t> u 
 
 
 *^1 
 
I 
 
A N 
 
 ACCOUNT 
 
 Of Some of the 
 
 STATUES, 
 
 Bas-reliefs, Drawings 
 
 and : 
 
 PICTURES 
 
 in 
 
 I T A L Y, <* 
 
 with 
 
 REMARKS. 
 
 Sen. 
 By Mr. RIQHART> SON, ^ and 
 
 Jun. 
 
 LONDON: 
 
 Printed for J. Knapton a-t the Crown in St. Paul's 
 Church-Yard. 1722. 
 
THE 
 
 PREFACE. 
 
 By J R. Sen. 
 
 Ergo age, Chare Pater, cervici irnpone- 
 
 re nofirte : 
 Ipfe fiibibo burner is, nee me labor ijie 
 
 oravabit, 
 
 o 
 
 Virg. 
 
 HetherI have done Well, 
 or Not, in Publiihing this 
 Account, I am oblig'd in 
 Juftice to take it upon my 
 Self, and to declare, as I do, that 'tis 
 my Own Ad:. 
 
 I had an Undoubted Right to dif- 
 pole of thefe Papers as I thought fit. 
 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 AiTiftance 
 when he came home) collected what 
 was for my Purpofe. 
 
 But tho 5 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 Otherwife, it 
 muft needs happen that they were 
 not always Co Copious, nor gave me 
 fo Clear an Idea of the Things as I 
 WifiYd } in That Cafe I had re- 
 courfe to his Memory • and I was 
 Surpriz'd to find he had There 
 fo Carefully, and Diftin&ly trea- 
 (iir'cl up (o many Particularities wor- 
 thy 
 
The Preface* 
 
 thy the being recollected, and ad- 
 ded to what he had committed to 
 Writing. I have been ever fince up*- 
 on all Opportunities getting Farther 
 Light into Thefe Matters; Chiefly 
 from Him; but Sometimes from O- 
 thers, and from Books,- comparing 
 his Accounts with Theirs, and mak-* 
 ing fome few Improvements by the 
 Hints we thus receiv'd. Befides all 
 this, tho' I have Throughout ( as it 
 was neceffary) prefov'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 infifted upon that I mould 
 declare if I refolv'd to publifh thefe 
 Papers j and particularly that Thofe 
 upon the Pi&ures of Raffaele in that 
 Suite of Rooms in the Vatican which 
 go by his Name are Intirely Mine. I 
 muft 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 mould 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 
 feen in a Print, or a Drawing, as well 
 as in the Thing it felf : Thefe I am 
 well furniflrd with, particularly for 
 thofe famous Works of the Vatican 
 juft now mention'd : Bellor'i has more- 
 over dcfcrib'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 thefe Pa- 
 pers, I fhould not have Publifhed 
 them without my Son's Confent -> 
 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 fuch 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 Confentj and This being a pro- 
 per Supplement to what I have alrea- 
 dy done, Efpecially becaufe I have 
 here made fbme Illustrations of, and 
 Additions to what has been laid in 
 thofe Dilcourfcs • 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 Difcourfe 
 'twas All I then had the leaft 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 mew how to judge 
 of the Goodnels of a Picture, to know 
 Hands, and to diftinguifh Copies from 
 Originals j to which I added a Per- 
 fuafive to this fort of Study, This in- 
 
 A 4 deed 
 
The Preface. 
 
 deed is properly a Difcourfe on the 
 Conduct of the Underftanding, ap- 
 ply'd to Painting $ and led me Natu- 
 rally, and Unavoidably into a way of 
 Thinking fuch as would have been 
 neceffary in a Philofophical Difcourfe 
 upon the Conduct of the Underftand- 
 ing at Large ,• nor is there any Other 
 way of treating the Subject as it ought 
 to be treated ,• at leaft I know of 
 none. And if here I fbmetimes Di- 
 grels'd from my Subject of Painting, 
 I did not from what was alfb my Bu- 
 finefs, the Conduct 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 Pictures, and Statues ; and 
 'tis the Collection 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, (elpecially taking in what 
 are interfpers'd in my Other Difcour- 
 fes) as may give a tolerable Idea of 
 what the World poflefTes of the 
 
 Works 
 
The Preface, 
 
 Works of Painting, and Sculpture. 
 
 I have alfb in proper places given 
 an Abridgment of the Hiftory of Our 
 Art, and of the Lives of the Painters, 
 with the Characters of the moil con- 
 fiderableof them - y 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 mail think fit to under- 
 take it hereafter, he may fupply the 
 World with fomething Better • he 
 may Know more, or be Otherwise 
 better qualified as a Writer : But This 
 is All I have been capable of doing : 
 I am Exhaufted as to This SubjecT:, 
 whatever the SubjecT: it felf may be 
 thought to be. 
 
 I am never like to be of any Con- 
 
 fequence to the World unlefs in the 
 
 way I am in as a Painter, and one en- 
 
 8 deavouring 
 
The Preface. 
 
 deavouring to Raife, and Cultivate the 
 Love of the Art by fhewing its true 
 Ufes, and Beauties. This I have ap- 
 ply'd my felf to as the great Bufinefs 
 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 me is One of 
 the moft confiderable Spots of Ground 
 in Europe is Thus well known - y but 
 what fhe is very Remarkable for, and 
 wherein (lie is DiftinguinVd 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 5 as there are of 
 every Figure in fome of the Pictures : 
 and there are Prints of many, and 
 
 fbme 
 
The Preface. 
 
 fome Copies ; but Theie 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 moftly Extravagant, 
 and Undiftinguifhing General Enco- 
 miums, or Notices of Particulars the 
 leaft confiderable. Or they have faid 
 what they Faniy'd, not what in Rea- 
 lity was to be found : If Theie give 
 more extenfive Ideas than mere Cata- 
 logues they are Falfe ones : Catalogues 
 are of fome Uk f fo are fitch Remarks 
 as mow what Ought to be, fo 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 
 SufficientAccount of theie fineThings, 
 or whoever elfe will be pleas'd to fur- 
 nifn the World with iuch a one a De- 
 fect will be remov'd, and we iupply'd 
 with what we ought to have had long 
 ago. As 
 
The Preface. 
 
 As every Picture, Statue, or Bas- 
 reliefs befides what it was intended to 
 exhibit, leaves upon the Mind of him 
 that fees it an Idea of its Self, diftin- 
 guifh'd from every Other of its Kind ; 
 he that would defcribe them mould 
 endeavour to communicate fuch Di- 
 ftincl: Ideas. 'Tis true there are fome 
 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 Pi&ure, and Where it 
 is, but how Large, in what Situation, 
 and in what Condition $ what are the 
 Thoughts, and how thofe Thoughts 
 are Exprefs'd, in fhort, what are its 
 Beauties, and Defects throughout: 
 And though the Colouring, Style of 
 Drawing, Airs, and fbme Attitudes 
 cannot be exactly defcrib'd, Some- 
 thing may be faid of Thefe too $ and 
 even to one that is Not a Connoiffeur - y 
 but to Such a one the bare faying 'tis 
 of fuch a Mafter gives an Idea of the 
 mod Undefcribable of them,- and e- 
 
 fpeciaily 
 
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 fbme Work that one can 
 have recourfe to $ or if there be Prints, 
 Copies, or Drawings of the thing, 
 Thefe fhould by all means be referr'd 
 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 
 fee without Judgment of their Own, 
 or the Affiftance of Others to mow 
 them what is before their Eyes. 
 
 We have endeavour 5 d Thus to de- 
 fcribe fome of the moft Confiderable 
 things my Son faw ; 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 3 writing Catalogues is 
 
 not 
 
The Preface. 
 
 not to our Tafte,- but This we have 
 done as it helps to give an Idea of 
 what is to be feen in flich, and fuch 
 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 Goodnefs, or for 
 their Rarity, or other Particularity. 
 There is in Italy fuch a Multitude of 
 Sculptures, and Paintings, that 'twould 
 be Endlefs to Take, and Give an Ac- 
 count of All, even of thofe that are 
 really very Good- Thofe that have 
 beenThere, and with a TaPcc for thefe 
 Things, will remember many they 
 have feen 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 otherwife than we have done 
 would have been too great a Drudse- 
 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 withPleafure. 
 
 We have referred 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 thofe References are not fo 
 frequent as they might have been : 
 And if My Collection is oftner men- 
 tion 5 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 5 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 whilft my Son 
 was abroad, and which fo juftly a- 
 
 3 larmM 
 
The Preface. 
 
 larm'd all Europe, prevented his fee- 
 ing Naples, Venice, Genoa, and fbme 
 Other Places well worth feeing ; and 
 forbad his Return to Parts, to which 
 he referv'd the Sight of many fine 
 things There ; and a more Particular, 
 and Exacl: Confederation of what he 
 did fee. Some Common Accidents de- 
 priv'd him of the Pleafure he would 
 have had in feeing, and remarking 
 upon Some things, chiefly the Holy 
 Family oiRaffaele in the Royal Col- 
 lection of France. At the Efcurtal, 
 and in many other parts of Europe , 
 are many Excellent Pictures which my 
 Son never intended to vifit. But tho' 
 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 \ fbme few Additions indeed 
 there would have been, and but Few, 
 and Thofe not of the mofl Excellent 
 Things in the World, (I muft except 
 that of Raffaele juft now mention'd) 
 for notwithstanding their great Eclat, 
 I don't take the Works of Tttian, 
 
 Tintoret, 
 
The Preface. 
 
 Tmtoret, and Paolo Veronefe to be of 
 That Clafs • and thofe Places my Son 
 was Prevented from feeing are Chiefly 
 remarkable for the Works of Thefe, 
 or of Inferior Hands, whofe Principal 
 Characters are what are Leaft to be 
 Defcrib'd, and the Leaft Confidera- 
 ble in Painting, the Pencil, and Co- 
 louring : but they give no Such Ideas 
 as what we have from the Beft Ma- 
 ilers of all the Other Schools \ Their 
 People (Generally fpeaking) neither 
 Look, nor Acl: with that Grace, and 
 Dignity, as thofe of Raffaele^ Mich* 
 Angeh) Gmho y Correggio^ Gwdo, &c. 
 As for Statues there are fo few befides 
 Thofe of Rome^ and Florence y 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 the Bull- 
 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. 
 
 Rcafon than has yet been intimated ; 
 And amongft Thefe Some are omit- 
 ted, which he that takes his Ideas 
 of from what he may happen to 
 Hear 5 or Read concerning them, will 
 expect we mould not only have Men- 
 tioned , but Applauded* There are 
 great Works of This kind, as well as 
 Single Pictures y - fuch are thole of Va- 
 Jari, the Zuccaroes, and fome others 
 the Vatican , thofe of Jofeptn in the 
 Capitol y &c. 
 
 The Abatements we have made' 
 from the Common, receiv'd Opinion 
 with relation to Some Celebrated 
 Works may be Ccnfur'd. We Expect 
 it: And yet 'twill be very Unreason- 
 able. We have often complain' d, and 
 juftly, of the Superficial Accounts we 
 have had of thefe Things : and that 
 they are little other than Catalogues, 
 or Panegyricks y - We pretend to give 
 a more Diftincl: Idea of them ,• 'tis 
 therefore we write. If That be A1-* 
 lowable, or Commendable, the Free- 
 dom we have taken is So too, for 'tis 
 
 aNe- 
 
The Preface. 
 
 a Neceffary Confequence of it : The 
 great Men who to the Honour of Hu- 
 mane Nature have Bequeath'd thefe 
 Works of Theirs to Pofterity were 
 yet but Men, and Fallible as Such. 
 And 'tis no Prerumption in Us to fay 
 they were fo, and Wherein,- efpecial- 
 ly considering 'tis much Eafier to fay 
 what a Pi&ure Ought to be, than to 
 make Such a one : Should Others go 
 upon Our Plan in Considering theie 
 Works They would do as We have 
 done,- though as all are Fallible we 
 mould not Always Agree in our Re- 
 marks,- We mould be Right fometimes, 
 and fometimes Miftaken -, and fo would 
 Thole be who mould affign the par- 
 ticular Inftances wherein we were So. 
 But after all We do not differ from 
 the General Voice, or Other Writers, 
 fo much as it may be thought at Firft 
 Sight ,- for if we were to give an Ac- 
 count at large of any of thefe things, 
 we mould fay as Others do that 'tis 
 Fine ! 'tis Admirable ! Or if we would 
 raife our Style, and Italianize a little, 
 
 a % we 
 
The Preface. 
 
 we mould call it Miraculous ! Divine f 
 or any thing : There are many In- 
 ftances of this kind in the following 
 Sheets, when we have not thought 
 fit to defcend to particular Remarks. 
 A Picture, or Statue may be Excellent 
 in the Main, notwithftanding Some 
 Defects, However when we do In- 
 deed differ from Others, our Reafons 
 will appear where we have thought it 
 Proper, or it has been Practicable 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 
 Defer ve it, 
 
 I believe my Son has taken great 
 Care as to Facts, and that there are 
 as few Miftakes of That kind as can 
 be expected > for there are a vaft num- 
 ber of Particulars, and Thofe feen ma- 
 ny times under great Difadvantages in 
 Several refpects. The Remarks have 
 been Confider'd, and Review'd with 
 the utmofl Care, but There too we 
 may be Miftaken. However there are 
 
 no 
 
The Preface. 
 
 no Wilful Mifreprefentations : And 
 what Prejudices we have are in fa- 
 vour of the Works of thole Matters 
 we fo often mention , and whofe 
 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 
 (Ceteris paribus) His Ipfe dixit is no 
 Better than Ours, tho' he has Con- 
 fider'd the Matter as Carefully as we 
 have done, nor fo Good if he has 
 Not. 
 
