on his Crifis, he 
 feems to be juft lofing all Sentiment, and ex- 
 piring. My Father has the Drawing of this 
 Aflumption. 
 
 Lanfranc , and the other Enemies of 'Do- 
 minic bin , reproach’d- him as haying in this 
 Picture of the Communion of St. Jerome fto- 
 len from '‘Aujlin Carr at s, which however is 
 not True; the Stories being the Same, tnere 
 muft be fome Relemblance in the Pictures, 
 but there is great Difference ; not one Atti- 
 tude, or Expreffion is the lame befides what 
 was Unavoidably fo. The Principal Figure is 
 greatly different ; Agoftiris Saint is a Man 
 that one would believe might have liv’d lon- 
 ger ; This cannot poffibly, which is therefore 
 not only more Juftly Thought, but much more 
 Touching, and confequently has more the Ef- 
 fect a Picture of Devotion is intended to have. 
 
 But what if Dominichin had taken fome- 
 thing from Agojiin ? what if a Man finding 
 his Talent was not Invention, but Im 
 
 upon that of Others ? he is furely in t ^ 
 
 to 
 
( ,?OJ ) 
 
 to apply himfelf to what he finds himfelfcjud- 
 lify'd for; ’tis what the Greateft Men in O- 
 ther Arts as well as This have done. Nor is 
 One Talent Ids Excellent than the Other. Nei- 
 ther of the Artifts indeed are to be Commend- 
 ed for what they have Not, let them however 
 be fo for what they Have. 
 
 In Felfina Tit trice. Part 4. p. 3 1 8 . is a far^ 
 ther Parallel of thefe two Communions of A- 
 gojiino, ^oMDominichino, and very Severely 
 on the Latter ; Tho' at the fame time he fays 
 that TouJJhh and Andrea Sacchi us'd to Equal 
 it to the Transfiguration of Rajfaele , and the 
 Latter even to PreferThis: and both Parties 
 may be in the Right ; The Picture may have 
 thofe Hardnefies, and Improprieties as Mai - 
 va/ia fays it has^ and that Fine Expieffion, 
 and Other Beauties* as gave occasion to the 
 favourable Judgment given tipon it on theO- 
 ther fide. 
 
 Villa Aldobrandini, of the Tr. Pamfilia. 
 
 The Marriage of Aldobrandini is an An- 
 tique Ffefio, well known by the Print of 
 Tietro Smith Bartoli,Tha.t in the Admiran- 
 da> &c. 'tis inferred in the Wall in the infide 
 of a Summer-houfe in the Garden; the Figures 
 are about a Foot long. I have leen alhortMa- 
 nufcript Difiertation by Father Refta a late 
 Virtuofo at Rome , where he endeavour'd to 
 prove (Probably, which is all he pretends to) 
 that 'twas painted in Rome by a Greek Paint- 
 er,. and he thinks that Painter was Apelles , 
 who (he lay s) was at Rome. His Proofs are, 
 C , . X that 
 
( ) 
 
 that when ’twas found in the Pontificate of 
 Clem. VIII. about the Year 1600, ’twasThen 
 judg’d by the Antiquaries to be about 2000 
 Years old, which brings it to the Time of A- 
 pelles , and a time in which Painting was Loft 
 in Rome ; it muft then be of fome Foreigner, 
 This could be no other than a Greek ; and A- 
 felles having been There, and the Work wor- 
 thy of his Name; Ergo. — ’Twas found in Mon- 
 te Quirinale in digging for the Foundation of a 
 Palace. I confider’d it very near upon a Lad- 
 der as well as at a diftance. The Figures are 
 about a Foot long; ’tis much hatch’d, and the 
 Out lines, and Folds of the Drapery not Al- 
 ways, or not Well determin’d, nor with a Beau- 
 tiful Contour, but with a fort of Worminefs 
 difagreeable enough. As for the Colouring, 
 whatever it Has been, ’tis Now lo decay’d that 
 no Beauty remains. The Women playing on 
 Mufical Inftruments at one end are almoft 
 gone, and look Dirty. Near, the Airs of the 
 Heads are not Fine; nor are the Lights, and 
 Shadows diftitnft, but confus’d : At a Diftance 
 the Clatr-Obfcure is Improv’d, and the Airs 
 are Fine, as are moft of the Attitudes. There 
 are leveral Copies of This to be feen here. 
 
 f 
 
 Madonna del Popolo. 
 
 Cap ell a della Cafa Rouere. 
 
 pinturicchh. Fi?ft Altar on the Right-hand is the Rree- 
 fepe, of which my Father has the Draw ing : In 
 a very good Manner. ’Twas before he paint- 
 ed the Library of Sienna upon the Defigns ©f 
 . < Rajfaele, 
 
( 3°? ) 
 
 Rajfaele^ and which (befides the other Ad-* 
 vantages) is the beft Colour’d of any thing he 
 has done, and is moreover in perfed Prefer- 
 vation. 
 
 In the Pidure of the Council he is faid to 
 have been affifted by Rajfaele himfelf. 
 
 The next Chapel (that of Cardinal Cibo) is 
 alfo painted by Him in the fame manner. 
 
 Capella ChigL 
 
 All the Hiftories and Ornaments are of the R*ffaek„ 
 Defigns of Rajfaele ; the Altar-piece is of Ba - Baji. del pl+ 
 jlian del Tiombo , but not Agreeable ; and the ombo > 
 Other Pidures, and Mofaicks , are Executed 
 Indifferently. 
 
 Sir Nicholas'Dorigny has given us Prints of 
 the Planets which are on the Ceiling, and 
 which are done as feen di /otto in fu. ‘ By 
 Thefe Prints theNobienefs of the Defign evi- 
 dently appears. 
 
 There are four Statues* One at Each Cor- 
 ner of this Chapel. Th zElias, zn&Jonas, from 
 the Defigns of Rajfaele , are Executed by Lo- Zorenzetto. 
 renzetto a Florentine very finely : The other 
 two are of Cav. Bernini , not his Beft. Bernini . 
 
 The Church of St. Ifidore, thelnQi Church. 
 
 The Death-bed of St.Jofeph , one of the carlo Marat. 
 moft Celebrated Pidures of Carlo in Rome , 
 though done when he was a Young Man : my 
 Father has the Drawing of this. 
 
 Monte Cavallo, or Monte Palatino* 
 
 Before the Pope’s Palace where he now com- 
 X % monly 
 
( 3° 8 ) 
 
 monly re fides (land the two Horfes each with a 
 Figure, fuppos’d to be made, the one by Phi- 
 dias , the other by Praxiteles-, and that both 
 are Alexander with Bucephalus ; and thus it 
 was laid in Modern Infcriptions upon them, 
 which have been eras’d fince ; and only the 
 Names of thofe Sculptors are now put to 
 them as they Were anciently; whether Thole 
 Were Genuine, or no, the Work is Believ’d 
 to be Theirs ; but if ’tis, thefe Statues cannot 
 pofltbly be Alexander , and Bucephalus , ac- 
 cording to Nardini, pag. 18 6. They are ve- 
 ry much alike, and vaftly large : Of a Great 
 Tafte, Extremely Great! but not Delicate; 
 and have been much repair’d, for they are now 
 Complete; whereas it appears by old Prints, 
 that fince they were fet up there by Sixtus V. 
 (in whole Time they were found) they were 
 very Imperfedt. Of the Horfe faid to be the 
 Work of Praxiteles , the Fore Leggs were 
 wanting, and half the Hinder ones ; almolt 
 the whole Neck, and theTail, with part of the 
 Drapery on the Shoulder of the Figure by it. 
 The Figure by the other wanted almoft all the 
 Arm on which the Drapery is, andtheHorfe’s 
 Hinder Legs were as the other, and alfo want- 
 ed theTail. Thefe Noble Statues Handing up- 
 on high Pedeftals, and on the top of a Hill 
 which over-looks Rome, have an Appearance 
 very Grand, and Awful. They were brought 
 by Conftantine the Great from Alexandria , 
 and plac’d in the midlt of his Baths which were 
 on this Hill. See Rojtnus's Antiq. pag. 13. 
 Nardini , pag. 18 6,&c. 
 
 6 The 
 
( 3°P ) 
 
 The Thermes of Titus. 
 
 We were in about z$ Chambers, in Some of 
 Which probably no Antiquary has been for 
 fome Ages ; Little is remaining in any of 
 Thefe but Scatter’d Pieces of Grotelque. 
 
 The Room where is the Coriolanus had a 
 great Range of Hiftories all round it of the 
 lame Size, about two Foot Deep, and a little 
 Longer, All are Defac’d but This, which is ve- 
 ry Dirty, and Faint. TheHiflory of Clelia is 
 juftdifcernible. My Father has thefineDraw- 
 ing of Annibale Carracci of the Coriolanus 
 done when the Painting had not been long 
 difcover’d, and was in a Much better Condi- 
 tion than Now. The Print of it in th zAdmi- 
 randa is taken from this Drawing which was 
 then in the Hands oiBellorifmccYathQt Re- 
 fa had it, who fold it to my Lord Somers , 
 from whofeSale it came where ’tis now hap- 
 pily Fix’d. The Author of a Book of Painting 
 and Poetry, Printed at Tar is lately, but writ- 
 ten many Years ago, Anonymous , fays this 
 Drawing was in the Hands of Mr. Crozat ; fo 
 I was told at Rome that Cav. Lutti had it; 
 neither ofThemfelves pretended to it; but 
 the latter remember’d it with Father Reflag 
 and a Virtuofo that I knew at Rome who had 
 been very intimate with Bellori knew it in his 
 Hands, and was prefent at his changing it 
 With jP. Ref a for other Drawings. 
 
 In this Room the Laocoon of the Belvedere 
 flood in aNichlikeaHalf Cupola chanel’d, and 
 painted between with little Flourilhes of Foli- 
 age. X 3 The 
 
( 3 IC > ) 
 
 The Trajan T i liar. 
 
 It (lands in a Small Square, and the Ground 
 all about having been Rais’d as Ulual in Length 
 of Time, and Clear’d away at the Bottom, it 
 (lands in a Hole, into which you defcend by 
 feveral Steps if you would enter the Pillar : 
 This Hole is fo Deep that at lomeDiflancethe 
 Pillar (eems to be without any Pedeftal. ’Tis 
 pity all the Filth and Naftinefs which is con- 
 tinually about it were not Prevented, or Re- 
 mov’d. The Pillar it felf has a Noble Look ; 
 and not lefs fo by being pretty much injur’d 
 by Time, and Otherwile; ’tis of a Darkifh, 
 Grey Colour ; the Work is extremely Good ; 
 not highly Finilh’d, but rather a fort of Eban - 
 che where the Great Parts are Only obferv’d; 
 the Airs of the Heads are Noble, tho’ without 
 any great Variety, there being a Manner feen 
 throughout, and fo much the Same as if One 
 Hand had done the Whole. TheExprefiionS 
 requir’d by the feveral parts of the Story ap- 
 pear in the Attitudes more than in the Coun- 
 tenances of the Figures; for here (as indeed 
 in the Bas-Reliefs Generally) the Sculptors 
 have treated their Subjects as Fliflorians, re- 
 lating only the Main Incidents, whereas in ma- 
 ny of the Single Statues they have like Poets 
 wrought up, and finilh’d their Matter with 
 gll the Particularities, and Beauties they could 
 imagine. The Figures here are a little mote 
 large at the Top than at the Bottom, but feen 
 Almofl, or Altogether Equally well; thei?£- 
 lief tho’ every where pretty High, being more 
 
( 3 1 1 ) 
 
 fb in proportion as ’tis to be feen at a Greater 
 diflance. 
 