 I flatter my felf that the Principal 
 Objection is that which is ftill be- 
 hind, with the Anfwer to which I will 
 finifh this Preface; (I mean the prin- 
 cipal Particular Obje&ion,- for as to 
 the General one with relation to our 
 Abilities for what we have underta- 
 ken, I muft leave That Unanfwer'd.) 
 It will be faid that the Time that my 
 Son fpent Abroad was too Short. 
 
 a 2 When 
 
The Preface. 
 
 "When this is faid with regard to 
 his Improving himfelf in Painting, 
 we are prepar'd with an Anfwer to 
 fuch of our Friends as are intitled to 
 ity that is, Such as we would Confult 
 withal, or which concern themfelves 
 in our Affairs in pure Friendfhip $ 
 but I oucrht not to trouble the Pub- 
 lick with That. If it be thought he 
 had not time enough for the purpofe 
 of the following Account -> and This 
 is all a Reader (as Such) is concern- 
 ed about, I freely confels 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- 
 led: 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 Way , and done more than 
 Ought to have been Expected from 
 Us (Confidering we have other Bu- 
 iineis in the World) is fome fort of 
 
 Merit, 
 
The P.REFAC E. 
 
 Merit, at leaft it ought not to be im- 
 puted to us as a Fault that we have 
 done no moie - y though a Lover of 
 the Arts may Wifh we had. 
 
 The Time my Son fpent Abroad 
 was indeed not Long, but he made 
 the Moft of it. 
 
 He traveled in a manner very Com- 
 modious, and Expeditious; and ha- 
 ving an Excellent Conftitution, Che- 
 rifh'd, and Prelerv'd by Temperance, 
 he could endure a great deal of Fa- 
 tigue , and after that with a very lit- 
 tle Refreshment apply himfelf to the 
 Bufinefs he went upon. One Morn- 
 ing in the Month of July he was on 
 the Road by One o'Clock, Travell'd 
 the whole Day in that Hot Seafon with 
 the Intermiffion only of about two 
 Hours at Noon - y he then pafs'd the 
 Apennines , (a Rough, Tirefcme way) 
 came to Florence about fix in the li- 
 vening, faw a Proceflion in the Ca- 
 thedral, the whole Service held about 
 three Hours j then he went to his 
 Inn, and after a very fliort Stay 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 Traveled 
 all that Morning, and the whole pre- 
 ceding Night, and Day, and that in 
 the time of the Heats, confecjuently 
 without Sleep, That being Fatal in 
 thole Seafbns in That Campagna ; yet 
 the Same Day he vifited the Works of 
 Raffaele in the Churches of S. Agofli- 
 no y and the Pace. 
 
 Nor did he Excufe himfelf from 
 Seeing, and taking Notes of what 
 he Saw by Difficulties, or Inconveni- 
 encies, nor even by fome Dangers; 
 and indeed his too much expofing 
 himfelf to the Heat of the Sun not to 
 loie 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 recovcr'd. 
 Thus heHufbanded his Time: But 
 
 'tis 
 
The Preface. 
 
 'tis not That Only that a Man fpends 
 in Doing any Work, All that it coffc 
 him in Preparing himfelf for it ought 
 to be brought into the Account: Ciro 
 Ferri was reproach'd as demanding an 
 Exorbitant Price for a Picture, done 
 as they faid in three Days • You Mt~ 
 fiake (fays he) / was Fifty Tears about ih 
 Whoever would Travel with Ad- 
 vantage ought to have the Languages,, 
 a competent Stock of Learning, and 
 other Gentleman -like Accomplifh- 
 ments, Civility, Good Nature, Pru- 
 dence, and a Becoming, and Infinua- 
 ting Manner, to which Perfonal A- 
 greeablenefs does not a little contri- 
 bute: And before he fets out he ought 
 to know as much of what he goes 
 Chiefly to Obferve upon, as can be 
 learn 5 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 fees, 
 but get eafier Admiffion, and have 
 greater Opportunities of feeing. 
 
 If 
 
The Preface. 
 
 If I mould fay my Son wasThus Pre- 
 pared I might be fufpe&ed of Partia- 
 lity, and Vanity, by Thofe efpecial- 
 Jy that know him leaft : And I feel 
 my felf ib much a Father, and a 
 Friend, that I fhould think it rea^ 
 Ibnable to fufpect my Self if I did not 
 know that he had from his In- 
 fancy, 'till he fet out fpent his time 
 jn 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 ftill honour'd 
 with by the molt Illuftrious Connoif- 
 feurs 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 Jiave been what I Affert, or Intimate, 
 J:he Force of the prefent Objection 
 ^yill be Diminifh'd* Moralifts fay, and 
 
 with 
 
The Preface, 
 
 with great Reafon, a Man may dye 
 Young at Fourfcore, and Old at For- 
 ty, according as he manages his Time : 
 He may have been Long in Italy who 
 fpends but a few Months there ,* or 
 come home too Soon, after having 
 Liv'd there half an Age. 
 
 ROTTER* 
 
ROTTERDAM. 
 
 MOnfteur FlinckV Collection Pag. I 
 
 Monf.Mkrs, MonfV anBefom, AW.Scheepens, 
 " Mad. Van Bellen Lady of Wadinknfeen, Monf. Van 
 Elmet, &c, 2 
 
 LEIDEN. 
 
 Iftonf. La Cour 3 
 
 HAGUE, 
 
 Maifon du Bois, ibid, 
 
 AMSTERDAM. 
 
 Mynheer Vander Schilling ibid. 
 
 Motif. Amory ibid. 
 
 Monf Tinkatre 4 
 
 Van Zomer ibid. 
 
 ANTWERP. 
 
 Monf Bredau , the Chanoine de Lychr, the Chev. Pee- 
 ters, Monf J)e Wit, Sign. Ferrari , Monf De Vos, 
 Chamber of the Colveniers , and Church of the Be- 
 ganes, &c. 4 
 
 BRUSSELS. 
 
 Monf Ferrageap, Verwort, Colart, demons, Fraula $ 
 
 PARIS, 
 
 The Louvre 6 
 
 French Academy 9 
 
 Monf Chatignarei ibid. 
 
 Monf Crcvm ibid* 
 
 The King's PiBures in CoypelV Boujk 1$ 
 
 The King's Drawings 1 y 
 
 The Regent's Pi&ures 19 
 
 Qnllery of Luxembourgh z% 
 
 Fontainbleaq ibid. 
 
 MI L A N 
 
MILAN, 
 
 The Monajfry of Dominicans 3,3 
 
 Ambrofian Library ibid. 
 
 PiSures belonging to the Academy 27 
 
 Drawings ibid: 
 
 MO D EN A. 
 
 The Church of St. Margaret of the Cordeliers &% 
 
 PIACENZA* 
 
 The Church of the Benedi&ines 29 
 
 PARMA. 
 
 The Dome ibid. 
 See 330 
 
 B L G N Ai 
 
 Palatzo Bonfiglioli 3d 
 
 The Church of St. Giovanni del Monte 33 
 
 Academy del Difegno 3^ 
 
 Palazzo Magnani ibid. 
 
 San Pieri ibid-. 
 
 Ghioftro di San Michel' in Bofco 36 
 
 The Church 38 
 
 Certofa ibid-. 
 
 A Private Chapel ibid. 
 
 Infirmary 39 
 
 S. Giorgio ibid. 
 
 The Capuchins 41 
 
 FLORENCE. 
 
 The Dome $%. 
 
 The Baptijlery 43 
 The Great Duke's Gallery 44 and 50 
 
 A Little Room 48 
 
 Clofet o/Madama 49 
 
 Another Room ibid 
 
 A Yard fo 
 
 The Tribunal ■$ f 
 
 The Gallery of the Painters 60 
 
 Camera di Madama ibid. 
 
 A Pajfage out of the Gallery 6 [ 
 
 Apartment of the Old Pictures 61 
 
 6 Next 
 
Next Room ibid, 
 
 The Great Duke's Drawings 63 
 
 Palazzo dePitti 66 
 
 The Garden of Boboli 75- 
 
 A Cabinet ibid. 
 
 March. CorfinoV Palace 76 
 
 Chapel of the Medici in &. Lorenzo ibid. 
 
 Church of Santa Croce ibid. 
 
 Church of the Nunciata 77 
 
 Cortile 79 
 
 Poggio a Caiano 80 
 
 The Scalzi 8a 
 
 ROME. 
 
 &.Agoflino 98 
 
 Madonna della Pace 103 
 
 Piazza Navona ; 107 
 
 St. Agnes in Piazza Navona 108 
 
 The Capitol 109 
 
 The Lungara, or Little Farnefe 117 
 
 Villa Medicis 124 
 
 The Palace Farnefe 129 
 
 Monaflry of Carthufians if a 
 
 Pal. Giuftiniani 15-3 
 
 Pal. Picchini 15-6 
 
 Barberino del Principe di Paleftrina ibid. 
 
 Del Duca di Bracciano, which was that of Don Livio 
 
 Odefcalchi 16$ 
 
 Church of St. Marco de' Veneziani 17 f 
 
 St. John Lateran ibid 
 
 Baptijlery of Conftantine 1 76 
 
 Scala Santa ibid. 
 
 Church of Santa Croce in Gerufalemme ibid. 
 
 Collection of Marc Antonio Sabbatini 1 77 
 
 The Church in Nome di Maria ibid. 
 
 Villa Mattei ibid. 
 
 Pal. Mattei 180 
 
 Borghefe 181 
 
 del Cav. del Pozzo 185* 
 
 Savelli 189 
 
 Colonna ibid. 
 
 Church of St. Carlo Catinari ibid. 
 
 St. Gregorio 190 
 
 Palace Spada ibid. 
 
 Mafchera d'Oro, and Houfe of Belloni 191 
 
 Villa Palombara 192 
 
 " Palace 
 
Palace Ottoboni Ui'ek 
 
 St. Marino ibid: 
 
 Church of St. Paolo decollate ibid: 
 
 The Forum Nervas ibid. 
 
 The Vatican 193 
 
 The Open Gallery 262 
 
 ^the Velvet Chamber 203 
 
 Another Chamber ibid. ) 
 
 The Library 264 
 
 Capella Siftina 268 
 
 Paolina 274 
 
 Garden of the Belvedere 27^ 
 
 Apartments of Innocent VIII. 28k 
 
 Palace of the Ambaffador o/England ibid. 
 
 Chiefa di Sapienza itl 
 
 Palace Chigi ibid. 
 
 Palace Marchefe CatTerelli 284 
 
 Villa of Cav. Caflali in Monte Ccelio ibid: 
 
 Church of Trinita di Monte 28 £ 
 
 Church of St. Lorenzo without the Wall's 287 
 
 Ovid'/ Tomb 288 
 
 Drawings of Cav. Benedetto Lutti ibid. 
 
 Temple of Sibylla Tiburtina at Tivoli 29b., 
 
 Grotta Ferrata ibid: 
 
 Caprarola 29! 
 
 St. Peters 295 
 
 Sti Pietro in Vincoli 29^ 
 
 Villa Borghefe 296 
 
 Church of St. Romualdo 298 
 
 Palazzo Pamfllia 299 
 
 Lodouifio 300 
 
 Palavicini 301 
 
 Chiefa de' Capuccini . 302 
 
 Church of St. Mana Traftevere 303 
 
 Villa Aldobrandina of the Pr. Pamfilia 305* 
 
 Church of Madonna del Popolo 306 
 
 St. Ifidore the Irifti Church 30*7 
 
 Monte Cavallo, or Monte Palatino ibid: 
 
 The Thermes of Titus 309 s 
 
 The Trajan Pillar 31O 
 
 72>eAntonine 31 1 
 
 The Church of St. Pietro in Montorio 313 
 
 Vigna Rofpigliofi 316 
 
 Church of St. Andrea del la Valle 319 
 
 a S.Gregorio in Monte Ccelio 320 
 
 Palazzo 
 
Palazzo dell' Academia «if 
 
 Pifa 327 
 
 Sienna 3i g 
 
 LUCCA. 
 
 Church ofS. Giovanni 329 
 
 6". Maria Corto Landini ibid. 
 
 S. Romano of the Dominicans ibid. 
 
 PARMA continued. 
 
 Church of S. Giovanni 330 
 
 Sant' A ntonio Abbate 33 r 
 
 Gallery of the Duke ibid. 
 
 'The Cabinet 333 
 
 Gallery continued 334 
 
 Church of the Madonna della Steccata 336 
 
 Palace of the Duke ibid, 
 
 M D E N A continued. 
 
 Palazzo Ducale 33Q 
 
 MANTUA. 
 
 Palace of T 346 
 
 VERONA. 
 
 Church of S. George. 349 
 
 The Theatre o<o 
 
 DUSSELDORP. 3S i 
 
 Agofl. 
 

 Ago ft. Caraeci. 
 
 TWO Heads, a Drawing 30 
 
 A Cupid and Satyr 35* 
 
 Communion of St. Jerome 38 
 
 In the Gallery Farnefe 143 
 
 Frefco 
 
 AleJJio Baldouinetti 
 
 Alb. Durer. 
 
 79 
 
 28 
 
 A Drawing 
 
 Albani. 
 God the Father fupporting a Dead 
 
 Chrift S 
 
 Four Seafons 8 
 
 Venus fitting, and Cupids 9 
 
 JLot and his Daughters 14 
 
 7 he Virgin IVaJhing Clothes 20 
 
 A Play of Boys 35- 
 
 Refurreffion 39 
 
 Baptifm of C h r i ft ibid. 
 
 Andrea del Sarto, 
 
 A Toung Man, Portrait 6 
 
 Holy Family round 7 
 
 Holy Family 9 
 
 A Head, Dr. 18 
 
 Two Figures, Dr. 26 
 
 A Canon of Pi fa 27 
 
 His Own Picture 60 
 Jofeph receiving a Golden Chain 
 
 from Phar ,-jh 68 
 St. Laurence, &.Dominick, &c. 
 
 ibid. 
 
 Ma >nna in the Clouds 70 
 
 Tw« Madonna'/ ibid. 
 
 Virgin^ Chrift, and St. John 74 
 
 Hijlory of Jofeph 
 
 Annunciation 
 
 Madonna del Sacco 
 
 Frefco 
 
 The Magi 
 
 hn the Scalzi 
 
 A Saint led to Martyrdom 
 
 Salutation 
 
 Jofeph in the Salutation^ 
 
 Hope, , 
 
 Fig. in the Baptifm, 
 
 Copy after Raffaele, Leo X 
 
 Holy Family 
 
 ibid, 
 ibid. 
 
 77 
 79 
 §0 
 82 
 182 
 190 
 
 Dr. 289 
 
 33 2 
 337 
 
 Andr. Sacchi. 
 
 Prudentia Divina 14 and 1 58 
 St. Romualdo 156.298 
 
 Actions of Conftantine .176 
 
 Cupola of Correggio, Dr. 16$ 
 
 And/ , iJmtegna. 
 
 Bark of Giotto, Dr. 26 
 
 Capital Picture 27 
 
 The Adoration of the Magi 62 
 
 A Chapel 281 
 
 Andr. del Caflagno. 
 Two Figures j6 
 
 Andr. Orgagna. 
 Dante's Picture 
 
 Andr. Sanfovino. 
 St. Anne 
 A Madonna 
 
 43 
 
 102 
 ibid. 
 
 Andr. Pifano, 
 Brajs Gates 43 
 
 b Annibalt : 
 
Annibale Caracci. 
 
 A Repofe S 
 A-^el l-Vorpipping a Dead Chrift 6 
 
 A Portrait 9 
 
 Two Land skips ibid. 
 
 The Silence 1 6 
 The Bacchanale of Farnefe , Dr. 1 9 
 
 Bacchus on an Elephant, Dr. ibid. 
 
 A Painters Head, Dr. ibid. 
 
 Virgin Sewing ibid. 
 
 Diana and Nymphs 20 
 
 Lands kip 1 1 
 
 Drawing 31 
 Holy Family 
 Madonna 
 Caricatura 
 
 Two or three Academy \_ p. ., 
 
 Figures 
 Eight Heads 
 Five others 
 Lands kip 
 
 Slaughter of the Innocents^ 
 Triumph o/'Bacchus / 
 Peter'x Denying Chrift ^>Dr. 32 
 Circumcijion 
 Two Heads 
 
 Portraits 3 3 
 
 A Frize 35* 
 
 A Dead Chrift ibid. 
 
 Ecce Homo 39 
 
 Madonna, ^.John, &c. ibid. 
 
 Bap tifim of ' C h r i ft , CfjV . ibid. 
 
 Tv • Madonna'/ 74 
 
 D ad Chriit, and Dr. 8i 
 
 Madonna ibid. 
 
 Ga/teryFzmefe J^S 
 
 Dead Chrift 145* 
 
 ^ Cabinet 149 
 
 yf»£*7 u///£ ?£<» Nail 163 
 
 Polyphemus tf»^ Galatea ibid. 
 
 Venus an, ' Cupid 168 
 
 St, Gregoiy <?/ Prayers 190 
 
 ■ 
 
 A Pieta 332 
 
 Bacchus 333 
 
 Dead Chrift 334 
 
 Co/>y 0/ the Cupola of Correggio, 
 &c. 336 
 
 &.Roch. 543 
 
 Annibale Font ana. 
 Figure in a Vineyard, Dr. 
 
 B ace io BandineJli. 
 
 Three Fig. Dr. 
 Three Graces, Dr. 
 Polyphemus, Dr. 
 God with the Dead Ch r i ft 
 Adam and Eve 
 The Laocoon 
 Woman and Child, Dr. 
 
 BaldaJJ'ar Peruzzi. 
 
 Virgin going to the Temple 
 A Cupola 
 
 M 
 
 24 
 26 
 
 3 1 
 
 .4.3 
 
 ibid 
 SO 
 .63 
 
 107 
 ibid. 
 
 Barocci. 
 Salutation ofSS. Mary aud Eliz. 9 
 
 A Lady, Portrait 14 
 
 A Figure, Dr. 2 f 
 
 Virgin Adoring Chrift 27 
 
 Two 0/ Crayons 28 
 
 JEneas WAnchifes 168 
 
 Another 182 
 
 Fra. Bartolomeo. 
 
 MonkV Head, Dr. 16 
 
 About 100 Drawings 65" 
 
 Afcenjion 70 
 
 vSV.Mark ibid. 
 
 Madonna, St. Seb. &rV. ibid. 
 
 Madonna 329 
 
 Madonna de Miferecordia ibid. 
 
 Bafano. 
 Two or three Sketches, Dr. 
 
 64 
 
 Fr. 
 
Fr. Baft: am delPiombo. 
 
 Ritratto, Dr. 16 
 
 Altar-piece 307 
 
 Scourging our Lord 315* 
 
 Batt. Franco. 
 
 A Frize after Polydore, Dr. z$ 
 
 Ditto 26 
 
 Valeria, &c. Dr. 32 
 
 Borgognom. 
 Several Pictures 
 Mor* 
 
 Le Brun. 
 
 28a 
 
 A Man's Portrait 
 
 14 
 
 Breughel, 
 Six Pictures 
 
 iy 
 
 A Tomb 
 
 Battifta Naldini. 
 
 Battifia Lorenzo. 
 A Figure, &c. 
 
 Begarelli. 
 Figures in Terra Cotta. 
 
 Benozzo Gozzoli. 
 Dijpute of the Dofiors, &c 
 
 Bernini. 
 His Mifirefs 
 The Fountain 
 
 Daphne and Apollo 1 
 His own Son 
 Adonis dying 
 Q. Chriftina, B. 
 Monument of Urban VIII. 
 
 of Alexander VII. 
 
 David 
 TEneas carrying Anchifes 
 Statues 
 
 Benard. Pocchiettie 
 Several Works 
 
 n 
 
 ibid. 
 
 29 
 
 3*7 
 
 5-4 
 197 
 
 34**97 
 
 164 
 167 
 294 
 
 29f 
 
 297 
 ibid. 
 
 3°7 
 
 78 
 
 Bern. Campi. 
 St. John in the Wildernefs, Dr. 16 
 
 Biaggio Bolognefe, 
 Circumdjion, Dr. 2$ 
 
 Beata Rita 
 
 Cav. del Cairo. 
 Prodigal Son 
 
 Callot. 
 
 Judas Hanging, Dr. 
 Landskips, Dr. 
 
 Cangiajfi. 
 Mars, Venus, and Cupid 
 
 Campagnolo. 
 
 Two Lands kips, Dr. 
 Drawings 
 
 Carlo Cignani. 
 Boys with Cartels 
 A Prsefepe. 
 
 Carlo Maratti. 
 
 A Nymph purfued, whom 
 
 covers with a Cloud 
 6>.John 
 Salutation 
 Twelve Apoflles 
 Cupids 
 A Bacchanale 
 Adoration of the Magi 
 A Carton 
 Death- Bed of St. Jofeph 
 
 Carolus Albertus. 
 
 A Canon 
 
 hi 
 
 l©3 
 *7 
 
 18 
 
 ibid. 
 
 21 
 
 9 
 
 18 
 
 3* 
 39 
 
 Diana 
 
 6 
 
 S 
 
 107 
 
 164 
 
 ibid. 
 16$ 
 
 i7f 
 263 
 
 307 
 
 3*9 
 
 Cire 
 
A Cupola 
 St. Ivone 
 
 Ciro Ferri. 
 
 1 08 
 282 
 
 Claud. Lorenefe. 
 Landslips 1 89, 282, 301 
 
 Correggio. 
 
 Afcenjion, Dr. 4 
 
 A Head ibid. 
 
 St. John Baptift, Dr. f 
 
 Nymph, Satyr, Cupids 6 
 
 The Senfual Man If 
 
 Heroick Virtue ibid. 
 
 A Figure 1 8 
 
 A Madonna, Pope, and Bijhop, Dr. 
 
 ibid. 
 Madonna 20 
 
 Marriage of SS. Jofeph *»^Mary, 
 Dr. if 
 
 Chrift in the Manger, Dr. 26 
 
 Figures in Terra Gotta 28 
 
 Dome of Parma 29 
 
 Madonna Lattante, Dr. 31 
 
 St. John, Dr. ibid. 
 
 A Ripofo, Dr. 33 
 
 Madonna 5-8 
 
 Four D odors of the Church 64 
 
 Madonna in the Clouds ibid. 
 
 Figure with the Head of St. John 
 
 ibid. 
 Ten Drawings ibid. 
 
 A Toung Man's Head Crayons 8 1 
 Heads 15-4 
 
 Madonna and St. JoCeph 173 
 Noli me tangere ibid. 
 
 Magdalene ibid. 
 
 Boys 1 5-9 
 
 Io 1 69 
 
 Dan'ae ibid. 
 
 Mercury teaching Cupid to read 
 
 ibid. 
 
 Leda ibid. 
 
 Cupid Jhaving his Bow ibid, 
 
 Two Ritrattoes of Caefar Borgia 
 
 172 
 
 7/&<? Muletier 173 
 
 St. Cecilia 182 
 
 Old Man's Head 184 
 
 Cupola of the Ch. of St. John 330 
 
 M ad o n n a and Saints ibid. 
 
 Marriage of St. Katharine 334 
 
 Madonna ibid. 
 
 Zingana ibid. 
 
 Nbtte 338 
 
 Madonna and St. George 342 
 
 Madonna, Bijhop, &c. 343 
 
 Madonna and Saints ibid. 
 
 Magdalene 34? 
 
 Chrijlofero Scult. 
 
 Two Heads 
 A Head 
 
 Dan. da Volt err a. 
 