 That call’d the 
 
 Antonine Pillar ^ 
 
 Stands in a Larger Square than the Other, 
 and is more Neatly kept. It looks not fb Old, 
 though the Difference in their Ages is fo little 
 as not to occafion That, and ’tis more Da- 
 mag’d. The Work is of the fame Kind, but 
 not fo Good, and feems not to be of fo high a 
 Relief. But poffibly that may be becaufe this 
 Pillar is not fo near the Eye, nor {landing in 
 a Hole as the Other, but upon a High Pede- 
 ftal, whofeBafis is upon a Level with him that 
 Views it; ’Tis feen however very well.; E- 
 fpecially by thofe whofe Eyes difcernThings 
 at a Dif tance ; and very Accurately with dal- 
 les from fome of the Houles adjacent, aslfaw 
 both the Pillars. I all'o went up to the top of 
 them, from whence one has fine Views of 
 Rome. The Stairs are remarkably well pre- 
 fer v’d, and un-worn. 
 
 The Statues of St. Re ter and St. Raul of 
 Brafs Gilt are on the tops of thefe Pillars, one 
 d»n theTrajan, the other on the Antonine, in- 
 llead of thofe of the Emperors which were 
 there Anciently : Thefe New Statues were let 
 up by Sixtus V. 
 
 I confefs I did not obferve it my felf; but I 
 have been allur’d by others that thele Pillars 
 are compos’d of fingle Stones pil’d one upon 
 another likeCheefes, being hollow’d, and the 
 Stairs, Windows, and Bas-Reliefs, wrought 
 
 X 4 in 
 
C 3 12 ) 
 
 in them before they were laid, as appears par- 
 ticularly by the Spiral Line that divides the 
 Bas-Reliefs , which in many places does not 
 meet that of the next Stone by a great deal. 
 
 All the Accounts given us of the Meafores 
 of thele Pillars agree that the Antonine is the 
 Largeft , but they differ as to the particular 
 Dimenfions. Pietro SanEla Bartoli , who I 
 think is moft to be rely’d on, makes theTVvz- 
 jan Pillar from the bottom of the Pedeftal to 
 the top of the Statue of St .‘Peter, to be fome- 
 thing lefs than 148 RomanYoot, whereas the 
 other is above 200; (the Monument at Lon- 
 don is rather higher.) But tho* the Trajan Pil- 
 lar is fo much Left than the other, I have hard- 
 ly met with anyone who judging only by the 
 Eye has not bcenMiftaken, as I was, who did 
 not doubt but that what is really the Leaft is 
 the Created; theReafonof which mud needs 
 be that the TrajanY\\\zx is feen vaftly Nearer 
 than the Other, the bottom of it being but a 
 little above the Eye, for the Pedeftal (as has 
 been Paid) is almoft hid, and befides the Houfes 
 ftand all round it pretty near ; whereas the o- 
 ther is in a Wide, Open place; and the bot- 
 tom of the Pedeftal is not only feen, but *tisa 
 . very Tall one, and perhaps more fo than it: 
 ought to have been, for ftis almoft yo Foot 
 high, (that of the Monument is 40.) This 
 Pillar therefore being feen at Such aDiftance, 
 no wonder the Eye is deceiv'd; Efpecially 
 When *tis farther confiderd, that tho’ there is 
 about fo Foot difference in the Whole, there 
 fs not fo much by a great deal proportiona- 
 
( 3 X 3 ) 
 
 bly between the Pillars themfelves, the one 
 being about 106 Foot, the other a little above 
 904. For the fame Reafons ’tis alfb probable 
 that the Antonine Pillar does not look foOld, 
 nor fo Auguft, as the other, as well as that its 
 Bas-Relief feems not fodeep cut, as has been 
 obferv’d already. 
 
 San Bietro in Montorio . 
 
 This is a fmall Church a little way out of 
 Rome , and from whence one has a fine Pro- 
 fpe& of the City ; but ’tis very Dark, the belt 
 Light coming in at the Door, very Difadvan- 
 tageous to the Figures ; however ’tis Beauti- 
 ful, and Magnificent Within, by theGoodneft 
 of Work, andRichnefs of the Materials of the 
 Chapels, Altar-Pieces, &c. 
 
 Over the High Altar is the Famous Transfi- 
 guration ; ’tis Painted on Board, or rather on 
 Timber, being as I remember at leaft a Foot 
 Thick, theLargenefs may be judg’d of, the Fi- 
 gures being as big as the Life : ’tis in an Old 
 Frame, probably the fame it had at firft ; and 
 is about 10, or iz Foot from theFloor. I have 
 eonfider’d it very Attentively, Near, and at a 
 Biftance. Th zToat-Enfemble is not extreme- 
 ly Agreeable ; the T wo Principal Actions, and 
 Lights, are really Chequing', much more than 
 in any Prints of it that I have feen. The Sha- 
 dows are all Alike, and in the fame Degree 
 turn’d Black ; and in fine, thePi&ure gives no 
 Plealure ’till one comes to look into the Parts 
 Nearly, Then one fees what ’tis that has made 
 jt fo Univerfally admir’d ; for befides that at 
 • ~ • Firft, 
 
( 3 <4 ) 
 
 Firflr, and before the Shadows were Chang’d 
 there was a greater Variety of Tindts that de- 
 lighted the Eye, and deliver’d it pleafantly 
 from One to Another ; whereas Now that all 
 the Shadows are alike Black, the Flefh, the 
 Reds, the Greens, the Blues, &c. which in- 
 fteadof proper Malles, and Repoles are Spots, 
 and thole not in Beautiful Shapes neither; I 
 fay befides all This, the Contours are more 
 Open, and Elegant, and the Airs of the Heads 
 are more Sublime, and Expreffive, than in any 
 other ofhisWorks Here. ’Tis painted in Oil 
 in the manner of that timeThroughly wrought, 
 and (tho’ not to the Degree as in fome final- 
 ler Pictures) the Hair, and other Particulars 
 are done with the Point of the Pencil. My 
 Father has two Drawings ; Firft Thoughts for 
 thelower part of this Pidlure; and the Print 
 is lb well known, that there needs no farther 
 Defcription. 
 
 The Principal Subject, and fromwhencethe 
 Picture is denominated (tho’ the Epilbde has 
 in a manner as good a Pretence to be So, as 
 Raffaele has manag’d it) is truly Sublime ; and 
 this great Mailer has fhewn how he was di- 
 flinguilh’d from all others for luch a one. If 
 jnllead of being Finilli’d as it Is, This Picture 
 were wrought up to the utmofl height like 
 Miniature ; if the Colouring were more Beau- 
 tiful than that of Correggio ; if the Draperies, 
 and other Ornaments ; nay if the Heads were 
 perfectly Natural, what a mean Work would 
 this be if theSubjedt was treated without Dig- 
 nity! and fo Sublimely Noble as it Is, what 
 
 Compa- 
 
( 3 1 ? ) 
 
 Comparifon is there between thofe Inferior 
 Excellencies, and This ! A Man that reads this 
 Story with Reflection will find his Imagina- 
 tion fill’d with Something Glorious, and Aw- 
 ful ; but there are very few that can carry it 
 to that height as Raffaele mud have done in 
 his Own Mind to make Such a PiCture; or e- 
 ven to what the Sight of this may raife it in 
 Minds lels fufceptible of luch Impreflions. 
 
 On the fir ft Altar on the Right-hand. 
 
 The Scourging of our Lord, by Sebaftiano set, del Pim- 
 Venetiano Prate del Riombo. This Sebaftian bo ' 
 pretended to a Competition With Raffaele, 
 and (according to Vafari) was prefer’d to all 
 the Difciples of that Great Matter after his 
 Death. Mich. Angelo Confederated with him 
 in this Concurrence, and alii ft ed him by ma- 
 king Defigns for him ; and ’twas believ’d he 
 Corrected his Pictures, by making the Con- 
 tours as he judg’d neceflary. He made (as 
 Va fari alfo fays, ‘Part 3 . i ./. 3 41 . ) a fmall 
 
 Drawing for This Chrift, from which Sebaftian 
 made a larger. Thefe Drawings my Father 
 has, together With a Finifh’d one for .the 
 whole Work. But the Picture can by no means 
 ftand in Competition with Raffaele : ’Tis true 
 ’tis much Injur’d by Time, orOtherwife; but 
 by what remains ’tis manifeft Raffaele was 
 vaftly Superior to this Confederacy. The Co- 
 louring has a Bricky Dirtynels like Red Clay ; 
 it wants Grace, andSpirit; Everything. Tho’ 
 
 Vafari fays had he never made any other 
 Work, by This alone he fhould have merited 
 
 Eternal 
 
Guido. 
 
 ( S l6 ) 
 
 Eternal Praife. I give this as Another Speci- 
 men of the Manner of the Italian Writers in 
 General. 
 
 In the Portico of the Vigne formerly of 
 Mazarine , now 
 
 Rofpglioft. 
 
 On the Ceiling is the Aurora of Guido t 
 which being pretty high, the Figures are big- 
 ger than the Life : a Gay Subject, and that Em 
 chanting Painter the fitteftof any to cxcufe it ; 
 and he has done it accordingly. ’Tis Beauti- 
 ful, Gracious, and the Airs of the Heads Ex-* 
 quifite ! 
 
 The Morning may be divided into Three 
 
 E arts ; the Dawn; the Time when the Sky 
 Tightens with the Sun Beams, it being yet be- 
 low the Horizon ; and all that from the Sun 
 rifing till Noon. Milton ddcribes all thefe 
 finely. 
 
 e'er the high Lawns appear’d 
 
 * Under the opening Eye-lids of the Morn. 
 The Grey 
 
 Dawn, and the Pleiades before him danc'd 
 
 Shedding fueet Influence 
 
 Thus fang the uncouth Swain to th'Oaks 
 and Rills 
 
 While the ft ill Morn went out with Sandals 
 
 grey. 
 
 The Morn 
 
 Wak'd by the Circling Hours with RoJyHand 
 Tinbarrd the Gates of Light. 
 
 How 
 
( 3*7 ) 
 
 Now Morn her Rojy Steps in tti Eaftern 
 Clime 
 
 Advancing fow’d the Earth with Orient 
 ‘Pearl. 
 
 ■ the Sun who fcarce up ris’n 
 
 JVithJV he els yet hov’ring o'er the Ocean brim 
 Shot parallel to th’ Earth hisTOewy Ray 
 c Difcov’ ring in wide Landfkip alltheEaJl 
 OfParadtfe , and Eden’s happy Plains. 
 
 So Jinks the c Day-Star in the Ocean bed % 
 And yet anon repairs his drooping Head^ 
 And tricks his Beams , and with new fp an- 
 gled Ore 
 
 Flames in the Forehead of the Morning Sky. 
 
 ForThefe three Parts oftheMorning the Ita- 
 lians have as many Names, Albe, Aurora . , 
 and Mattina ; and all thele are exprefs’d in 
 this Picture : the Firft by a Cupid bearing a 
 Torch reprefenting the Morning Star, which 
 is very bright at the firft opening of the Day ; 
 Aurora , a Figure of a Young Woman in the 
 Clouds drefs’d in White and Yellow carrying 
 Flowers ; and laftly Apollo in his Chariot 
 drawn by fierce dappled Horfes, pufhingaway 
 the Clouds, and lubftituting Glory in their 
 place ; and to exprefs the Chearfulnefs of this 
 Sweet Time, the Hours Hand in Hand come 
 on with great Alacrity. They are young 
 Nymph-like Figures that almoft encompals 
 the Chariot of Apollo , and make a principal 
 part of the Beauty of this Lovely Picture. 
 