 25" 
 ibid. 
 
 Toung Hercules, Model 1© 
 
 Finding the Crofs 98 
 
 Defcent fr$m the Crofs 286 
 
 D. Diego Velafques. 
 
 Innocent XI. 299 
 
 Dominichino. 
 
 David playing on his Harp 6 
 
 Four Muficians ibid. 
 
 St. Cecilia 7 
 
 ./Eneas carrying Anchifes 8 
 
 St. Francis at Prayers 19 
 
 The Rofary 35- 
 
 In the Gallery Farnefe 143 
 
 &. Jerome " 156 
 
 A Carton 263 
 
 Mezzo Cupola 319 
 
 to.Nilo, fcrV. 290 
 
 Cardinal Lodouifio, fcrV. 300 
 
 St. Jerome Dying 303 
 
 Ajjumption ibid. 
 
 Scourging St. Andrew 32.0 
 Dominico 
 
Dominica Grillandaio. 
 
 Circumcifion 49 
 
 Virgin Kneeling 62 
 
 Donatellq. 
 
 ■62 
 76 
 
 Gejfi. 
 
 St. John, Stat. 
 The Nunciata 
 
 Dojfo daFerrara. 
 &. George 344 
 
 Elif. Sirani. 
 Baptifm in Jordan 38 
 
 Ercole Fcrrata. 
 fig.Marh. IOO 
 
 77 Fattore. 
 
 Mofes breaking the Tables, Dr. ij 
 Two Figures, Dr. ibid. 
 
 Fede Galicia. 
 A Portrait 27 
 
 Fiamingo. 
 
 Torfo of the Belvedere 10 
 
 Mercury ifS 
 
 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 Poujfm. 
 Landskips 1 89 
 
 More 
 
 RefurrecJion 
 
 Giacomo Pontormo. 
 The Deluge 
 
 Giorgione. 
 
 Frefco 
 
 301 
 39 
 
 19 
 
 8 
 10 
 
 20 
 
 ^7 
 60 
 
 73 
 299 
 
 Four Figures 
 A Ritratto 
 Duke of Orleans 
 
 Muficians 
 His PiBure 
 Martin Luther 
 Soldiers and Toung Man 
 Ritrattoes 34^ 
 
 Giorgio Vafari. 
 
 In the Cupola of the Dome 0/ Flo- 
 rence 42 
 
 Giuliano de Medici Duk&ofNt* 
 mours, Portrait 61 
 
 Chrift bearing the Crofs 76 
 
 Appearing to the Apoflles 77 
 
 Drawings 
 
 Giottina. 
 Giotto. 
 
 6 4 
 
 293 
 
 The Bark 
 
 Gio.Bolog. delta Marca. 
 A Drawing 64 
 
 Gio, Andrea Sirani. 
 Laft Supper 38 
 
 Gio. Battifla Bertano. 
 
 Story of Alexander 123 
 
 Gio. Battifla del Cane. 
 A Drawing 28 
 
 Beato Gio. da Fiefole. 
 
 Marriage of St. Jof. WMary 6a 
 
 Virgin Dead ibid. 
 
 b.3 Giq, 
 
GioBattifia de Monte. 
 
 Several Miniatures S9 
 
 Another 61 
 
 Gio. Bellini. 
 
 St. John 9 
 
 Gio. da Udine. 
 Grotesques 263 
 
 Girol. da Carpi. 
 Several Figures o/Mich. Angelo 
 
 Dr. 
 
 24 
 
 Girol. da Sermoneta. 
 
 Nativity 107 
 
 D. Giulio Clovio. 
 
 "The Pieta of Mich. Angelo 60 
 
 A Holy Family ibid. 
 
 Two Crucifixes 6 1 
 
 Ornaments 64 
 
 Rape of Ganymede 75- 
 
 A Book of Miniatures 177 
 
 Miniatures 2,65" 
 
 More 266 
 
 'Two or three M'tfJ'als ibid. 
 
 A Mifjal 333 
 
 A Miniature 334 
 
 Giulio Romano. 
 
 Horatii and Curiatii, Dr. f 
 
 A Bacchanale, Dr. ibid. 
 
 Cupid and Pfyche, Dr. ibid. 
 
 Apollo, &c. Dr. 12 
 Turnus and iEnens. &c. Dr. ib. 
 Fame Crowning a Conqueror, Dr. 
 
 ibid, 
 
 the Magi, Dr. ibid. 
 
 Apollo aWMarfyas, Dr. 13 
 
 A Woman afleep, Dr. 1 8 
 
 Pfyche and the Eagle, Dr. 25" 
 
 A Battel, Dr. 26 
 
 Continence of Scipio, Dr. ibid. 
 
 Another, Dr. ibid. 
 
 Several Boys, Dr. ibid 
 
 Two Angels, Dr. ibid. 
 
 A Feaft, Dr. 27 
 
 Five Figures, &C. Dr. 31 
 
 His Portrait 60 
 
 Raffaele'j Miftrefs 15*6 
 
 Five Cartons, the Amours of Jupi- 
 ter 167 
 Frizes 28 1 
 Virtue Jhe wing the Temple of Fame 
 
 , 337 
 /W/ of Phaeton, &c. in the Pa- 
 lace of T. 347 
 
 Guercino. 
 
 The four Ages of Man 6 
 
 St. Jerome and the Angel 16 
 
 St. Bruno, &c. 38 
 
 St. Guglielmo 39 
 
 St. Augulline 99 
 
 Death of Dido 190 
 
 St. Petronella 294 
 
 t leaying i&.Bartholomew 192 
 
 Guglielmo della Porta. 
 
 Repairing of Statues 1 30 
 
 Stat, a Virtue 1 33 
 
 Plenty and Charity 146 
 
 Guido. 
 
 St.Peier at Prayers l 
 
 St. Peter 4 
 
 Fortune 6 
 
 Painting ibid. 
 
 Young Man, Port. Dr. 12 
 
 Magdalene in Extafy 13 
 
 B e heading St . J o h n 21 
 
 y? Drawing 30 
 
 Madonna, Z)r. 31 
 
 Madonna aW Mwo Angels, Dr. ib. 
 
 St. Benedict in the Defart 36 
 
 Crucifix 41 
 
 Boys in Gua2ZO 1 j8 
 
 &. Andr.Cortino ##• 
 . Magdalene 
 
Magdalene 
 
 165 
 
 St. Bonaventure 
 
 1 68 
 
 Cardinal Spada 
 
 1 90 
 
 St. Peter's Crucifixion 
 
 191 
 
 Dead Chrifr, &c. 
 
 301 
 
 &. Michael 
 
 3 0i 
 
 Aurora 
 
 316 
 
 St. Andrew going to Martyrdom 320 
 Affumption 329 
 
 Madonna, &c. ibid. 
 
 Lanfranco. 
 
 Difciples looking into the Sepulchre, 
 
 103 
 Annunciation 1 89 
 
 Chriil walking on the Water 294 
 Cupola of St. Andr. della Valle 
 
 319 
 Lavinia Font ana. 
 
 Her Portrait So 
 
 Another Portrait ibid. 
 
 A Portrait 
 
 LeB 
 
 run. 
 
 Lionardo da Vinci. 
 
 Madonna 
 
 A Saint and two Angels 
 
 Madonna 
 
 The Jocunda 
 
 La belle Marefchalle 
 
 hafi Supper 
 
 Book of Mechanicks 
 
 Another of Caricatures 
 
 A Ritratto, Dr. 
 
 A Woman's Head, Dr. 
 
 More Heads, Dr. 
 
 Another, Dr. 
 
 Duchefs of Milan 
 
 Adoration of the Magi 
 
 Another 
 
 A Woman's Head, Dr. 
 
 Draperies 
 
 St. Mary Magdalene 
 
 '4 
 
 . .7 
 ibid. 
 
 9 
 16 
 
 ibid. 
 
 . 2 3 
 
 ibid. 
 24 
 
 . 2 * 
 
 ihtd. 
 
 ibid. 
 26 
 27 
 49 
 63 
 
 . 6 4 
 
 ibid. 
 
 74 
 
 Csnverfaiion 
 
 Led a 
 
 Jocunda 
 
 ArtusV Head, Dr. 
 
 Lodouico Caracci. 
 
 163 
 184 
 
 189 
 289 
 
 20 
 
 Holy Family and St. Kath. 
 
 Madonna and St. Kaih. Dr. 32 
 
 Nativity of St. John, Dr. ibid. 
 Virgin carry' d to the Sepulchre 33 
 
 Another ibid. 
 
 Lafcivious Women 37 
 
 Chrifi crown' d withThorm 38 
 
 Preaching of St. John ibid. 
 
 Annunciation 39 
 
 St. George, and St. Michael ibid. 
 
 AJfumption 
 Madonna and Saints 
 
 Lodouico Cigoli. 
 A Crucifix 
 
 Lorenzo Ghiberti. 
 
 Brazen Gates 
 A Pedejlal 
 
 Lorenzetto. 
 Two Statues 
 
 Lovino. 
 
 Three Boys, Dr. 
 A Head, Dr. 
 
 Several Pictures 
 
 343 
 344 
 
 i 7 5 
 
 43 
 46 
 
 3P7 
 
 ilid^ ^» 
 
 27 
 
 Luc a d' 01 an da, or Van Ley den, 
 Several Drawings upon Glafs 28 
 
 Luc a della Robbia. ' 
 
 A Frizc 
 
 Luca Saltorelli. 
 
 Martyrdom of St. Peter 
 
 St. Luke. 
 
 A Madonna 
 b 4 
 
 8j 
 
 i i -. 
 
 Mat selh 
 
Mar cello Mantovano. 
 Annunciation i /6 
 
 MarceU'mi. 
 
 
 Bufl of Galileo Galilei 
 
 61 
 
 Majfari. 
 
 
 In St. Michel *»Bofco 
 
 3<5. 37 
 
 MarceUo Venufli. 
 
 
 Copy after Raffaele 
 
 98 
 
 Mccarino. 
 
 
 Pavement 
 
 318 
 
 Melcbiore Caffa Maltefe. 
 
 &. Thomas of Villa Nova, Mar- 
 lie 100 
 St. Euftachkis 
 
 Melozzo da Forli. 
 God Angels, &C. 
 
 Mich. Angelo. 
 
 Mofes, a Model 
 
 Dead C h r i ft , a Model 
 
 A Head, Dr. 
 
 A Sketch, Dr. 
 
 Two Figures, Dr. 
 
 A Figure, Dr. 
 
 Woman' 's Head, Dr. 
 
 Bacchus, Stat. 
 
 A Woman, Stat. 
 
 A Statue 
 
 Brutus a Bufl 
 
 A Head, Marble. 
 
 A Madonna 
 
 A Portrait of a Lady 
 
 A Figure fating 
 
 Model for theTorfo 
 
 Figures over Arches 
 
 Faunus'* Head, Charcoal 
 
 Dead Chrift, Marble 
 
 Annunciation 
 
 Crucifix 
 
 183 
 267 
 268 
 
 *74 
 ibid. 
 295- 
 
 Crucifix 
 
 Prophets and Sibyls 
 
 'Judgment 
 
 Converfion of St. Paul 
 
 Martyrdom of St. Peter 
 
 Mofes, Stat. 
 
 Mich. A rg. Caravaggio. 
 Gameflcrs 
 
 Mola. 
 Rachel and Laban 
 Preaching of St.] ohn 
 
 Nicolo deW Abbate. 
 Ornam. Women, Dr. 
 
 Palma Vecchio. 
 
 Shepherds Worpipping I 
 
 Old Woman telling Toung Women 
 
 16s 
 
 14 
 
 19 
 
 3 2 
 
 109 
 
 *y^/V Fortune 
 
 7 
 
 
 Holy Family, &C. 
 
 14 
 
 263 
 
 Parmeggiano. 
 
 
 
 Portrait 
 
 1 
 
 
 Beheading of St. John 
 
 ibid. 
 
 TO 
 
 The Marriage of St. Jofeph 
 
 and 
 
 ibid. 
 
 Mary, Dr. 
 
 2 
 
 18 
 
 A Madonna 
 
 S 
 
 ibid. 
 
 A Saint in White 
 
 10 
 
 24 
 
 Romulus and Remus, Dr. 
 
 12 
 
 i>" 
 
 The Marriage of St. Kath. 
 
 16 
 
 3' 
 
 A tigure, Dr. 
 
 18 
 
 4? 
 
 Another, Dr. 
 
 ibid. 
 
 • ?? 
 
 Two others, Dr. 
 
 ibid. 
 
 ibid. 
 
 A Sketch, Dr. 
 
 ibid. 
 
 *3 
 
 A Woman, Dr. 
 
 24 
 
 74 
 
 A Figure, Dr. 
 
 26 
 
 58 
 
 Unknown Sfory, Dr. 
 
 ibid. 
 
 61 
 
 A Draining 
 
 ibid. 
 
 64 
 
 Figures in the Dome of Parma 30 
 
 . 75" 
 
 Madonna, Dr. 
 
 31 
 
 76 
 
 School 0/ Athens, Dr. 
 
 3* 
 
 124 
 
 A Figure, Dr. # 
 
 . 33 
 
 *J4 
 
 Rape of the Sabin* 
 
 ibid. 
 
 >75" 
 
 Child on a Throne^ Dr. 
 
 64 
 
 176 
 
 
 Saint 
 
St. John 98 
 
 Saint Beheading 300 
 
 Madonna, &c. 331 
 
 Lucmia 334 
 
 Four Half Cupola's 336 
 
 Paolo Veronefe. 
 
 Be1ihazzar\f F<?a/?, Dr. 1 
 
 Finding Mofes 8 
 
 A Crucifix 9 
 
 Dead Chrift and Angels 10 
 
 Rinaldo «»^Armida, a Model ib. 
 
 *7 
 174 
 349 
 3f° 
 
 Three Figures, Dr. 
 Twelve Hijlories 
 Martyrdom of St. George 
 Baptifm »f Chrift 
 St. Barnabas 
 
 Paolo Farinati. 
 Feeding the JOQO 
 
 Paul Brill. 
 
 Lands kips 
 
 Pelegrino da Modena. 
 
 Virgin, Chrift, and St. John 
 Pope giving his Blejjing, Dr. 
 Play of Boys and Goat, Dr. ibid. 
 
 Pel. Tibaldi. 
 
 Two Rooms 
 
 Nativity and Shepherds 
 
 Perino. 
 
 A Figure, Dr. 
 Frizes 
 
 Pietro Cavallini. 
 Miraculous Annunciation 
 
 Pietro da Cortona. 
 
 Ceilings 
 A Ceiling 
 St. Ivone 
 
 3fO 
 301 
 
 7 
 
 3S 
 181 
 
 24 
 281 
 
 78 
 
 61 
 
 15-8 
 
 28Z 
 
 Pietro Lucatelli. 
 
 BeataRita 103 
 
 Pietro Paolo Olivieri. 
 
 Amicitia 180 
 
 Venus ibid. 
 
 Pietro Perugino. 
 
 A Carton 28 
 
 Madonna'* 15-5- 
 Madonna, St. Francis, &c. 181 
 
 Miniatures 266 
 
 Hijlories 274 
 
 Angel with a Trumpet 281 
 
 Other Works ibid. 
 
 Madonna of the Go Cart 343 
 
 Pinturicchio. 
 
 A Mezzo Cupola 176 
 
 A Library 181 
 
 Praefepe, &c. 306 
 
 Life of Pius II. 328 
 
 Polidore. 
 
 His Picture 60 
 
 Mufes dancing 74 
 
 Boys with a Cartel 102 
 
 Four Roman Triumphs 16^ 
 Paintings on the Mafchera d'Oro, 
 
 &c. 191 
 Pollaiolo. 
 
 Death of the Virgin 
 St. Sebaftian 
 
 49 
 
 77 
 
 Pomeranci. 
 Two of Circe, &c. Dr. 64 
 
 Pordenone. 
 
 Centaurs andhaphhx, Prize 9 
 7xya Frizes 10 
 
 Fortune Jkewing the way to Her- 
 cules, Dr. 24 
 His own Picture 49 
 
 PoHJflM. 
 
Pouffin. 
 
 Sacrifice to the Golden Calf I 
 
 Holy Family 6 
 
 Woman taken in Adultery 8 
 
 Baptism 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 1 5-9 
 
 Our Lord giving the Keys 18? 
 
 Lands kip of the Serpent 186 
 
 Bacchus and Ariadne ibid. 
 
 Rachel giving the Servants Water,' 
 
 ibid. 
 A Landskip, Women ibid. 
 
 Another (Phocion) ibid. 
 
 Sacraments 1 88 
 
 Copy of the Grecian Wedding 189 
 Pefl 189 
 
 Landskip s 301 
 
 Primaticcio. 
 
 Hercules and Dejanira, Dr. 2 
 The Works 0/ Fountainbleau 22 
 
 Rajfaele. 
 Conftantine making an Oration, 
 
 Dr. 
 
 1 
 
 Figure on Horfeback, Dr. 
 
 § .5" 
 
 A Pracfepe 
 
 ibid. 
 
 A RefurreHion 
 
 6 
 
 St. Margaret 
 
 7 
 
 Cardinal Pole 
 
 TO 
 
 ( Battel 0/ Conftantine 
 
 II 
 
 Dr.* 
 
 \Weman in the Incendio ibid. 
 'Holy Family ibid. 
 
 Dante 11 
 
 Madonna, Chrift, and St. 
 John ibid. 
 
 rMadonna ibid. 
 
 Ifaac on his Bed ibid. 
 
 A Boy Kneeling ibid. 
 
 Figures toming ibid. 
 
 St. Paul tearing his Garment 
 
 < A Thought jor St. Peter V 
 
 Church ibid. 
 
 For the School of Athens ibid. 
 
 Heads for the Carton of the 
 
 Keys ibid. 
 
 ^Jofeph'j Dream ibid. 
 
 St. George 14 
 
 A Mans Portrait \6 
 
 Another ibid. 
 
 rAdam and Eve 17 
 
 A Monument with Conftan- 
 
 tine on Horfeback ibid. 
 
 An Old Man Writing ibid. 
 
 Jofeph'j Brethren taking out 
 
 the Cup ibid. 
 
 A Madonna ibid. 
 
 Abraham Praying ibid. 
 
 St. Katharine ibid. 
 
 Pope's Head ibid. 
 
 Ganymede giving the Cup 
 
 Dr.< 
 
 V_ 
 
 ibid. 
 
 . 1 .9 
 ibid. 
 
 20 
 
 ibid. 
 
 24 
 
 to Jupiter 
 Two Madonna'* 
 Madonna and St. Jofeph 
 St. John in the Wtldernefs 
 God the Father 
 &. George, Dr. 
 Dividing the Countrey by Lot, Dr 
 
 Ganymede, Dr. 26 
 
 Two Figures on Horfeback, Dr. ib. 
 Chrift wajhing the Difciples Feet 
 
 *7 
 School of Athens, Carton 28 
 
 ^Madonna 29 
 
 Slaughter of the Innocents, Dr. 30 
 
 Several Figures, Dr. ibid. 
 
 Feed my Sheep, Dr. 3 1 
 
 Abraham Offering, Dr. 32 
 
 Bacchante, &c. Dr. 33 
 
 The 
 
The Saint Cecilia 
 St. John 
 Julius II. 
 Portrait 
 
 (St. George 
 
 Woman in the Incendio ib 
 
 31 
 
 S7 
 
 60 
 63 
 
 Dr.< 
 
 Madonna 
 
 St. Peter delivered 
 
 Virgin dying 
 
 Another 
 
 Mofes Jiriking 
 
 the 
 
 ibid, 
 ibid, 
 ibid. 
 
 Rock 
 
 ibid, 
 
 m 
 
 67 
 69 
 
 71 
 73 
 
 Part of a Hi/lory 
 Madonna and St. John 
 Madonna della Pefcia 
 Leo X. two Cardinals 
 Cardinal's Head 
 Holy Family and St. Katharine ib. 
 
 St. Auftin 101 
 
 Ifaiah ibid. 
 
 Prophets and Sibyls 103 
 
 Gallery of Psyche 117 
 
 Vulcan at his Forge - 123 
 
 Galatea ibid. 
 
 Madonna'* }SS 
 
 Julius II. ibid. 
 
 RaffaeleV Miftrefs 157 
 
 Madonna, ftandwg 172 
 
 Madonna, Carton 176 
 Cardinal Borgia and Machiavel 
 
 Venus dipping the Arrows io^ 
 
 Difpute of the Sacrament 202 
 
 School of Athens 209 
 
 Parnaffus 214 
 
 Law 223 
 
 Heliodorus 228 
 
 Miracle of Bolfena 229 
 
 Attila "*•'■ 232 
 
 Delivery of St. Peter 234 
 
 yuftification of St.'LtO 238 
 
 Coronation of Charlemain 239 
 
 Incendio di Borgo 240 
 
 Port o/Oftia 242 
 
 GonHaminG? s Oration s Dr. 2<\f 
 
 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 <0»<^Baldus, Ritrat. 299 
 Hift. and Ornaments 307 
 Transfiguration 313 
 Life of Pius ! H. 328 
 Madonna 332 
 Madonna della Gatta 334 
 Madonna 337 
 
 Pad. RameUi. 
 Retouching D. Giulio Clovio 265* 
 
 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. 1 a 
 
 A Portrait 14 
 
 A Woman's Portrait ibid. 
 
 Man in Armour, Portrait 21 
 
 Gallery of Luxembourg 2,2 
 
 His own Portrait 60 
 
 His Wife 81 
 
Battel of the Amazons 3^1 
 
 Fall of the Angels ibid. 
 
 Ajjumption ibid. 
 
 Salvator Rofa. 
 
 Witch of Endor 7 
 
 Several Pictures 68 
 
 More 282 
 
 Lands kips 301 
 
 Sandro Botticelli. 
 
 Adoration of the Magi 49 
 
 Another 62 
 
 Sc hi done. 
 
 Madonna 333 
 
 Scipio Gaetano. 
 
 Madonna 27 
 
 Scarce Hi no da Ferrara. 
 
 Holy Family 10 
 
 Seb. del Piombo. 
 
 A Madonna 9 
 
 Altar-piece 307 
 
 Flagellation 315* 
 
 Simone Machelli. 
 Alexander Farnefe, &c. Statue 
 
 Snyders. 
 Wildfowl kiWd 
 
 M5- 
 301 
 
 Sofonisba Angufciola. 
 Her Picture 333 
 
 Taddeo Zuccaro. 
 
 A Room of the Hijlory of Alexan- 
 der Farnefe 145- 
 Seafons of the Tear 291 
 Birth of Jupiter 292 
 Hijlories ibid. 
 Several Aflions of the Hotife of 
 
 Farnefe ibid. 
 
 One gathering Fruit 293 
 
 Americus Vefpufius ibid. 
 
 Ferdinand. Magellanicus ibid. 
 
 'Tim. da Urbin. 
 
 Salutation, Dr. 12 
 
 Prophets and Sibyls 106 
 
 Titiano. 
 
 A Portrait, Half-Length I 
 The Marriage of St. Katharine 6 
 
 Francis I. Profile ibid. 
 
 Holy Family 8 
 
 A Pojl-Man 9 
 
 Cardinal Pallavicino 14 
 
 Madon n a with the Rabl et \6 
 
 Merry -Making, Dr. 18 
 
 Another ibid. 
 
 Ariadne ^.WThefeus 20 
 
 Landikip, Dr. 16 
 
 His Portrait 60 
 
 Charles V. «W Phil. II. 73 
 
 Eight Half Lengths ibid. 
 
 A Lady, Portrait 1 f6 
 
 Venus IJ8 
 
 SixtusIV. 168 
 
 Woman takm in Adultery ibid. 
 
 Mercury teaching Cupid to read 
 
 ibid. 
 
 Tvjelve Hi/l. and Port. 1 74 
 Cardinal Borgia and Machiavel 
 
 l8 3 
 Titian'j School-mafler 184 
 
 Venus 184 
 
 Titian and his Mijlrefs 1 8 f 
 
 Pope Paul III. 331 
 
 • Copy of the Magdalene o/Correg- 
 
 g>o 334 
 
 Ritrattoes ibid. 
 
 Van Dyck. 
 
 Duke of Ormond 6 
 
 ifabella Clara Eugenia 7 
 
 Portraits 
 
Portraits 8 
 
 A Woman's 9 
 
 Lord Pembroke 14 
 
 King Charles I. and Family 21 
 
 His Portrait 60 
 
 Cardinal Bentivoglio 72 
 
 Van Oeft, 
 
 Holy Family 14 
 
 Ugo da Carpi. 
 
 Pifcina Mirabilis, Dr. if. Pi&. 
 
 285- 
 Vincenzo de* Rojfi. 
 