 How 
 
( 3 l8 ) 
 
 How many Fine Pictures, and Beautiful 
 Pieces of Poetry are owing to the Invention 
 of P cr font zing Things! The Description of 
 the Forms, Habits, Arms, &c, of thefe Feign’d 
 Beings, and their Difcourfes, and Adtions fay 
 as Much, or More than plain Narration, but in 
 a manner vaftly more Entertaining : And in 
 Painting, and Sculpture fuch Figures exprefs 
 That mofl Delightfiilly which Thofe Arts can- 
 not Otherwife exprefs at all. There are in- 
 numerable Inflances of This kind; a Colle- 
 ction of Some of them, with proper Refle- 
 ctions, might be a ufeful Work. If I had Lei- 
 fure, and wasQualify’d for it, I know not any 
 thing that could be a more Delicious Amufe* 
 ment than to compofe fuch a one. 
 
 There is one Image in a Poem little known, 
 (’tis the Lujiad of Camoens, in Tortuguefe ) as 
 fine as any I remember in its kind. The Sto- 
 ry is the Expedition for the Difcovery of the 
 IVeJl-lndies ; they found a dangerous Pro- 
 montory in their way, and ’tis deferib’d Can- 
 to 5. Stanza 37, &c. ’Tis introduc’d by fay- 
 ing there firfl appear’d over their Heads avail 
 great Black Cloud, then comes the Figure, a 
 Human Form ofaColoflal Height in a Mena- 
 cing Attitude, his Face envellop’d with a Cloud, 
 through which is feen his Hollow Eyes, Black 
 Mouth, double Row of Teeth, Dropping 
 Beard, Hard, Curl’d Hair, Clotted with Dirt 
 and Clay, and an Earth-Colour’d Complexion. 
 This Fantom tells them in a Hoarie Voice, as 
 from the Abyfs, what Mifchiefs fliould befal 
 future Fleets failing that way. Rajfaele , to 
 
( 3 T 9 ) 
 
 fay that an Earthquake happen’d at Such a 
 time, has painted a Gigantick Figure Heaving 
 up the Earth; His Look, and Attitude is Ter- 
 rible : ’Tis among the Letter Works in the 
 Vatican. And to exprefs the Rain that fell 
 (as ’tis faid) in anfvver to the Prayers of the 
 Theban Legion, the Sculptors of the Antonine 
 Pillar have made the 'Jupiter 'Pluvius a Half 
 Figure, fore-right, Arms extended, and Water 
 pouring down from every part. 
 
 But of all the Images of the Deity nothing 
 can be Nobler than that in the 18 th Pfalm, 
 where amongft other things ’tis laid, He flew 
 upon the Wings of the Wind. I wonder the 
 Painters have not made ufe of This; ’tis finer 
 than Jupiter on his Eagle, an Old Man on 
 Clouds Supported by Boy- Angels, or any other 
 that I remember to have leen in Painting, or 
 Sculpture. 
 
 Thefe are but Hints, for I find I am gotten 
 into a fort of Digrelfion. 
 
 In the Church of S. Andrea della Valle. 
 
 This Church is a very Noble one, and very 
 Light ; the Grand Cupola of Lanfranc , and lanfranc. 
 the Tribunal, or Mezzo Cupola oiHomini- 
 chin , with the Angels, and Ornaments, appear Diminkhim. 
 at one View as one enters the Church ; and 
 being very Bright, and Gaily Painted, flrike 
 the Eye, and give a vaft Pleafure from the 
 mere Beauty of the Colours. Both thefe Ma- 
 tters have here Ihewn how Great they were; 
 particularly Lanfranc forThis kind of Paint- 
 ing, which is Frefco , and at a vaft Diftance ; 
 t . Certainly 
 
Guido. 
 
 'Dcminicbin. 
 
 ( 3 20 ) 
 
 Certainly no Man evercarry’d This to a great - 
 er Perfection. ’Tis Strong, and Beautiful, and 
 to make it appear fo Below where the Behold- 
 er was to be plac’d, ’tis amazing to lee what 
 Art has been us’d in making every thing fb 
 Grofs, and Hard, lo Rude, and even Dila- 
 greeable, when one comes where he was when 
 he painted it. Thele Works need not be par- 
 ticularly delcrib’d, That being done for the 
 molt part by Prints, or in the Lives of thefe 
 Mailers by Bellori, &c. 
 
 The Cupola, of Parma by Correggio is Ex- 
 quifitely fine, as to the Invention, Painting, 
 and Colouring, confider’d as a Pidhirc, not as 
 a Cupola to be leen at a great Diltance ; for in 
 truth it has not a good Effect Below ; inlb- 
 much that if you came into the Church with- 
 out knowing any thing of the matter, you 
 might poffibly not obierve it ; whereas This 
 of Lanfranc by its vail Strength, and furpri- 
 zing Fulgore, commands your Attention ; and 
 is indilputably the Principal Cupola in the 
 World, and the Greateft Manner of Painting 
 Frefco to be feen Afar off ; as the Gallery of 
 Farnefe by Annibale is the moll Perfect for 
 a Nearer View. 
 
 S. Andrea d S. Gregorio in Monte Celio. 
 
 One goes to this Church through an Unfre- 
 quented 111 way, and finds it Deferred, and in 
 a Bad Condition : On the two Sides of it are 
 the Pictures of Guido, ixidFDominichin, done 
 at the Same time, and conlequently in Con- 
 currence : They are both of them Dirty, and 
 
 Injur’d, 
 
( 3 1 1 ) 
 
 Injur’d, particularly by the Rain Water com- 
 ing through the Ceiling, and running down. 
 The Subject of that oi Guido is St .Andreis) 
 falling on his Knees upon fight of theCrofson 
 which he was going to be Martyr’d, (my Fa- 
 ther |ias the Drawing of the Head of the 
 Saint) the other is his Flagellation. Prints 
 there are of Both, by which feme Judgment 
 may be made of their Merit. 
 
 ^Dominichin was in Some refpects under a 
 great Disadvantage in this Competition ; He 
 was then but about zjY ears old, whereas Gui- 
 do was above 40 ; and what was ftill much 
 more, He was a Mild, Devout, Modeft Man* 
 very iubjecfT therefore to be born down, and 
 Opprefs’d by Guido , who was of a Temper 
 more fit to make its way in the World, 33c- 
 fides, he was perfecuted by a more Terrible 
 Adversary than Guido , that was Lanfranc\ 
 who was indeed of the fame Age with bim- 
 felf, but of a Spirit which that Soft, Humble 
 Man was by no means fitted to Grapple with. 
 
 But he had the Advantage as to the Subject, 
 which was more apt to ftir the Paffions, efpe- 
 dally of the Multitude, who were to be the 
 Judges. Which of the two was the better 
 Painter lam not about to fay ; in Some Views 
 Guido was, in Other $*Dominichin : Both had 
 their Excellencies, Both ought to beEfteem’d. 
 *Tis certain neverthelefs that in the prefen £ 
 Cafe the Preference was Generally given to 
 Guido , fo that poor 'Dominichin defpairing of 
 Employment in Rome, had refold’d to try his 
 Fortune Elfewhere; but That was deferr’d up- 
 
 Y on 
 
( 3 21 ) 
 
 on his Undertaking the Communion of S. Je- 
 rome in the Church of San Geronimo della 
 Car it d by the means of a Prieft of his Ac- 
 quaintance, which rais’d his Reputation ; and 
 ’tis indeed an Admirable Pibture. I ihall give 
 lome Account of it hereafter. 
 
 Annibale Carracci however declar’d him- 
 felf in his Favour, 
 
 ViStrix Can fa c Diis p lacuit, fed ViEla Catoni . 
 
 And ’tis * faid that he acknowledg’d an Old 
 Woman had taught him to judge in This Cafe: 
 She feeing This Flagellation, fliew’d it her 
 Child with much Emotion ; but carting her 
 Eyes on that of Guido> went away Uncon- 
 cern’d. 
 
 Algardi on the other hand (in a Letter to 
 Count Malvafia^ fee FelfnaT it trice^ Part 4. 
 p.318.) prefers the principal Figure with the 
 Landfkip of Guido to the Whole Picture of 
 c Dominichin , and flatly denies the Story of 
 the Old Woman, without giving any Reafbn 
 for fo doing; but he fays he had been feveral 
 times at the Feafts of that Church, and had 
 only feen old Women endeavour to quiet their 
 peeviih Children, by the Example of that Boy 
 in Gtiido's Picrture who did not Cry as they 
 did. 
 
 If Annibale only meant that That Picrture 
 was Bert which moft touch’d the Paflions,and 
 that Common Senfe was a good Judge of That 
 he was certainly in the Right ; and thus an 
 
 * Beliori in the Life of Dominichin . 
 
 Old 
 
( 3*3 ) 
 
 Old Woman, or the Multitude, might teach 
 iis to decide upon the Merit of two Pi&ureS 
 of the SameSubjed:; But Purely in the prefent 
 Cafe he ought not to have rely’d ablolutely 
 upon his Old Woman, who might eafily be 
 fuppos’d to be more affebted with the Whip- 
 ping of the Saint, than with his Tender Senti- 
 ments of Devotion: She would in her Imagiw 
 nation bring home to her felf the One, more 
 probably than that fhe would be livelily affi- 
 xed with the Other ; fhe might feel the 
 Scourge on her Back, fooner than the Piety 
 and Refignation in her Heart. Annibale there- 
 fore Ihould have allow’d for the Difference of 
 the Subjects, and then judg’d for himfelf, and 
 not have let fuch an Important Decifion turn 
 upon the Accidental Fluttering of Nature in 
 any one whatfoever. 
 
 Algardi indeed trufts not to Another, but 
 experts Others Ihould do lb with refpebt td 
 Him, for he decides pofitively, without of- 
 fering at any Argument to fupport his Judg- 
 ment; and he manifeftly builds upon a Falie 
 Foundation, becaufe he takes not In the moil: 
 confiderable Circumftance of the Queftion : 
 He regards not the manner of Thinking, but 
 the Execution only. The Drawing, Colour- 
 ing, and Pencil, are undoubtedly very mate- 
 rial Parts of Painting, but not So material as 
 the Thought, and Expreffion; in Thefe the 
 Painter applies himfelf to the Heart, and Un- 
 derftanding ; the Other are addrefs’d chiefly 
 to the Eye. To judge Thus of a Picture is like 
 judging of Mufick by the mere Sounds only, 
 
 Y % without 
 
( 3 2 4 ) 
 
 without con fidering what Palfion,orSentiment 
 they are intended to Exprels, or Excite. 
 