 Statues I ©6 
 
 Unknown. 
 
 Dante's Piflure 43, 145, Ij6 
 
 Another 61 
 
 Adam and Eve, Marble 75* 
 
 Globes and Table 128 
 
 Tzyo Heads , Frefco 15-4 
 
 Cupola of Cor reggio IJ7 
 
 0/df iVoman fitting 1 59 
 
 Boo£ of Miniatures 177 
 
 Copies of Drawings 1 84 
 
 Venus, Vulcan, Cupid 185* 
 Joconda <?/ Lionardo da Vinci, 
 
 Cc/y 189 
 
 ANTIQUES. 
 
ANTIQUES, 
 B. Buft or Heady S. Statue^ B.R. Bas-relief, 
 
 AGrippa, B. 4? 
 Alexander, J3. 167,180 
 Alexander dying, B. 47, 167 
 Alcibiades, B. 113 
 Anacreon, B. 14 
 Antinoiis, B.;46. S. $<;, ibid. 148, 
 
 ij6, 164, 167, 180, 280, 284 
 Antonij, B. f2 
 Antonine Pillar, 311 
 Antoninus Pius, B. 46 
 Amz\\\\xz feeding Jupiter, B. 15*6 
 Apollo, B.R. 47. S.76. B. uy, S. 
 126, 127, 128, ibid. 131, 146, 
 15-4, if 6, 178, 192. (a Torfo) 
 S. 27^. 
 
 and Faunus, 5*5* 
 and Mufes, 166, 181 
 and MarCyas, 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, 
 
 185-, 189 
 Berenice Titi, B. 5-1 
 A Boar, fl 
 Boar-bunting, B.R. 327 
 
 Caius Martius «»^Vetutia, 296 
 Caligula, B. 283 
 A Camillus, 115-, 1^0 
 Caprone, 15-4 
 
 "Two Captives, 12,6 
 Caracalla, B. 50, ijo, 282 
 Caftor and Pollux, 109, 166 
 Ca/Js, 28,325-, 351 
 Chimaera, 46, 61 
 Cicero, S. iif. B. 178 
 Cleopatra Jleeping, 165* 
 
 dying, 61,116 
 
 the Mother o/PtoIemy, 
 S.iji 
 Clelia, a Painting, 309 
 Clitias, 166 
 Clodius Albinus, B. ji 
 ColumnaMilHaria, no 
 Commodus, B. 114 
 Conftantine, B.^o. S.m 
 Coriolanus, Painting, 309 
 Cupid and Pfyche, S. 46 
 Cybele, S. 10 
 
 Dacian Kings, 130 
 Diana, 282 
 
 another, ibid. 
 Didius Julianus, B. 5/1 
 Didia Clara, B. 5-1 
 Diogenes, B. 113 
 Domitian, B. ji, 114, 116 
 
 Earth, Air, &c. B.R. 74 
 Earth, a Woman, B.R. 35-0 
 Eagle, 180 
 ./Egyptian Kings, 1 1 1 
 
 Idols, 112 
 Emperors, iyi 
 
 Endy- 
 
Endymion, S. 5-1 
 Euripides, B. jf 
 
 Fafti Confulares, 114 
 Faunus, Head, iff. S. 284 
 
 with a Goat, l6j 
 
 dancing, 57 
 Fauftina, or Venus, 46 
 Fauftinay«». orLivia, 133 
 Feet and Hand, 1 14 
 Flora, S. 61, 130, 131 
 Foot, 113 
 Fortune-teller, S.I 13 
 
 Galba. or Nerva, B 5*1 
 Ganymede, S. 47, 5-2,128^ 
 Germanicus, B. 4 
 Gladiator, S. 46, 151. ibid. 283, 
 
 298 
 Globe, 1 28 
 Grinder, 5*7 
 Gypfie, 113 
 
 Hadrian, B. 46 
 Hannibal, S. 5-2 
 Hercules, S. n^, 15*$- 
 
 Farnefe, 130,131.00/;. 
 127, 118,115*, 192 
 
 Aventinus, 113,114 
 
 Young, 1 79 
 
 tfWDejanira, 132 
 Hermaphrodite, 75", 134 
 Hiero, B. 113 
 Homer'j//^^, 132 
 Horfes, 307 
 
 Inscriptions, 74, 290 
 
 Julius Casfar, B. 45% S. 165', 180 
 
 Julia Maefa, 285- 
 
 Juno, 285- 
 
 JupiterV Head, 15-4 
 
 Laocoon, 276 
 
 Lares, CsV. 5-2, 282 
 
 Leda, 5-2, 282 
 
 Li via or Fauftina 5 7##. 132, 177 
 
 Lucius Jun. Brutus, B. 114 
 Lyon tearing a Horfe, 5-9, 114 
 Lyons, 127, 189 
 
 Marcus Aurelius on Horfeback, 
 
 no 
 as Pont. Max. 180 
 B.R. in 
 Marforio, S. 112 
 Marius,S. 113 
 Marfyas, S 47, 128 
 Mars and Venus, 5*4 
 Masks, 1 79 
 
 Medallions of Sept. Severu*, 15-2 
 Meleager, S. ip, 15-5-, 1 $6 
 Mercury, 132, #/<•/. 285* 
 
 and the Earth, B.R. 35-0 
 Minerva, S. 15-5-, 283. aTerm, 
 
 112 
 ^r Works, B. R. 192 
 Miniatures of Virgil, 264 
 Mithridates, B.R. Head, 114 
 Model for ^<?Trimalchio, 3? 
 
 of a Woman's Head, 177 
 Morpheus, 5-3 
 Mould of the Venus, 66 
 Myrmilk) <-/>/#£, 301 
 
 NarcifTus, S. 5*3 
 Nerva, B. 5-1 
 
 or Galba, B. ibid. 
 Nile, 109,275-, 281 
 Niobe, 124 
 
 Orpheus, S. 48 
 Otno, B. 4^,5-1 
 #.*• and Cow, 16 f 
 
 Paintings, 309 
 P^», B. 5*4 
 Pavement Mofaic, 163 
 Perfeus and Andromeda, 300 
 Pertinax, B. 5-1 
 Philofopher, S. $"2 
 Pillars, no 
 
 Trajan, 310 
 
 Antonine, 
 3 
 
Antonine, 311 
 Plautilla, B. J2. 
 Plato, B. 113. a 'Painting 164 
 Plotina, 180 
 Pompey, S. 191 
 Poppasa Sabina, S.113, 15/1 
 Portrait of a Lady, S. I ft 
 Ptolemy, B. 15-2. S. 167 
 Pyrrhus, B. 167 
 
 Roma Triumphans, 109,114 
 
 Painting, 164 
 Romulus and Remus, 115- 
 Roftral Pillar, 1 16 
 
 Sabina, 127, 164 
 
 Saluft, B. 145- 
 
 Sappho, B. 113 
 
 Satyr, &c. 127, 164 
 
 Scipio Africanus, B.R.Head, iif 
 
 Seneca, B. 45-, 132. S. 167, 296 
 
 Sepulchral Che ft, 1 1 2 
 
 Silenus, IJ4, 163, 178, 283 
 
 Slave taking out the Thorn, 1 1 5* 
 
 Socrates, B. 113 
 
 A Statue, 178 
 
 S u i t e of the Emperors, I f I 
 
 7d£/<? inlaid, 1 28 
 7<?r»? of a Minerva, 112 
 The Toro, 146 
 The Torio, 281 
 Two Torfoes, 149 
 Trajan. Pillar, 310 ' 
 Trimalchio, Model, 3? 
 
 Trophies 0/ Marius, or Trajan, 1 10 
 Triumph of Love , B.R. 181 
 Tufcan Orator, S 48 
 Tyber, 109, 277 
 
 Vafe Sacrifice of Iphigenia, 1 26 
 Venus, a Picture, 164 
 Venus, 134, 283, 285- 
 
 taking out a Thorn, 5*3 
 Urania, ibid. 57 
 Victrix, 5-6 
 Callipygis, 134,144 
 Crouching, 145* 
 Ajleep, 164 
 
 of Medici's, $-f, 133. Co- 
 pies, 1 10,127, 15-1,163, 
 166, 185-, 283,284 
 Clad, 166 
 *#*/ Mars, 46, f4 
 flW Cupid, 280 
 Two Venus'/, 167 
 Vefpafian, B. 192 
 Feftal's Head, 132 
 Victory, $"2 
 
 Virgil, S. 1 1 $. Head, 164 
 Urn of Caecilius Metellus, 131 
 the Septtzonium, 280 
 Humane Life, 287 
 Foliage and Anim. ibid. 
 Trimalchio, 327 
 
 Wedding, Painting. 305* 
 Wolf with Rom. <W Rem. 1 1 J 
 #V£r of Minerva, B.R. 192 
 Wre fliers, 57 
 
 ROTERT>AM. 
 
(I ) 
 
 !i£z72K£g£ZZ£Z22©I££?5£ZiZai^ 
 
 RQTERT>AM. 
 
 Monfieur F l i n c k 9 s Collection; 
 
 Quantity of Antiques, Bufls, Bas- 
 reliefs, and Figures: Pictures all 
 Italian, except one or two of 
 Rembrandt, one of John of 
 Cleve, aDifc. of Raffaele, and 
 one of Rotenamer ; two of Toujfin, one of poufm, 
 which is exceeding fine, the Sacrifice to the 
 Golden Calf, much larger than a Half-length 
 long ways. Here is a Portrait, and aHiftory 
 (the Beheading of St. John) by Parmeggiano-, ParmeggUno, 
 St. Peter at Prayers^ by Guido, a Half-length Guido. 
 Portrait by Titian ; Shepherds worfhipping, a Titian. 
 very Capital Picture, by Old Talma. With fe- old paima, 
 veral others of Giorgion , Lodou : Carracci , &c * 
 GuercinOj Andrea Schiavone, Caftiglione, &c. 
 Drawings. 
 His Collection of thefe is truly Noble, Nu- 
 merous, and well chofen, Of the Greateil Ma- 
 tters. He has very near io of Rajfaele, fbme Raff ae u v 
 Very Capital ; particularly Conftanttne making 
 an Oration to his Soldiers, painted in the Va- 
 tican. It has 16 or 17 Figures looking up at 
 
 B the 
 
( * ) 
 
 the Sign appearing in the Heavens ; 'Tis a Fo- 
 lio, in Length, Pen and Wafh upon a brownifli 
 Paper, Heightned, the White as if jutt done, and 
 all of Perfecl: Prefer vation. This is that which 
 was Ibid at Sir 'Peter Lelys Sale for ioo/. Mr. 
 Flinck has near 20 of 'Giulio Romano, about a 
 
 Tarmeggtano. Dozen of Parmeggiano : One of thefe laft is 
 exceeding Capital, the Marriage ofSS. Jo/eph 
 and Mary, the fame as the Print: Pen,Waih'd> 
 and Heightned ; highly Finifh'd. He has one 
 of the moft Capital and Perfect Drawings that 
 
 paoh vero- can be feen, of'Taolo Veronefe-, it has 98 Fi- 
 
 »»>• gures, and as many different Faces and Acti- 
 
 ons : 'Tis the Story of the Feaft of ' Belthazar, 
 upon a GreenilTi Ground, Wafh'd, and Height- 
 ned ; admirably Preferv'd. There is another 
 
 pr'mitkcio. like perfecl: Drawing of Trimiticcio, only That 
 has but 10 Figures: 'Tis of Hercules and©^- 
 j antra in the Grotto, in two feveral Beds, as 
 preparing to celebrate the Feafl of Bacchus, 
 Figures with Lights, &c. He has other Capital 
 Drawings of feveral Excellent Matters. 
 
 There are other Collections of Pictures at 
 Rot er dam : Thofe of Monfieur Meirs, Mon- 
 fieur T^/z Be/dm, Madam Scheepens, Madam 
 v Van Be Lien Lady of TFadzukufeen,8cc. where- 
 in are fome few Italian Pictures, chiefly of the 
 later Matters ; two or three of the Touffin's ; 
 fome of the Bor^ognone, Le Sueur, Seb. Bour- 
 don-, and feveral o£VanT)yck, Rufre7is,ando- 
 ther 'Dutch, and Flemijl? Matters. 
 
 Mr. Van Elmet has fome few Antique Butts. 
 
 LEIDEN. 
 
(3) 
 
 v LEIT>EK 
 
 Monfieur La Cour has a fine Collection of 
 Dutch Pictures, all Capital ; Dow, Scalken, 
 Rembrandt ,8cc. and amongftthefe fomething 
 of Rubens. 
 