 A6 for the particular Difpute concerning the 
 Merit of thefe two Pictures, as That has Slept 
 long ago I ihall not Revive it : But without 
 that what I am going to lay is to be under- 
 ftood as giving any Ad vantage to TDominichin, 
 I don’t doubt but that the General Decifion at 
 that time in favour of Guido was (as it almoft 
 always happens) more occafion’d by Conli- 
 derations intirely Foreign, than thole that 
 were Pertinent ; ’twas chiefly owing to the 
 Gentile, Over-bearing Temper of Guido, op- 
 pos’d to the Meeknefs, and Modefty of his 
 Concurrent ; when Thefe different Qualities 
 are in Competition, ’tis well known which 
 will have the Advantage (Cater is paribus.) 
 But what is worle, the Firfl often crufh the 
 other, even when fupported with a Superio- 
 rity upon the main Queftion. Pofterity in- 
 deed often does Juftice, and makes fome A- 
 mends to Injur’d Merit, by a Fame too Late 
 however to be very Valuable. This was the 
 Cafe of Dominichin , and he was very Senfi- 
 ble of it, when Lanfranc was Criticifing a 
 Work F;e was upon, and had the Prejudices of 
 the Multitude on his Side, after leveral Other 
 Faults found, and which Dominichin heard 
 with great Patience, and Submillion, he laid 
 Such a Limb was too Short; The Opprefs’d 
 Ingenuous Man reply’d Mildly, It will be 
 Long enough a few Tears hence. 
 
 I have told this Story, and made thele Re- 
 marks, to fhew by Examples the leveral 
 6 wrong 
 
( 3*5 ) 
 
 wrong ways of Judging : Not enough ufing our 
 Own Reafon; the Mifapplying Good Prin- 
 ciples ; the rejecting Thofe for Others lefs 
 Confiderable, orFalfe; the not taking In the 
 Whole of the Cafe ; and being influenc’d by 
 what is Foreign to the Subjed. 
 
 Talazzo delP Academia. 
 
 Here is the French Academy ; One of the 
 Many Inflances of the Noblenefs of Mind of 
 LewisXIV. ’Tis free to All Nations; but at 
 the time of the Year when I was there no- 
 thing was done. 
 
 There isOneCircumflance that makes this 
 place as well worth vifiting as almoft Any in 
 Rome : Here are Calls of all the principal 
 Statues ; Many of which are Thus feen much 
 better than by the Statues Themfelves; I 
 meanThofe that are in Difad vantagious Lights, 
 orPofitions. Befides Here one has theConve- 
 niency of Steps, fo that one may come Near 
 any part, how remote foever from the Eye as 
 one ftands on the Ground ; and Here moreo- 
 ver All thefe fine Things are brought toge- 
 ther, and Seen at Once, and fo may be Com- 
 par’d one with another, as I did with a great 
 deal of Pleafure. 
 
 The Magnificence, and Beauty of the 
 Churches, and Palaces of Rome mufl be Seen 
 to be Conceiv’d; particularly the Churches ; 
 fuch Profufion of Gold, Silver, Marble, &c. 
 and fo Artfully difpos’d! Many Chapels as it 
 were Wainfcotted with Marble; Pavements 
 of the fame, and Thefe in the mod Beautiful 
 
 Y 3 Figures 
 
( l l6 ) 
 
 figures, and Colours ; for the Marble is com- 
 monly Antique, and Finer than any is Now 
 found in the World ; nor is it known what 
 part of the Globe produc’d This. Candle- 
 flicks there are of vaft Dimenfions, Some of 
 Gold, Others of Silver, fupported by Angels 
 $s large as the Life. Monuments with Cano- 
 pies of Marble of the height of two, or 
 three Stories of our Houfes, with the Folds 
 reaching down to the Ground, and tumbling 
 finely upon it. In fliort, to fee Rome in fbme 
 Vievys, it appears to be the Habitation of the 
 Matters of the World, and where the greateft 
 Genius’s have exerted themfelves. In Others, 
 Slavery is Palpable; and Art one would think 
 peither Has been, nor ever Would be. 
 
 V 
 
 r i s a 
 
( 3*7 ) 
 
 y i s a. 
 
 T H E Urn in which the Tribute was 
 brought which th z Romans paid to the 
 Emperor: Marble, Large! ’Tis plac’d by the 
 Dome, on a Pillar of Granite: Upon it is a 
 fine Bas-Relief of feveral Independent Fi- 
 gures, and amongft them That commonly cal- 
 led Trimalchio , fupported by a Faun. 
 
 In the Wall of the "Dome are feveral An- 
 tique Inlcriptions, put Carelefly as Ordinary 
 Stones, fome Upfide down, fome Sideway sj®c. 
 
 On the fide of the Dome going in is the 
 Tomb of the Countels Matilda ; upon it is a 
 Boar-Hunting, a FineTafte; Antique: the 
 Tomb it felf is So. 
 
 In the Dome is the Difpute of the Dodors : Ber ^zo Goz- 
 My Father has above thirty Figures of this in ^ l ' 
 three Several Drawings. ’Tis painted in Oil, 
 and hung upon one of the Pilaflers. 
 
 In the Campo Santo are Paintings of leve- D j tt0m 
 ral of the O'd Mailers: the Belt of which are 
 of BenozzoGozzoli. Thefe Pictures are De- 
 fcrib’d by Vafari, and there are little Prints of 
 them in the Book that the Milan? s have pub- 
 1 idl’d of this Place; lb that I need not en- 
 large. 
 
 Here are about Fifty, orThreefcore Antique 
 Tombs full of Fine Bas-Relzefs,mott of them 
 Greek. 
 
 Y 4 
 
 SIENNA, 
 
Qiecearino'. 
 
 ( 3 28 ) 
 
 SIENNA. 
 
 The Dome {lands upon a Hill ; a Noble* 
 Large, Old Church ; the Pavement is chiefly 
 pf Meccarino , but feme parts of it are by his 
 Difciples; ’tis a Work very famous, and de* 
 fervedly lo. The Out-lines of the Figures are 
 cut into the Marble, which being White, and 
 thofe Lines fill’d with a Dark Colour, as are 
 the Gravings which make the Shadows; the 
 Whole is a Clair-Obfcure like a Silver Plate 
 for Printing fill’d with its Ink, and wip’d rea- 
 dy for thePrefs: Thefe Out-lines having been 
 cut by common Workmen, are not fo Elegant 
 as they ought : The Figures are as big as the 
 Life, and the Stories are from the Scripture. 
 That of Abraham Offering is mod efteem’d, 
 £nd is accordingly kept cover’d. 
 
 At a private Houle in Sienna (I have for* 
 got the Name of the Street) I law the Origi- 
 nal Drawings of the Whole, and the Carton 
 of Part of this Pavement. 
 
 In the Library is painted ten Hiftories of 
 the Life of Tins II. Vafari fays they are of 
 finturiechio- Pinturicchio ; the Cartons however he owns 
 were made by Raffaele^ who was hisCotem- 
 ^ajfaele. porary under Pietro Perugino , and then very 
 
 Young: They fay here that he Painted, at 
 leaft Aflifled in the painting of the firft Story 
 on the Right-hand coming in. What the Style 
 is will be eafily conceiv’d by thofe acquaint- 
 ed with that o (Perugino^ and ’tis indeed ve~ 
 ty Good : The Colouring is extreme Beauti- 
 
( 3 2 9 ) 
 
 ful, and the Work in general fo preferv’d, as 
 if juft come from the Pencil. 
 
 LV C C A. 
 
 Church of S. Giovanni. 
 
 A Fine Madonna of th zFrate, (Fra. Bar- fra.Bartolo - 
 to Lome o is always fo call’d.) She is Sitting, mt0 ' 
 and there are two Saints (landing by her on 
 each fide. At the Foot of the Throne is an 
 Angel playing on a Fiddle, quite turn’d black, 
 and fpoii’d. By the Wall of the City under a 
 Shed is a Large Brafs Cannon , at the Great 
 end of it is a very fine Head, bigger than the 
 Life; over it is written Carolus Albertus fee . carols au 
 
 bertus . 
 
 Santa Maria Corto Landini. 
 
 The Afiumption ; a Great Altar-piece : Guido. 
 Lighribme Manner ; very fine. 
 
 On the Left-hand of the Altar a Madonna Ditto. 
 in the Clouds, and two She-Saints, of which 
 One holds a Chalice. 
 
 Church of S. Romano of the Dominicans. 
 
 A Madonna di Mifericordia ; many Fi- ii Fra;c . 
 gures : A moil Excellent Picture. 
 
 There are few good Pictures in this City, 
 and thofe that are, have been generally luf- 
 fer’d to go to Decay by the Carelefiiefs, and 
 extreme Ignorance of the Religious to whom 
 they belong. 
 
 FAR M A y 
 
Correggto, 
 
 ( 33 ° ) 
 
 *P A R M A, continu’d from pag.30. 
 
 The Church of St. John. Large and Beau- 
 tiful. 
 
 The Cupola is painted ; God the Father, 
 and Chrif crowning the Virgin, (of which 
 my Father has three feveral Drawings) En- 
 rich’d with an infinite number of Angels. 
 There is a Gallery round this Church ; about 
 the middle between it, and the Ceiling is paint- 
 ed in Squares about one Yard and a half long, 
 adorn’d with Feltons, and all kind of Orna- 
 ments, where are the Sacrifices, of which my 
 Father has One; a Drawing. And here too 
 are thofe Single Figures fitting with Cartels : 
 "MyLoxAT embroke has Drawings of Ibme of 
 them. They are in Print by Bifcop. My Fa- 
 ther’s Drawing above-mention’d fhews the 
 Order, and Manner of placing thefe ; for in 
 the upper part of that Drawing Correggio has 
 given a Specimen of the whole Gallery : There 
 is that Sacrifice which is the principal Subject 
 of the Drawing, and on each fide one of the 
 Figures fitting: the Same goes all round the 
 Church. The Altar-piece was to have been 
 painted by Correggio ; my Father has the 
 Drawing of it. A Heaven, on the back of 
 which is another lelfer, where the Virgin is. 
 ’Tis upon the Authority of Tadre Refta that 
 [ fay this was intended for this place, and that 
 ’twas not executed upon account of the Ex- 
 pence of it. Certain it is, here is now no Al- 
 tar-piece on the Great Altar, which is very 
 
 Rare 
 
( 33 1 ) 
 
 Rare in Italy ; and the Reafon here given is, 
 that twas thought none (mcsCorreggio was 
 Worthy to paint one. 
 
 Chiefadi San? Antonio Abbate. 
 
 The Madonna, with the SS. Mary Magda- correct, 
 len , and Jerome^ of which my Father has the 
 Drawing, together with the Head of the Mag- 
 dalen in Crayons by Barocci ; ’tis Grav’d by 
 Agojlino Caracci . The Figures in the Picture 
 are as big as the Life. There is I believe ten 
 Copies of this Picture in Barma^ Altar-pieces. 
 ’TisExquifite, and very well Preferv’d; very 
 Bright, and Beautiful. Several of the Copies 
 are very fine, and in the true, OldTafte. 
 
 The Gallery of the Fluke of Parma. 
 
 This Gallery has Plaifter’d White Walls, 
 the Pi&ures are hung on them. Over the Door 
 coming in, turning back, and looking up, one 
 fees Vo'pzBaullll. (Farnefe) and the Cardi- 
 nal Farnefe, aMefienger coming to the Pope. 
 
 Figures at Whole Length; Exquifitely fine! Titian, 
 
 The Pope isSitting; theAirof his Head, Wile, 
 and with great Dignity, and is very Strongly 
 painted. The Meflenger has not that Force, 
 and appears to have great Awe. The Cardi- 
 nal looks upon the Mefienger, but is Ids 
 Strong (till, as being farther from the Eye. 
 
 The Whole well Preierv’d, and very Beauti- 
 ful ; much in the Style of that Noble one the 
 D. of Somerfet has of the Family Cornaro. 
 