 HAGVE. 
 
 Mai/on du Bo'ts. 
 Some few of Van Dyck, Rubens, Sec, 
 
 AMSTERDAM. 
 
 Mynheer Vander Schelling has feveral Pi- 
 ctures, but chiefly of Dutch, and Fl§mi/h Ma- 
 ilers. 
 
 Drawings. 
 
 Several fine ones of Raffaele, arid Giullo 
 Romano, but not many others of that Age, nor 
 of the Bell Mailers, tho' lome there are very 
 Good. 
 
 N.B. Zander Schelling is fince dead, and 
 his Collection diipers'd. 
 
 Monfieur Amory. 
 
 Has fome few good Pictures, Flemijh and 
 Italian ; and a few Antiques. 
 Drawings. 
 
 He has a fmall Collection, and two or three 
 of Giulio Romano, as many oiTarmeggiano*, 
 fomething of Lodouico, Annibale, Domini- 
 chino, dec. few others of fuch Mailers. 
 
 B 2, Monfieur 
 
(4) 
 
 Monjiciir T i n k at r e. 
 
 Drawings. 
 
 Several of Rajfaelle, Giulio, Parmeggiano, 
 Annibale, and other of the Belt Matters, to- 
 gether with more of Inferior ones ; but few 
 Capital, or very remarkable. Some there are ; 
 corrtigto. as one of Corre^gio, an Alcenfion, 9 Fig. Dark, 
 Wafh'd andHe'ightned. Highly Finilh'd. 
 
 He has a Young Germanicus, an Antique 
 Bud, with Calls from a great many of the 
 Bell Antiques ; and two very fine Heads of Fl- 
 amingo. 
 
 Van Zomer has a vail Number of Drawings ; 
 1 did not look over all the Books, tho' a great 
 many I did. There are abundance of good 
 Ones, and fome of the Belt Mailers : But I 
 law none very Capital, or exceeding Touching, 
 eipecially of fiich Hands. 
 
 A NT IV E RT. 
 
 In feveral Private Collections, as of Mon- 
 fieur Bredau, the a Chanoine de Lycht ; the 
 Chevalier Teeters, Monfieur deJVit, Signior 
 Ferrari, Monfieur de Vos, &c. As alio in 
 the !j Chamber of the Celveniers near thcMeer, 
 the c Church of the Beganes, and in feveral o- 
 ther Churches are many Good Pictures, chief- 
 ly of Rubens, and Van ^yck, and other Fle- 
 mijb Mailers. But there are lome few Itali- 
 coneggio. an : A fine ■' Head of Correggio of 'a Madonna 
 looking up, Profile-, Bright and Beautiful, the 
 Colouring of which made a vail Impreffion on 
 me at firfl Sight, and T fliall ever retain the Idea 
 
 of 
 
C;S ) 
 
 of it. A b StfPeter, and a c St. Francis at Pray- 
 ers Of Gu'ldo, SCC. Guide, 
 
 Drawings. 
 Monfieur de Vos has good ones, especially 
 of Rubens. Several Italian ; a fine one of a. 
 Figure on Horfeback by Rajfaele ; one of Giu- &*f**h- 
 lio, the Horatii and Cur iatii in the Pal. of T. ia '*' 
 one of Correggio, a St. John Baptift, &c. com^gio. 
 
 BRVSSELLES. 
 
 Here are feveral Collections of Pictures, as 
 of Monfieur Ferrageau, Monfieur Verwort, 
 Monfieur Co lar t, Monfieur Lemons,8cc. con- 
 futing of lbme few Italian Pictures, and many 
 of VanDyck and Rubens, with other Flemijh 
 Mailers ; not without lbme of Touffin, the 
 Borgognone, 8cc. But the Belt Collections here 
 are of Monfieur Fraula, and his Son ; who 
 befides many good ones of the Befl Flemijh 
 Mailers, have feveral very fine Italian Pi- 
 ctures ; together with fbme of ^Poujfin, and 
 the Borgognone. 
 
 A Trafepe of Rajfaele, highly fininYd in **ffade. 
 Small ; the Light comes from the Child. 
 
 Two of Giulio Romano, one a Bacchanale, G ' ml '"> Bj>ma - 
 the other Cupid and Tjyche, drawn by two no ' 
 Swans, guided by little Loves, &c. 
 
 A moil Capital Picture of Albani: God the Mbani. 
 Father fupporting his Dead Son, 9 Angels, and 
 Cherubims, &c. 
 
 A Madonna by Tarmeggiano ; an Angel is Parme sz 
 pulling down Palm-Branches ; 'tis about one 
 Foot lquare.. 
 
 A Rigofo, by Annibale. J pihaU 
 
 B 3 A ve- 
 
 muni). 
 
'Ann'ibale. 
 Guido. 
 Rafaele. 
 Poujfin. 
 
 Guercino. 
 
 Carlo Marat- 
 It, 
 
 A very Capital Picture of an Angel wor- 
 lhipping the Dead Chri/i, by Annibale. 
 
 AForrune, as big as the Life, by Guido ; ve- 
 ry Beautiful, and an Excellent Picture. 
 
 Another of Raffaele, but his firft Manner; 
 'tis aRefurredfcion, five Soldiers are afleep. 
 
 Holy Family ofPouJJin, as big as the Life : 
 an Excellent Picture. 
 
 The four Ages, by Guercino ; very Fine. 
 
 A Nymph purfu'd , whom 'Diana covers 
 with a Cloud : an Admirable Picture of Carlo 
 Maratti. The Thought is Delicious. 
 
 Dominichin. 
 
 Ditto. 
 Titian, 
 
 Ditto. 
 Guido. 
 
 Van Dyck. 
 Correggio. ] 
 
 r And. del Sar- 
 to. 
 
 )C. 
 
 The LOT) VR E. 
 
 Some of thj? c Princij?al ^Pictures. 
 
 'David playing on his Harp, and two An- 
 gels on his Left-hand ; the fame Tail as the 
 St. Agnes of this Mailer, at St. James -s. 
 
 Four Muficians. 
 
 The Marriage of St. Katharine ; his fined 
 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 lame ; there is another at Sir Henry Ox- 
 enden's in Kent. 
 
 D. Ormonde three Quarter and Hand ; Ex- 
 ceeding good. 
 
 Nymph with a Quiver afleep, uncover'd by 
 a Satyr; two Cupids alio aileep, marvelloufly 
 colour'd, but Incorrect ; of a Size between a 
 Hal f-length, and Whole-length . 
 
 A Young Man's Portrait, mighty natural, 
 and exceeding fine. Virgin^ 
 
(7) 
 
 Virgin, Chrift, and St. John; my Father hi. da Mod. 
 has the Drawing. 
 
 St. Cecilia playing on the Fiddle, an Angel bominichm, 
 holds the Book; fame Manner as thofe above. 
 
 St. Margaret, fame as the Print in D.Leo- &<*ff™ie. 
 fold's Gallery. A very dark Picture, not ex- 
 tremely good, nor his laft Manner. The Pi- Lionardo da. 
 cture of which my Lord Pembroke has a Vm% 
 Drawing: A Madonna holding the Chrift, and 
 the Chrifi a Lamb. I have feen feveral of thefe, 
 but none that pleated me; they are all of a 
 hard, flifF manner, and not good. Probably 
 they are all, or fome of them at leafl, of Luini. 
 I have feen feveral of him much in this man- 
 ner which are in the Style, but Inferior to thole 
 of Lionardo. 
 
 A Saintbetweenx Angels, Heads and Shoul- J>itto. 
 ders ; about the Bignefs of a three Quarter, ex- 
 tremely fine, but his ulual darkiih Colouring. 
 This has a Delicacy which the other has not. 
 
 The Virgin, Chrift, St. Elizabeth, and St. An, del sart* r 
 John, in a Round, exceeding fine ; the fame, 
 or near, as the Print. 
 
 Ifabella Clara Eugenia, the fame as that of van Dyck, 
 the Duke of c Devonfhire > s ; Original too. 
 
 The Virgin and Chriji in the Clouds in a Rubens. 
 Heaven of Angels, a large^ Altar-Piece ; a 
 Bright, Noble Picture. 
 
 The Gallery. 
 
 The Witch of Endor ; the fineil: I have e^&hat. zofa, 
 ver feen of this Matter ; the Expreflion of 
 Horror and Witchery is m Perfection. 
 
 An Old Woman telling a Young one her For- oupai-ma, 
 B 4 tune i 
 
( 8 ) 
 
 tune ; wondrous fine ! The Cunning and Cheat 
 of one, and the Folly and Credulity of the o- 
 ther, is admirably exprels'd. 
 k. PouQin. The Woman taken in Adultery, painted ve- 
 ry Strong, and finely Colour'd ; a Yellowifh, 
 warmTind, not in the lead Fade, or Hard, as 
 the Sacraments (the Regent has) are. 
 
 TheBaptifm of Chr'tft, where is the Woman 
 that kneels as in the Sacrament of Baptifm ; 
 the Bed Colouring. 
 
 Clorinda coming to the Shepherds, from 
 Taffb ; his Fade Colouring. 
 
 The Canaanhijh Woman; fined manner. 
 
 The four Seafons, very fine; but the Figures 
 fbmething Hard againd the Ground, which is 
 a Fault very common with thisMader. 
 
 Holy Family. 
 
 Mofes found ; of the Bed and Gentiled Style 
 of this Mader. 
 
 St. John, 
 
 Two or three other Pictures, very good. 
 
 Finding Mofes, very good. 
 
 The Spies bringing the Grapes, his bed man- 
 ner : My Father has two Drawings of this. 
 
 Four Figures, Bright manner, well prelerv'd. 
 
 Several Portraits. 
 
 JEne/is carrying Anchifes, with Creufa: 
 Divinely fine! the Creufa has her Head wrapt 
 up, which has an excellent Effecl:. They all 
 walk in a Hurry ; and little AJiyanax runs in a 
 Fright, finely exprels'd. 
 
 Time taking up Truth; as the Print, 'tis a 
 Cieling in a Round, but much fpoiFd by Rain. 
 
 Ditto. 
 
 Ditto. 
 
 Ditto. 
 
 ^Albano. 
 
 Titian. 
 
 Poujfm. 
 
 Carlo Marat. 
 Ditto. 
 
 Pavlo Vcron. 
 Poujfm. 
 
 Giorgion. 
 Van Dxch. 
 Domtnichin. 
 
 Tfc 
 
(p) 
 
 The French Academy. 
 
 A Madonna ; Size a fmall three Quarter. ihn : da vin, 
 A Woman's Portrait, faid there to be Chri- vanDyck. 
 fiina Queen of Sweden. 
 
 Collection of Monfieur Chatignaret, 
 
 A Portrait -|j a Man with his Hand in his Annibakcar. 
 Boforn, Black manner, but a fine Picture. 
 
 A Rne Madonna, well preferv'd. seb. piombo. 
 
 Venus fitting, and a valt Number of Cupids ; Aibano. 
 they have the Arms of Mars, and fbme come 
 to the Goddefs to mew themfelves drefs'd in 
 them ; fome are putting on the Helmet, &c. 
 very fine. 
 
 Two Landskips; Great Style, finely Co- Annib. 
 lour'd. 
 
 Two other Landskips. campagnoU. 
 
 A Salutation, St. Mary, St. Elizabeth, and Barocch. 
 four Figures; his fine gentile manner. 
 
 A Crucifix, Magdalen at the Foot of the p. veron. 
 \ Crofs. 
 
 A Holy Family. An . del sarti. 
 
 A Poll-man Handing in a Landskip, with a Titian. 
 Dog by him; a very large Picture, Whole- 
 : length, very finely painted. 
 
 St. John. G io ■ Bellini. 
 
 Monfieur C r o z at 's Collection. 
 
 Centaurs xcALapitha, a Frize in Colours Pordenone. 
 feveral Foot long, and two Foot high, as fine 
 asTolidore. 
 
 So call'd here : a Ritratto, the fame that Sir Giorgkn. 
 Thomas Hanmer has 3 call'd iDom.Beccafumi. 
 
 I have 
 
Scarcellino da 
 Terrara. 
 
 ( i° ) 
 
 I have fecn two others , one in the Duke of 
 Florence's Apartment, next the Gallery in the 
 Palace Pitti-, and the other in the Gallery of 
 c Dujfeldorp. See the Notes of thofe Palaces. 
 