 A Madonna fitting, the Chrift lies afleep Pjirmeggiana, 
 by her; lhe chucks the St. John under the 
 1 Chin 
 
Annibale. 
 
 Rafftole. 
 
 And, del Sar 
 
 to. 
 
 ( 33 * ) 
 
 Chili as he approaches to them ; the Figures 
 as big as the Life ; the Air of the Madonna is 
 perfectly fine. The Colouring very Red, and 
 Rawilh, as this Mailers commonly is, but (as 
 it mull needs be) his Pictures have not the 
 Lightnefs, and Delicacy as his Drawings. 
 
 A ‘Piet a ; the Chrift is exactly the Same, 
 the fame Air of the Head, the feme Attitude, 
 the fame Tindt of Colour as one in Small (a 
 finely finilh’d Sketch) which my Father has, 
 but the Boy -Angel holding the Crown of 
 Thorns in That is not Here ; and the Angel 
 which holds up the Arm is not Killing the 
 Wound as in That, but looking towards ano- 
 ther Angel as Ihowing it, which other Angel 
 points to the Wounds in the Feet, and appears 
 Griev’d. ’Tis as big as the Life, and highly Fi- 
 nilh’d. A Celebrated Pidture, as is the Par- 
 meggiano juft now delcrib’d. 
 
 The fame Madonna as that in theLittleCa- 
 binet of the Duke de Bracciano. Both are 
 contended for as the Right ; and both are ex- 
 actly in the manner in all refpedts as another 
 Madonna my Father has (not quite fo large.) 
 I confider’dThefe in that particular View, and 
 can be lo pofitive, that if either of Thefe are 
 Right, I fee no reafon to doubt of That being 
 fo too. 
 
 The famous Copy after Ra ffaele of Leo X. 
 &c. This they make a great Affair of, and at- 
 teft it here to be better than the Original in 
 the Collection of the Great Duke. ’Tis indeed 
 better Preferv’d, and the Colouring Brighter: 
 So that if This is the lame Copy JPgfari ipeaks 
 
 of, 
 
( 3 33 ) 
 
 of, the difference is Now very Vifible, whate- 
 ver it was in his Time. But there Is, and al- 
 ways Was, a more Material difference; ’tis 
 not fo Good by a great deal ; ’tis not lb 
 Touching, it has not that Sublimity, that Dig- 
 nity, that Force, but is Raw, and Tame : In 
 Ihort, ’tis a Picture in no degree Equal to what 
 one would Exped, fuppofing it to be That of 
 which Vafari tells the Story. 
 
 Her own Picture; the fame with that of my S of,n. An S u- 
 LordGa!^<2®,butHere the Mufical Inftrument 
 is Damag’d, and gone, and the other Head is not 
 here; nor is This fo Good a Picture. 
 
 Bacchus ; a Single Figure. AnnibaU. 
 
 A Madonna , very Coregefca, a fmall Pi- schidmt. 
 cture, extremely fine! My Father has the 
 Drawing. There are leveral other Madonna's 
 here of the lame Mailer, and the fameTafte. 
 
 In the Cabinet. 
 
 A Fine Miffal, bound in Silver Plate, a lit- D G ; s /; (C / # , 
 tie above the Size of a French iz°. At the 
 end of it on an Altar is written, Julius Clo- 
 •vins Monumenta hate Alexandro Farnefio 
 Domino fuo faciebat M. D. XL. VI. This 
 Miffal is vaftly beyond whatever in the Vati- 
 can is afcrib’d to this Mailer. Thofe indeed 
 have been Retouch’d by 'Padre Ramelli, (of 
 the fame Order as Tf.Jul.J and now alive: 
 but This is perfe&ly well preferv’d, and is ad- 
 mirably well Drawn, and Colour’d, equal to 
 Any Mailer: TheTalte in General is Chafte, 
 and Gentile; in fome of the Figures more e- 
 ipecially there is an Inclination toward the 
 
( 334 ) 
 
 Style oiMich. Angelo , but without his Extra- 
 vagance. All the Pictures have Grotefque Or- 
 naments about them; the Colouring of which 
 humours the general Tind of the Pidure, 
 with much Beauty, and Harmony. 
 
 Ditto. A Single Pidure in Miniature , with a 
 
 Frame, and Glafs ; ’tis a St.John ; but in a 
 Style different from that of the Mijfal , and 
 like thole of this Matter in Florence. 
 
 The Gallery again. 
 
 Correggio. The Marriage of St. Katharine^ the Virgin 
 
 is a Profile, and th cChriJi^ and S t.Katharine 
 look up in her Face: A fmall Pidure; Fine 
 Bright Colouring; his Beft Manner ; weilPre- 
 ferv’d. 
 
 Rafaele. The Madonna della Gatta , call’d fo be- 
 
 caufe of a Cat upon the Ground at the Foot of 
 the Virgin; the Chriji is on the Lap of his 
 Mother holding out both his Hands to St. 
 John. The Pidure is not of the Beft of Raf- 
 faele. 
 
 Parmeggiano. Lucretia , Half Figure, big as theLife, Face 
 
 in Profile. Very fine. 
 
 Annibale. A Dead Chrifti the lame as that at Foggio 
 d Caiano. This alfo appears to be Right. 
 
 Correggio . An Exquifite Madonna , a Half Figure on- 
 
 ly, the fame Attitude as the Zingana. 
 
 Titian . A Fine Copy of the Magdalen of Correggio 
 
 by Titian , the lame Size. The Blue, and the 
 whole Pidure well Preferv’d. 
 
 Correggio. The famous Zingana , the lame Size, and 
 the fame faulty Drawing of the Hand (I for- 
 got to oblerve the Foot) as the Copy my Fa- 
 ther 
 
( 3 3 )' ) 
 
 ther has of it by Annibale Carracci. As for 
 the Browniih Tind of Colouring it had That 
 too without Doubt, and from thence was cal- 
 led the Zingana ; but of That one cannot 
 judge otherwife Now, the Pidure being hor- 
 ribly SpoiPd ; the Colours feem to have been 
 Broil’d) and are Re-painted, but not fo as to 
 unite with the Old, fo that all is in Spots; the 
 Boy a-top is juft gone. This Pidure was made 
 for a Cardinal of the Houfe of Farnefe. My 
 Father’s Copy is Exadly of the fame Style 
 with many others I have feen of Annibale , 
 and is Undoubtedly of Him. The Pope has a 
 Copy of this Pidure ; and there are feveral 
 Others in Italy , and England, fome Large, 
 and fome of the fame Size with This, but I 
 faw none Good. ’Tis a Ripofo, the Virgin 
 refting her felf in her Journey to ALgypt. 
 She fits on the Ground, the Child afleep in 
 her Lap, Both in moft Lovely Attitudes, and 
 the Expreftion of Sweetnefs, and Innocence 
 in Him, and of a Motherly Tendernefs in Her 
 is fo fine, that one may fairly fay ’tis now In- 
 conceivable, the Original Pidure being fpoih 
 ed, and there being none but Copies or Prints 
 that we know of left, but Thefe juftify us in 
 carrying our Imaginations as high as pofTible. 
 The Poetry of this Pidure is Delicate: The 
 Virgin is in a Solitary, Obfcure Place, under 
 the Shade of a Palm-Tree, a Boy- Angel is 
 drawing the Branches over them, the better 
 to proted them from the Heat; and Birds 
 in the Glade, and aWhite Rabbet (flaring up 
 at her) prettily enrich the Pidure, and at the 
 6 fame 
 
parmeggiano. 
 
 JInnibale af- 
 ter Correggio. 
 
 ( 336 ) 
 
 fame time help to exprefs the Solitarinefs of 
 the Place. 
 
 The Church of the Madonna della Steccata. 
 
 Here are four Half Cupolas painted in Co- 
 lours, the Pilafters are in Clair-Obfcure , and 
 all the Ornaments throughout are ofTarmeg- 
 giano . The Caryatides and fuch like Figures 
 are painted on thole Pilafters (whether the 
 Square Pillars, or thofe which are Flat againft 
 the Walls) four or five Figures one over ano- 
 ther are on all thole Flats, with Ornaments 
 for the lpace of a Yard or two interpos’d. 
 Th t Cupolas are lo High, and the Church fo 
 Dark, that one cannot make a very pofitive 
 Judgment concerning them ; but for the reft 
 here is not that Appearance of a Decay in the 
 Genius of Tarmeggiano as Vafari intimates ; 
 at lead I don’t obierve it. My Father has fe- 
 ver al Drawings of thefe Ornaments, Figures, 
 and Grotefques. 
 
 The Dalace of the ’Duke ; which is difant 
 from the Gallery , and in another part of 
 the Town. 
 
 The firft Apartment is All of Annibale Car- 
 racci after Correggio. There are I believe a- 
 bout 30 feveral Pictures, the greater part of 
 which together compofe the Whole Cupola ; 
 the Figures are of the lame Size as the Origi- 
 nals, perhaps three times bigger than the Life. 
 The reft are Copies of leveral of his Other 
 Works; Some of which are deftroy’d. In all 
 thefe Annibale has admirably well imitated 
 
 the 
 
( 337 ) 
 
 the maimer of Correggio, to that degree that 
 one may alrnoft lay they are Equally Fine ; 
 and they are well Preferv’d. All Thefe are 
 in Oil, though the Cupola is in Frefco : The 
 Manner of Painting Broad* and very Great,. 
 
 In another Room. 
 
 A Madonna, , very Hard : but ihe has a Vir- Ra f aele - 
 gin-Modefty as finely exprefs’d as Any this 
 Matter has done. 
 
 Virtue (hewing a General (who is before GttiUe Rcm • 
 her on his Knees) the Temple of Fame; there 
 are feveral Soldiers ; all is highly Finiih’d. 
 
 The Colouring is very Thick, and Bricky, 
 the Pencil Heavy, and the Whole not ve- 
 ry Agreeable ; as may be faid of what he 
 has done in Oil Generally, and of Some in 
 Frefco. 
 
 In another Room. 
 
 A Holy Family ; very fine. My Father has And. del Sar- 
 the Drawing highly Finiftfd, only there is a t0 - 
 difference in the Back Ground; the Picture 
 has a Landlkip, and in the Sky are two An- 
 gels holding a Curtain : the Drawing places 
 the Figures Within-Doors, and a Landlkip is 
 leen through a Window in one Corner. 
 
 Here are feveral other Apartments, but no- 
 thing in them Confiderable. ^ 
 
 Z 
 
 
( 33 8 ) 
 
 Correggio. 
 
 M OP) ENA, continu’d from pag.29. 
 
 ‘Palazzo c Ducale. 
 
 r 
 
 Notte : Perfectly well preferv’d, and has 
 that admirable Splendor that ’tis always re- 
 mark’d for; and indeed ’tis perhaps the firft 
 Picture in the World for the Clair-Obfcure. 
 The greateft Mailers in this part of Painting 
 are Correggio, Rubens, and Rembrandt. The 
 Firft, and Laft of thefe generally kept their 
 Lights more Contradled ; or (as one may fay) 
 their Principal Lights are more Principal ; 
 whereas Rubens is more Diffus’d, fo that the 
 Subordinate Lights approach nearer to a Com- 
 petition with the Principal one, and fpread 
 themfelves even to the Extremities of the Pi- 
 cture. In This of Correggio, the Child, and 
 Virgin is one amazing Spot of Light, but 
 the Shepherds partake of but little of it, com- 
 paratively ; the Sky indeed is pretty clear, but 
 feveral Tones lower than the Grand Light. 
 The fame may be faid of the Magdalen, lo, 
 &c. 
 
 The Pidture is the fame with the Print of 
 Mete Hi (only as to the Clair-Obfcure) but the 
 Drawing my Father has, which neverthelefs 
 was undoubtedly made for it, is pretty Diffe- 
 rent from it both as to the Figures, and their 
 L)ifpofit^rf; and alfo the Clair-Obfcure , the 
 Light being more Diffus’d. The Figures are as 
 big as the Life ; ’tis Prodigioufly Sweet, the 
 Colouring Inimitably fine ; The Drawing as 
 ufual, particularly the Old Shepherd at the 
 
 fide 
 
( 339 ) 
 
 fide of the Picture (a Whole Figure) is the Ex- 
 travagance of Correggio : In Ihort, the Excel- 
 lence of this Pidure is in the Clair-Obfiure , 
 and Colouring. Thefe Correggio feems to 
 have had chiefly in his View when he paint- 
 ed it, and he has fucceeded to theUtmoft De- 
 gree of the Sublime. 
 
 That Correggio’s Drawing is Incorred is 
 certain; as it alio is that he had a mod An- 
 gelical Grace: How thefe feeming Inconfi- 
 ftencies are Reconcil’d I will in Ihort explain. 
 
 It muft be obferv’d that Drawing is to give 
 the Appearances of Things as they prefent 
 themfelves to our Eyes, whether as to their 
 Proportions, or Forms, in which ’tis inconte- 
 ftable there is One fort of Grace; but there is 
 Another in the General Airs, and Attitudes : 
 ByThefe the Thought of the Painter is feen,by 
 the other ’tis So fhewn as alfo to pleafe the Eye. 
 
 This Diftindion between the Grace that 
 relults from the Beauty, and Corredion ofDe- 
 fign, and that of the Idea, is very Evidently 
 feen in Drawings, which (Generally fpeaking) 
 have more Grace in the Ideal kind than even 
 Pidures themfelves, but with Notorious In- 
 corrednefies in the Other. Now ’tis in this 
 Latter kind that Correggio excelPd ; and that 
 in Such a degree as perhaps no Modern ever 
 did more, not even Raffaele , T armeggiano, 
 or Guido. 
 
 When Both thefe kinds of Grace are feen 
 together, the Pidure is no doubt more Per- 
 fed ; and Correggio would have been more 
 Excellent than he is if hisWorks hadCorred- 
 
 Z z nefs. 
 
( 340 ) 
 
 n els, and Beauty of Drawing, as well as Fine 
 Ideas. But what he Has, join’d to his Lovely 
 Colouring, and Delicate manner of Painting, 
 lufficiently juftifies the vaft Efteem we have 
 for him. 
 
 This ought not however by any means to 
 be extended to Excufe a Negled of Drawing. 
 ’Tis a very confiderable Circumftance in a Pi- 
 cture, whether aHiftory, or Portrait, chiefly 
 in the Latter, for feveral Reafons not Now 
 to be enumerated. Even a Landikip, Fruit, 
 Flowers, or whatever it be, is Much the Bet- 
 ter, or the Worfe, according as the Drawing 
 is, becaufe One great part of the Bufinefs of 
 a Picture is to delight the Eye, which is done 
 as well by Forms, as Colours. And tho’ the want 
 of This Property may be More than compen- 
 fated by Other Good ones, let us Painters be 
 Sure of Thofe before we Negled: That : nay, 
 if we could be fecure of all thofe that Correg- 
 gio had, He that has not Ambition, and ln- 
 dufiry enough to Endeavour to be Greater than 
 Correggio will probably for That very Rea- 
 fon never be Equal to him by many, many 
 Degrees ! 
 
 Father Rejia (heretofore mention’d) in a 
 Manuscript I have feen of him, which Mr. 
 Kent has favour’d me with theUfe of, tells us 
 feveral Particulars relating to this Pidure 
 worth remembring : He fays it was made for 
 an Altar in S. Rrofpero in Reggio, and gives a 
 Copy of the Contrad, the Original of which 
 he affirms to be then in the Hands of Sig, 
 Cav. c Donzi Gallery-keeper of the Duke of 
 3 Modena , 
 
( 34 1 ) 
 
 Modena , which becaufe ’tis Curious I will 
 tranfcribe. 
 
 Ter quefia nota di mano mio io Alberto 
 Tratonero faccio fede a ciafcuno come io 
 prometto di dare a Maftro Antonio da Cor- 
 reggio Tittore Lire Ducento otto di moneta 
 vecchia Reggiana e queflo per pagard 0 d'una 
 Tavola che mi promette di fare in tutta ec- 
 cellenza done fia dip into la Nat tv it a del Sig e 
 ttofiro con le figure attinenti fecondo le mi- 
 fur e e grande zza che capeno nel difegno che 
 m’hdpovto effo Maftro Antonio di matt fua 
 Alii XIIH. di Ott. MDXXII. 
 
 A l fodo giorno gli contai par parte di pa- 
 gam ' 0 lire vhtaranta di Moneta vecchia. 
 
 Et io Antonio Li eta da Correggia mi chi - 
 amo haver riceuuto il dt e millefimo fopra - 
 fcritto quanto e fopr a fcritto , & in fegno di 
 cio quejio ho fcritto di mia mano. 
 
 Fuori Scritto della Tavola di S. 
 
 Trofpero fatto dal Correggia. 
 
 Sta fcritto in un foglio di Carta che hd 
 per merco uri Aquila coronata. 
 
 Lire 208 di moneta necchia di Reggio fo - 
 no circa * doppie otto di moneta noflrana 
 1713. 
 
 Thus far Father Refta in this Place; only 
 that in the Margin he accounts for the Mark 
 of the Eagle, and the Word Correggia which 
 I omit ; ’tis a Story of an Apparition of the 
 V'irgin to one Giber to of Aufiria ; but he 
 
 * 61. 1 6 
 
 7 3 takes 
 
( 34 1 ) 
 
 takes no notice of Correggio's writing his 
 Nam oLieto inftead of Allegro. 
 
 It was upon occafion of a Sketch made for 
 this Picture, and then in the Hands of Sig. 
 Ghezzi a Painter ^tRowe-, that Father Rejia 
 wrote the Difcourfe where this is inferted ; 
 This he fays differs from the Picture, and ju- 
 dicioufly remarks that the latter would have 
 been Better had he follow’d his Firft Thought 
 in the Sketch ; for There the A(ftion is in a 
 place Inclos’d, with only a little Window, as 
 being a better Shelter from the Rigour of the 
 Seafbn ; and the Night is more exprefs’d, as 
 being Darker, and a Moon appearing amongft 
 Clouds : in all which Circumftances the Sketch 
 agrees with my Father’s Drawing abovemen- 
 tion’d. 
 
 Father Reft a (ays he had feen in the Hands 
 of Sig.Rinotti a t Correggio, another Origi- 
 nal Sketch for thisPidnre upon a larger Cloth 
 than that of Sig. Ghezzi^ but much torn, the 
 Colouring of which was more Languid. And 
 that there was a fine Copy of this Picture by 
 Annibale Caracci , which was bought by the 
 Duke d'Uccedo Ambaffador of Spain. 
 
 The Madonna^nA. S. George , with Boys,Sfc. 
 (a Drawing of one of which Boys my Father 
 has, and of the St. George ;) This is in fbme 
 Refpecfts the Re verfe of the Notte ; the Light 
 fpreads as in Pictures of Rubens \ and the Out- 
 lines of the Figures cut againft the Ground; 
 fo that this is in a Manner between the Laft, 
 and moft Delicate, and the S. Cecilia of Borg - 
 hefe , which is his Firft Andrea MantegnaAfko 
 Manner. In 
 
In a Back Chamber. 
 
 The Madonna above, and Bp. in his Rich 
 Cope below, &c. of the lame Character with 
 the Jafh mention’d. My Father has a Ricalco 
 of a Fine Drawing of this : as he has Copies 
 of feveral Other Drawings, as of the Madonna 
 andS.G^r^,&c. of which I take no notice. 
 
 In another Room. 
 
 A Madonna fitting, with four Saints ftand- Ditto. 
 ing ; big as the Life. This is in a Manner be- 
 tween the two lad, and the St. Cecilia. Cor - 
 reggio was here apparently making his Ad- 
 vance from that Firft Manner towards a Bet- 
 ter, as in Thole two he was got fomething 
 farther toNvards that Sublimity to which he at 
 length arriv'd. 
 
 Th z Madonna of thzGo-Cart, becaufethe p. Fei 
 Chrijl is in fuch a Machine. Mr. Flinck of 
 Rotterdam has the Drawing which is aferib’d 
 to Raffaele , but not judg’d to be Certainly of 
 him by Mr. Flinck ; however ’tis certainly 
 not of Rietro Rer urine, of whom this Pidure 
 is laid to be. 
 
 In another Room. 
 
 Over againft the Window is the St. Roch of Annib 
 Annibale ; the Figures as big as the Life; it 
 takes up That Side of the Room. ’Tis well 
 Preferv’d, Strong, in his Dark Manner, not 
 very Touching. 
 
 On another fide is the AlTumption, ofwhich LodtCi 
 theD.of TDevonjhire has the Drawing. 
 
 Z 4 
 
 On 
 
Ditto. 
 
 ( 3 44 J 
 
 On the other fide of the Room is the Ma- 
 donna with feverai Saints, of which Dr. Mead 
 has a Sketch, and my Father a Drawing by 
 Guido of one of the Saints. Both thefe Pi- 
 ctures of Lodouico feem to have been intend- 
 ed for Altar-pieces; the Figures are confide- 
 rably bigger than the Life ; Both are Exqui- 
 fitely Good, the very Utmoft of this Mailer ; 
 Intirely in the Style of Correggio , and per- 
 haps Equal to him : Even the Drawing has 
 Something, but the Belt of him. The Air of 
 the Virgin in the AlTumption is particularly 
 Excellent, but not in the Soft, rather in the 
 Haughty, Majeltick Character. She, and the 
 Angels accompanying her, feem to Hide away 
 as if they were fuck'd up into Heaven, and 
 juft going to leave us. Neither of thefe Pi- 
 ctures have any Blacknefs, but are Bright where 
 the SubjeCt requires it, the reft is full of Re- 
 flexions, and Tranfparency . Both in the Ut- 
 moft Prefervation. 
 
 In another Room. 
 
 S. George^ the fame as that done for an An- 
 eeftor of my Lord Pembroke , which he part- 
 ed withal to King Charlesl. and which Now 
 D»jfo da Ter- Monfieur Crozat has. This isafcrib’d x.o'Dof 
 rara • fo daFerrara^wA is bigger than that of Raf- 
 
 faele, for’tis of a Size between a Three Quar- 
 ter, and a Half Length. 
 
 In the Gold Bed-Chamber , fo call'd from the 
 much Gilding of it. 
 
 Here are the Ritrattoes of the Family; a- 
 
 mongft 
 
( 34 y ) 
 
 mongft others fomeby Titian^ Giorgion , &c. Titiano. 
 nothing particularly Remarkable. Giorgione , 
 
 In a Clofet in this Room is kept in a Box 
 the Famous Magdalen^ Small, the lame Size Correggio . 
 as the Copy my Father has: the Blue is turn’d 
 quite Black, but the Flelli is mighty Bright, 
 and which (the Ground being alfo Dark) is 
 therefore a perfedtSpot ; but that Spot is moll 
 excedively Beautiful : the Flelli the lame kind 
 of Colouring as the Chrift in another Copy 
 after Correggio my Father has, a Holy Fami- 
 ly, (the Duke of Somerjet has the Original, 
 and Colonel Campbel the Drawing.) This 
 Magdalen is in a Silver Frame all let with 
 Jewels. 
 
 MANTVA 
 
( 34 <* ) 
 
 M A NT V A. 
 The Talace of T. 
 
 The Plan of the Palace is of this kind, [a] 
 is the Entrance, [ b~] a large Court, [ r] the Pal- 
 fa gc with Lodgings on each fide, [gg] lead- 
 ing to a Portico \_d J which looks into the Gar- 
 den [_/], and which Portico has three Rooms 
 on each fide of it, [ e i, ez,&c.] 
 
 In 
 
( 347 ) 
 
 In the firft Room [>i] on the Left-fide is 
 the Fall of 'Phaeton* painted in the Middle of 
 the Ceiling; my Father has a Colour’d Draw- 
 ing (not the Original) of this: Tis the Same, 
 and that Particular, but very Proper, and No- 
 ble T incSt of Colour as in the Drawing. Over 
 the Window in the fame Room are feveral 
 Beads fighting; my Father has the Drawing 
 of This by Trimaticcio. In the Right Corner 
 a-top, and partly coming over the Picture is 
 the Sphynx, of which my Father has the Draw- 
 ing by Giulio. There are three Battels in this 
 Room, befides that of the Beads. 
 
 ez. Divers Stories of Ovid, in Medallions; 
 amongd the red th eHoratii-, and Curiatii , of 
 which my Father has a Drawing by Gio.Batti - 
 ft a Bertano Montovano , a Difciple of Giulio. 
 
 e 3. is theHidory of Bfyche ; the Banquet 
 of the Gods is Etch’d by Battifta Franco : 
 My Father has a Drawing of a imall part of 
 it. Over the Chimney is Hercules fitting: He 
 appears vadly Large, tho’ he takes up but lit- 
 tle room, but ’tis fill’d Intirely. In the fame 
 Room next the Window, and fronting the 
 Door, is the Mars, and Venus , of which my 
 Father has the Drawing. 
 
 In the Porch over the Door on the Left- 
 hand is the T)avid , and Goliah. My Lord 
 Tembroke has the Drawing. ’Tis in a half 
 Round as That. 
 
 In the Room ^4, on the Right-hand of the 
 Portico, are the Marches, and Battels, Etch’d 
 by Beter Sanfia Bartoli . My Father has fe- 
 J veral 
 
 Romani* 
 
( 34 ^ ) 
 
 veral Drawings of theft, by Giulio himfelf, 
 Girolamo da Carpi , &c. 
 
 e 5 . In the Middle of the Ceiling is Julius 
 CiC/dr with his Lidiors, and all round the Pi- 
 cture are Grotefques. 
 
 Over the Doors are two Medallions, one of 
 which is the Continence of Scipio. Under 
 theft Medallions is a Prize of Boys, and which 
 is continued all round the Room, a great part 
 of which my Father has in feveral Drawings 
 of Giulio. 
 
 The laftRoom [e6] is a Noble one indeed! 
 here is the Fall of the Giants (Etch’d by t P. 
 San cl a ; ) ’tis Painted on the Ceiling, and all 
 round the Walls quite to the Ground. At the 
 firft Entrance every thing ftems to be tumb- 
 ling (as has been remark’d by Vafari, and Fi- 
 libien , who have defcrib’d this Palace at 
 large.) Particularly a Brick Wall with an Ar- 
 chitrave of Stone is ft painted, that everybo- 
 dy muft needs be deceiv’d by it. TheDefcri- 
 ption given by theft Authors is not however 
 to be Intirely rely’d on ; They fay the Room 
 is round, which ’tis not. ’Tis thus: 
 
 ^ r ^ 
 
 The Plan. 
 
 The Profile. 
 
 Filibien 
 
( 349 ) 
 
 Filibien Jays, that the Stories on the Trajan 
 Column are here reprefented. I don’t doubt 
 but he means thofe I callBattels, and Marches; 
 whether they are what are on that Pillar may 
 be feen by the Prints of One, and the Other. 
 
 A Great part of the Fall of the Giants my 
 Father has a Drawing of: ’tis a Copy all gone 
 over with Oil Colours in Beautiful Tin&s 
 (Stone Colour) by Rubens. 
 
 The Six Rooms, but more efpecially This 
 lad, are well preferv’d. 
 
 The Apartments on both Sides, [gg, &c.] 
 which make the Perpendicular of the T are 
 Chambers, all of them Dark, and Almoft all 
 of them painted with Grotefques, and Foliage. 
 
 In one of theie Rooms on the Right-hand 
 is a Range of Little Hiftories in Squares juft 
 under the Ceiling, amongft which is Apollo 
 flaying Marfyas, and Orpheus Tinging to 
 Flu to ; but the Place is fo dark that they are 
 hardly Vifible. 
 
 All theJe Apartments are 111 preferv’d, be- 
 ing Now us’d for Lodging Rooms for Poor 
 People, and open to Every body; but the fix 
 that make the Upper part of the T are kept 
 Lock’d up, and Preferv’d accordingly. My 
 Father has feveral other Drawings for this Pa- 
 lace, befides thole already noted ; as a Foli- 
 age, in the Middle of which is a Dog afteep, 
 a Grotefque Head, &c. 
 
 VERONA. 
 
 The Church of St. George. 
 
 At the Great Altar; the Famous Martyrdom Paolo 
 
 of "'A 
 
■Ditto, 
 
 paolo lari- 
 
 nmu 
 
 ( 35 ° ) 
 
 of St. George ; Extremely finely Colour’d, but 
 without Harmony. A Picture of prodigious 
 Magnificence, and Richnefs of Invention : 
 many Figures, and thofe as big as the Life. 
 
 Two other Good Pictures of this Matter ; 
 one over the Door, the Baptifm of Chrifi ; the 
 other at an Altar on the Right-hand 
 
 St. Barnabas curing the Blind. 
 
 Next to the Great Altar is the Feeding the 
 5*000. ’Tis much Admir’d, and is indeed a ve- 
 ry Good Pidure, tho’ the Colouring is fome- 
 thing Heavy, and Dirty. My Father has the 
 Drawing very Large. 
 
 Here are the three Tombs of the Scaligers, 
 foil of Ornaments and Statues : Gothick. 
 
 The Theatre. 
 
 Before it is a large Square foil of Infcri- 
 ptions, and Bas-Reliefs in the Walls. There 
 are two of Thefe, Small, of an Excellent Tafte, 
 and very much alike. In One A/m’&ry (lands, 
 and holds fomething in his Hand to the Earth, 
 reprefented by a Woman which fits : under 
 thefe Figures is written EPMH 2 and TH. In 
 the Other is the Same Woman, only Here one 
 Foot is rais’d on a round Ball. This Figure is 
 znlntaglia^zs I think) in the King of France's 
 Collection. My Father has a Part of it, as he 
 has a Drawing by B armeggiano of the fame 
 Woman; together with a Figure, Clad, in 
 the fame Attitude as the Mercury in the o- 
 ther Bas-Relief. There is a Wood- Print of 
 This. 
 
 7WSSEL - 
 
( 35 1 ) 
 
 T>VSSELT>QR e P. 
 
 Here is fuch a Collection of Cajrs from the 
 Antique Statues as at the Academy at Rome. 
 
 The Elector Palatine's Collection of Pi- 
 ctures confifts of Some Italian, but chiefly of 
 c Dutch, , and Flemmifh. Rubens is Here feen in Rubent . 
 Perfection : I believe there is about 40 Pictures 
 of him, many veryCapital; as the Battel of the 
 Amazons ; the Fall of the Angels (ofwhich my 
 Father has the firt Thoughts, and Sir James 
 Thornhill the Finifh’d Drawings in ieveral 
 Large Pictures, as they may almoft be call’d) 
 
 The mod Capital Picture of all here is the Af- 
 fumption. Whoev er fees this Collection mult 
 have a Greater Idea of Rubens than ’tis pofli- 
 ble to have without feeing it; and fuch a One 
 as will give him a place amongd the mod Ex- 
 cellent Painters. 
 
 Rajfaele's Figures are Fine Actors, and 
 Graceful, and Noble Perfons, but examine 
 them as to Particular Parts, they are not by 
 much fb Perfect as what he Studied, and Imi- 
 tated, the Antique : Rubens's People are as it 
 were of Another Countrey ; one fees not Na- 
 ture Improv’d by the Antique, but a Sort of 
 Nature, not the Bet; Not only Hands, and 
 Feet, and fbme Particulars, but the Whole Fi- 
 gures are Incorrect, and Something Lourd : 
 
 They are not People fo Agreeable as to their 
 Perfons asRaJaele's ; But they perform their 
 Parts well, with great Propriety, and Energy ; 
 (generally Ipeaking) and Thele Pictures have 
 Harmony, and Magnificence, together with 
 
 a vad 
 
( 35 *) 
 
 a vaft Force of Painting, and Colouring : tho ? 
 (to fay the Tfuth) This lad Article, and for 
 which This Mader is fo much Celebrated, is 
 not Intirely to my Gotit ; It has Vigour, but 
 not the true Delicacy withal, as is feen in 77- 
 tian, and fome Others; It partakes Something 
 of the Grofs Style of his Figures: May not 
 the lame be laid of his way of Thinking 
 Throughout? And perhaps Thofe Thoughts, 
 Thofe Figures, That fort of Magnificence, 
 Colouring, &c. have a Better Effect Together 
 than if any One of them had been in Another 
 Tade. They produce Pictures, Excellent in 
 their Kind ; tho’ That Kind is not the Same 
 with Thofe of Raffaele , nor fo Good ! Thus 
 Mich. Angelo was an Excellent Sculptor as 
 well as the Bed of the Ancients ; But their 
 Styles are Different, as are the Degrees of That 
 Excellence. And Thus too FaoloVeronefe is 
 judly Edeem’d, but his People are not like 
 the Others I have mention'd; they are Agree- 
 able enough in a Modern Story, not in an 
 Antique One. Indeed every School, and al- 
 mod every Mader exhibits a feveral fort of 
 People ; Better, or Worle, as they approach 
 the Model left us by the Ancients, (for the 
 Naked elpecially) and as they fit the Stories 
 they reprefent, and the Parts they a <2t. 
 
 FINIS. 
 
( 353 ) 
 
 ADDENDA. 
 
 Page 19, after Line 3. 
 
 E gar e lli Modell’d all the Confiderable 
 
 Figures for Correggio in the Dome of 
 
 Parma and Church of St.John y asMonfieur 
 Crozat told me. 
 
 B 
 
 Pan 
 
 p.56. l.iz. 
 
 Bianchi ( Cabinet-keeper of the Great 
 Duke) told me, that before ’twas remov’d 
 from Rome , (which according to Majfei was 
 in the Time of Julius II.) ’twas in perfect 
 Prefervation, and that thefe Fra&ures hap- 
 pen’d in the Carriage of it to Florence. 
 
 ’Tis the Work of Cleomenes the Son of 
 Apollodorus an Athenian , as appears by the 
 Infcription on the Bafe. The Venus which 
 Julius Ctefar dedicated, and fet in the Pan- 
 theon had the Ears bor’d, and the Remains 
 of the Pearl (Undiflolv’d) which Cleopatra 
 drank, and was afterwards cut in two, were 
 hung to them. Martianus p.i 32. 
 
 P-57-/-3. 
 
 The Body, great part of the Thighs, and 
 the beginning of the Arms, are all that is 
 
 A a Antique 
 
( 354 ) 
 
 Antique, the reft is added, (as Majfei fays,) 
 by Ercole Ferrata , who he alfo fays has 
 found this Body to be probably of Fhidias ; 
 ’tis in his Note on the Venus of Medicis , 
 his Words are, “ Nel luogo dove Ji conferva 
 “ prefent ament e qucfta Statua Ji vede an- 
 “ cor a il nobilijfimo Torfo della Venere che 
 “ gid ftette in Belvedere , e era creduta 
 “ per quello di Fidia, freome reconobbe di- 
 <£ ligentamente Ercole Ferrata che lo re- 
 “ Jiaurb di Tefa , Braccia, a Gambe da un 
 “ Geffo antic o del torfo che fi conferva di 
 “ quella fejfa di Belvedere. 
 
 I don’t remember to have feen this Caft, 
 but my Father has one of this Torfo , and 
 two Drawings of it, one of Andrea del Sar- 
 to , the other of Farmeggiano , at leaft they 
 are judg’d to be of thofe Hands. 
 
 p.6 3. /. 19. 
 
 My Lord ^Pembroke has an Original Draw- 
 ing of This; very Capital. 
 
 p. 115-. /. 10. 
 
 According to Ficaroni. 
 
 p. \vs- at the bottom. 
 
 Fliny (L.56. c. 5.) fays, the Niobe was 
 judg’d to be of 'Praxiteles, or Scop as. When, 
 and Where ’twaS found is not known, at 
 leaft I don’t remember to have heard ; but 
 ’tis very probable all thefe Figures did not 
 belong to it Anciently ; and that thole that 
 did were Otherwife plac’d. 
 
 p.i}i. 
 
( 355 ) 
 
 /.I3T.7.X5'- 
 
 They have taken up an Opinion at Rome, 
 that both thefe Statues of Hercules were 
 made by the Same Hand, and* that the Firft 
 done not being lik'd, occafion’d the making 
 of the Other. There is indeed a vaft diffe- 
 rence in the Goodnefs of them, fo great, that 
 though the fame Name were upon both, (as 
 I think it is) or whatever other Reafbn can 
 poffibly be Offer’d for that Opinion , ’tis 
 much more probable that One is a Copy of 
 the Other, and by fome Inferior Hand. 
 
 /.iyi. /.n. 
 
 The Garden is not Contiguous to the Pa- 
 lace, but belongs to the Family Farnefe, and 
 is in another part of the City. 
 
 Cicero in his fourth Letter to Atticus 
 fpeaks of the Marble Statues of Mercury , 
 with Brazen Heads; upon which his French 
 Tranflator (the Abbe St. Real) fays it was 
 ufual with the Ancients to make the Heads 
 of Statues of different Matter from the rcff, 
 that changing Thofe they might ferve forO- 
 ther Perfons, without making new Intire 
 Statues: for this he quotes Suet on. iu Calig . 
 c. 22. This however could not be the Rea- 
 fbn for the Brazen Heads of thefe Mercu- 
 ries. 
 
 p.i 76. 1. 20. 
 
 Ficaroni told me it had been a Temple of 
 A a 2 Bacchus', 
 
( 35 S ) 
 
 Bacchus-. ; ’tis Certain ’twas not a Chriftian 
 Church Originally, They never buildingtheir 
 Sacred Edifices in the Form This is ; ’tis Oc- 
 tangular, and at every Corner a Pillar. 
 
 /.280. 1. 13. 
 
 Ill this Stupendous Piece of Sculpture is 
 another Inftance of this Maflerly Liberty of 
 Difpenfing with the Vulgar Rules which In- 
 ferior Genius’s Truckle under ; The Defign 
 of the Artifts was to make a Man in the Ut- 
 moft Perfection ; This then muft be between 
 the two Extremes, it mult not be too Young, 
 and Delicate, nor too Old, and in Decay ; 
 not Effeminate, nor Ungentile ; the Chara- 
 cter of a Laocoon was then Thus far for their 
 Purpole : And this Story furnifli’d an Occa- 
 fion of a fine Expreffion, that it might not 
 be an Indolent, Unadtive Figure, but have 
 fomething befides its Mafculine Beauty to 
 Awaken the Attention of the Beholders : 
 and this moreover puts the Mufcles in Mo- 
 tion, and makes them more Apparent Thele 
 undoubtedly were farther Inducements to the 
 Choice of this SubjeCL And the two Sons 
 of the Prieft, together with the Serpent be- 
 ing very fublervient, as Contrafting, and En- 
 riching the Figure, makes it the Belt that 
 can poffibly be Imagin’d for the Defign of 
 the Sculptors. They have then not only 
 made the Prieft Naked, but the two Young 
 Men fo Small, as to bear no Proportion to 
 the Other, the Principal Figure, fo that 
 confider’d as a Father, and his two Sons, 
 
 (Y ouths) 
 
( 357 ) 
 
 (Youths) as well as a Pried Officiating, here 
 is Abiurdity upon Abiurdity. But as ’twas 
 not the Defign to Tell, or Rcprelent This 
 Story , fuch Objections are Impertinent : 
 Thel’e Great Maders had another View, and 
 their Conduct has been the Wiled that could 
 poffibly have been : for as the Pontifical Ha- 
 bits would have fpoil’d their Defign Intirely ; 
 by making the Young Men Larger they 
 would have call’d in Enemies, indead of 
 Auxiliaries; Thefe would have Hid, or Em- 
 barafs’d their Laocoon, and Divided, and 
 Perplex’d the Attention , and lo in a great 
 meafure frudrated their Defign. 
 
 The Confideration of what is the Inten- 
 tion and Main Bufinefs of an Artid would 
 drike off a great deal of what Injudicious 
 People take to be unquedionable Faults, or 
 Neglects at lead, and Difcover as many Beau- 
 ties : and Particularly in Portraits, where 
 the Principal Affair is the Figure ; and of 
 That the Face, to which Every thing elfe 
 in the Picture ought to be Subordinate, and 
 Sublervient. 
 
 ERR AT A. 
 
errata. 
 
 P Reface, ii. i 6. ofcen written 
 xii. f. are more 
 xvi. ii. in the Vatican 
 xxi. 20. he was then faffing 
 4. 24. Colveniers 
 7. 13. Lovino 
 11. 21. the fame care 
 30. Jncendh? 
 
 IS- 2 4 - and there are Angels with Mufick ; All are 
 over her Head 
 20. f. howler 
 
 I 3 - Ariadne, and Tfhefctis 
 28. 2. Paddles 
 33 * Bacchante 
 
 3S- 23. Cdano 
 40. 28. choqaing 
 4 *- 3- Santa 
 19. are held 
 44. if. are four 
 
 SO. The Article of the Unfinifh’d Statue of Mi- 
 
 chael Angelo in the Yard of the Houle by 
 the Dome is Mifplac’d ; it fhould have 
 been tnlerted after the Gallery, which coes 
 on to the Tribunal, p. ff. 
 
 5 T- 8. a la Romaics 
 5" 8. 27. I Jhall mention 
 59 - 30. d cl Monte 
 60. 18. Guido Re^Ps 
 77 - 14* Guided 
 78. 22. Cavtf/lini 
 83. 7. thefe are 
 
 16. there are 
 
 ^ 9 - S- Letters and Signatures 
 91* 28. the Idea/ 
 io 4 * 33 * is no 
 11 *• 31. Sparta 
 If6. if. is as probable 
 129. 27. Triumpha/ 
 
I 3 I - I 3 i I 4 * the Hercules the Same, but theOthers Dif- 
 ferent 
 
 148. 22,23. Sorrow of Dirce 
 ij'i. 13. Temple of Peace 
 1 52. 25*. that gave fuch 
 15*7. 22. dixeris 
 
 1 ?8. 30- [in the Margin] Guido 
 160. 28. Prejudices 
 
 176. ult. Mena 
 
 177. 19. di 
 
 20. Over the 
 
 182. 2,3. Riformata 
 20. are There too 
 
 183. 24. (not Originals) 
 
 187. 4. as is feen 
 189. 4. Aldobrandi#/ 
 
 1 91. 16. la Mafchera 
 
 192. 20. San Paolo 
 
 196. 23. which refemble 
 200. 26. when at 20 
 204. 2. of either kind 
 
 206. 22. There are 
 232. 8. ftrike out the 
 
 271. 25 ‘.for having faid 
 278. 23. an? founded 
 281. i. Over it 
 
 302. 29. they fit 
 304. 32. Agoftin ? If a 
 34. Others, he is 
 305'. 21. Pamfilio 
 
 306. 12, 13. ftrike out the Figures are about a Foot 
 long . 
 
POSTSCRIPT. 
 
 I Na Work of This nature one cannot hope 
 there will be No Miftakes, Efpecially when, 
 as in the Prelent cafe, there was nothing 
 More, Originally intended than Private Me- 
 morandums. When I made my Notes upon 
 the Places I had not the leaft Imagination 
 of their being Beaten out, Wrought up, and 
 Set to Publick View. But now that it has 
 fo happen’d, that what is done might be 
 as free from Errors as poftible, we laid hold 
 of an Opportunity which came very feafona- 
 bly of fubmitting the Whole to the Exami- 
 nation of a Gentleman juft return'd from 
 Italy , who we knew had been a very Ju- 
 dicious, and Exadt Obferver, and would 
 on This, and All Occafions ufe the Freedom, 
 and Candour of a Friend: What Corrections 
 he has made we thought our felves Oblig’d 
 to add to thofe we hadVlready noted. 
 
 p. io. /. 2. & 3. the words in the Palace 
 Pitti fhould have been left out. 
 p. 4 6. 1 . 4. I believe that Antinoiis is not 
 without a Nofe, but That it Has is not 
 Antique. 
 
 p. 130. /. 5* That Second Gate I Now very 
 well remember delivers you into a large 
 wafte ground, at the Corner of which on 
 the Right hand near the Palace is the Toro . 
 The Palace is as the Royal Exchange 
 
 in 
 
in London the Lodgings, and Porticoes 
 cncomnais a Square Court. 
 p 164. at the Bottom. 
 r ‘Plato a Boy, aileep with feveral Bees be. 
 Our Friend Fayes this Fubjedt is Painted on 
 the Ceiling in another Room of this Palace, 
 and very finely by Guifetfe Chiari (with 
 AlluFiondoubtleFs to the Arms ot t e a 
 her ini Family, which are Bees) but does 
 not remember the Pi&ure here DeFcnb d, 
 as neither do I That He ipeaks o . 0 
 
 bly here may beFome Miftake; but whe- 
 ther there Is, or No, or if there Is, What 
 it is, or How it happen’d, not havinga 
 Diftind , PoFitive Remembrance ot this 
 Particular, and my Notes being Now flung 
 AFide as of no farther ufe I cannot take 
 upon me to Fay ; but muft leave the whole 
 to be farther enquir’d into by thofe who 
 Ihall think it worth their while. 
 p. 3 co l. 6 . I Believe the Baptitm of Chnit 
 f is of Tint or et as our Friend aflerts it to 
 be. 
 

 
 
 
 
 
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