 RajfaeU. Cardinal 'Pole, 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 Browniih; a 
 very fine Picture. 
 
 Holy Family; the Taft is a kind of Mix- 
 ture of Vanni, and Parmeggiano-, a good Pi- 
 cture. 
 
 parmeggiano. A Saint in White upon her Knees, very 
 Graceful, and full of Devotion, well colour'd ; 
 a Delicacy as in his Drawings. 
 
 p. veronefe. A Dead Chrift fupported by Angels ; Gra- 
 ved by Ag. Carrats. 
 
 perdenont. Two other Frizes as that above, but other 
 Subjects. 
 
 In the Room built in Imitation of the Tribu- 
 nal of the Great Duke. 
 
 A Model of the Mofts, in Clay, fmall. 
 
 Young Hercules killing the Lyon, a Model. 
 
 The Torfo of the Belvedere. 
 
 A Cybele, or elfe the Tutelar Goddefs of Pa- 
 ris, which the ancient Gauls reprelented much 
 as zCybele. This was found under one of the 
 Gates of Paris. 
 
 Rinaldo and Armida, a Model, Clay. 
 
 Another of a Dead Chrift : My Father has 
 the Drawing, only the Legs wanting. 
 
 Mich. Ang. 
 Dan. da Volt. 
 Fiamingo. 
 Antiaue, 
 
 P. Veron. 
 
 ■Mjcb t Ang. 
 
 la 
 
( « ) 
 
 In this Room are feveral other fine Things, 
 befides the 
 
 Drawings. 
 
 The Battel of Conftantine, Pen, WafiYd and R «/"fc 
 
 PJeighten'd, well preferv'd; the White much 
 
 the lame Pencil as my Father's St. Jofeph. 
 
 This appears to be undoubtedly right upon a 
 
 nice Obiervation of the Feet, Hands, Airs of 
 
 the Heads, &c. 'tis about 1 8 Inches long, and 
 
 ix broad : Of fuch Perfection, that every Part 
 
 is done with equal Gare as any one Figure, or 
 
 I Air of a Head: tho' 'tis not fb highly Finifh'd, 
 
 las that the Particularities of Arms, Armour 
 
 and Ornaments are inferted; thofe are left to 
 
 be done in the Painting. 'T is in a Frame with 
 
 a Glafs. 
 
 This Drawing, which I believe may be con- 
 fider'd as the moil Capital in tlie World, was 
 at the Head of the Collection of Count Mal- 
 va/ia, who fpeaks of it in the Life of Antonio 
 Carrache ; it came afterwards to Signior Bof- 
 chi of Bologna, whole entire Collection Mon- 
 fieur Crozat bought in his PafTage thro' Lorn- 
 hardy . Bellori in his Delcription of this Pi- 
 cture, makes ufe of this Drawing (and the 
 Authority of Andrea Sacch. as to the Origi- 
 nality of it) to decide the famous Queftion, 
 whether Raffaele had given the Defign of it, 
 or Gmlzohzd painted it of his Own Invention. 
 
 The Woman in the Incendie del Borgo car- Ditto. 
 . rying the Pitchers, RedCh. Dr. Mead has a 
 Drawing of this Figure, Pen and Wain. 
 
 The Holy Family of the King of France 9 Ditto. 
 Sketch? RedCh. but the Virgin is finifh'd. 
 
Ditto. 
 Ditto. 
 
 Ditto. 
 
 Ditto. 
 
 Ditto. 
 
 Guido. 
 
 Jim. da Ur- 
 bin. 
 
 Parmeggiano. 
 Giulio. 
 Ditto. 
 Ditto. 
 
 Raffade. 
 Giulio Rom. 
 
 ( " ) 
 
 'Dante \n the Tarnajfus, broad Pen, a very 
 fine Drawing. 
 
 A Madonna, Chrifl, sxi&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 Camillus my 
 Father has of this Matter, but doubtlefs of 
 Raffaele ; which alio is the Judgment of Mon- 
 fieur Qrozat. 
 
 Madonna fitting, holding the Chrifl in her 
 Hand, he Handing by her ; a large Reed Pen, 
 extremely fine. 
 
 Ifaac upon his Bed with Jacob and Efau. 
 
 A Boy kneeling as big as the Life, a Carton, 
 Bl.Ch. 
 
 A Young Man, half Fig. as big as the Life, 
 Bl.Ch. 
 
 Salutation, Virgin, and St. Elizabeth, feve- 
 ral Angels in the Clouds. 
 
 Romulus and Remus taking the Augury, the 
 fame as my Father's, but more finifh'd. 
 
 Apollo killing his Mafter Linus, Calliope 
 behind a Tree, with her Finger on her Lips. 
 
 The Battel oiTnrnus and ALneas ; Diana 
 in the Clouds, ten Fig. a beautiful Drawing. 
 
 The Original of that done by Rubens, which 
 Mr. Rojfe has : Fame crowning a Conqueror 
 in a Chariot. 
 
 Figures Towing; the Original from whence 
 Battifla Franco did that my Father has. 
 
 The Magi, a large Drawing, his uiiial man- 
 ner, but not very touching, highly finiih'd, 
 Pen andWaih 
 
 Apollo 
 
(*i ;) 
 
 Apollo and Mar/ias, large, the fame as my d;*/*. 
 Father's ; a fine Drawing. 
 
 Monfieur Crozat has about 60 Drawings of comggio. 
 Correggio, the moft Capital of which isWafh'd 
 and Heightned, as the Notte my Father has. 
 This (as fome others) is palled into Paflboard, 
 and cover'd with Ifinglafs, which preferves 
 them without taking off any of their Beauty 
 or Force. 
 
 Another "Porto Folio, all tf/Rallaele. 
 
 St. Paul tearing his Garment, a Sketch on- 
 ly ; on the Rev. is a Drawing of AlbfDurer. 
 
 A Thought for the Church of St. Peter's at 
 Rome. 
 
 Firfl Thought for the School of Athens, 
 Pen, Sketch ; behind is a Study in RedCh. of 
 feveral Fig. 
 
 Seven of the Heads in the Carton of giving 
 the Keys; that of St. John Divine! and much 
 as the Carton. RedCh. 
 
 JoJeph'sDxexay different from that in his 
 Bible, &c. 
 
 The Gallery. 
 
 A Magdalen in Extafie in the Clouds, her g«»W#„ 
 Face encompais'd with Glory, and almofl 
 loft in, and united with it : fhe is fitting, an 
 Angel by her. Rembrandt in a Drawing of 
 the Laft Supper my Father has, feems to have 
 had the lame fine Thought as Guido in this 
 ? Magdalen ; the Head of the Qhrifi is as it were 
 envelop'd with Brightnefs ; 'tis almofl hid 5 
 furrounded with Palpable Glory . 
 Dark with Excejjive Bright— Milton. 
 
 A 
 
iarecci. 
 
 Rajfaele. 
 
 Le Brun. 
 
 Mola. 
 Antiq. 
 
 Rubens. 
 And. Saccbi. 
 
 Rembrandt. 
 Van Dyck. 
 Titian. 
 Albani. 
 
 Van Oejf. 
 Old Pa 1 ma. 
 Rubens. 
 
 ( 14) 
 
 ALadyHalf-length,a Portrait ; herLeft-hand 
 upon a Dog, her Right-hand hanging down, 
 holding a Handkerchief: his ufiial Colouring. 
 
 St. George, which was done for an Anceftof 
 of my Lord 'Pembroke, and by him parted 
 with to KingCharlesl. 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 coloured, with a prodigious 
 Force; the beftMonfieur Crozat had feen of 
 this Matter. 
 
 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 Trudentia Dlvina, a finifh'd Sketch 
 for the large one in the Palace Barberini. O- 
 ver this, 
 
 A Portrait, fine. 
 
 Lord Pembroke, a Portrait. 
 
 Cardinal Pallavicino. 
 
 LotzxA his two Daughters; not very good, 
 Over it 
 
 A Holy Family, well colour'd. 
 
 Holy Family, and St. Katharine. 
 
 A Woman's Portrait. Over this, 
 
 Two Antique Heads, one of Auguftus, and" 
 the other of Anacreon. 
 
 Thefe are Ibrne of the Principal Things of 
 Monfieur Crozafs Noble Collection. As for 
 his Drawings, he has of molt of the confidera- 
 
 ble 
 
( If j 
 
 bleMafters; Raffaele, Giulio, Tarmeggiam, 
 Correggio, Rubens, Van Dyck, and TouJJin, 
 pretty numerous : Few of L. da Vinci, Mich. 
 Angelo, Ratt. Franco, &c. many of the Car- 
 race i, and that School; as alfo of Barroc- 
 ci and Taolo Veronefe. In fhort, his Colle- 
 ction of Drawings is I believe the Greatefl 
 in the World ; and though it has ( as all o- 
 ther) many flight and many fmall things, all 
 are Good. 
 
 The French King's Tiffures in CoypeFj * 
 Houfe. 
 
 The Senfual Man bound by the Paflions com«gioi 
 (reprefented by feveral different Figures) and 
 bitten byRemorfe (Serpents) 'tis mGuazzo; 
 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. 
 t^-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 
 withMufick: 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, meaiuring with a Pair of Compafles, 
 and pointing towards the Lontanezza ; a Boy 
 looks upon you, directing you to take notice 
 of what fhe is doing. This may have feveral 
 Meanings, which every one may chufe as he 
 h pleafes. 
 
Raffaele. 
 
 Ditto. 
 Annie/ale. 
 
 J., da Vinci. 
 
 Bute. 
 
 Titian. 
 
 Gnercino. 
 
 ( 'O 
 
 pleafes. Both thefe Pictures are in the fineft 
 Style oiCorreggio. They haveLooking-glafs 
 Plates before them. 
 
 A Man's Portrait, a vaft deal of Nature, but 
 prodigioufly hard, and black Colouring. 
 
 Another, colour'd kkzTitian. 
 
 The Silence, in Oil, very fine. 'Tis a Ma- 
 donna, the Child being afleep in her Lap, fhe 
 makes a Sign that there be no Noife to difturb 
 him ; a gentile pretty Thought. 
 
 The Jocunda fpoken of at large by Vafari 
 in the Life of thisMafler. I conhder'd it with 
 the utmofl Attention, Landskip, and every 
 Part, and find it the fame as my Father's in e- 
 very reipedt ; the lame Particularity in the Co- 
 louring of the Hands, as diftinguifh'd from that 
 of the Face : fb that at that diftance I could re- 
 member no difference, nor can I tell which I 
 fhould chufe. 
 
 The Be lie Mar efchalle is over this Picture, 
 'tis mTrofile, and is the better Picture ; more 
 Flelhy, but not fo highly finifh'd. No Hands. 
 
 The Marriage 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 Pictures ; and particu- 
 larly that famous one of Raffaele, the Holy 
 Family (of which my Father has the fine Co- 
 py) were in the PoffefTion of the Duke d y An- 
 tin. Thefe I could not poflibly get a Sight ofj 
 
 1110' 
 
( 17 ) 
 tho J Mf >Crozat was fo kind as to go with me, 
 The Duke was not mTaris, and had the Key 
 with him. 
 
 / The Kings ^Drawings. 
 
 A Book of which they boaft much, faid to Mkh - *»:*- 
 be of Mich. Angelo. 
 
 Adam and Eve, Red Ch. the fame as theBi- RaffatU, a 
 ble. Book * 
 
 Mofes breaking the Tables of the Law, Pen, 
 Warn, and Heightned, exactly the manner of 
 my Father's Drawing of Jofeph. This is af- 
 cribed to the Fat tore. il Fat tore. 
 
 A large Monument, with a Bas-relief of Con- 
 ftantine on Horfe-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, ix Fig. undoubted. 
 
 A Madonna of Raffaele's fecond manner. 
 
 Abraham praying to God , his Back turn'd 
 as in the Bible ; a Drawing with a Pen, the 
 fame 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. 
 
 The Head of the fame Pope my Father has, 
 very 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 3 the fame The lamrtl 
 C manner 
 
( i8 I 
 
 manner as thole we afcribe to this Matter . 
 An. del sarto. A fine Head, Bl. Ch. 
 GixiioRom. A Woman aileep, fine. 
 
 There are about ioo Drawings in this Book, 
 
 Another Book. 
 
 *°JF°- The Tomb where are the four Cardinal Vir- 
 
 tues ; the King Kneeling at the top. 
 
 parmeggiano. A fine little Figure. 
 
 ■Ditto. Another. 
 
 Mkh. AngtU. A Head, Bl. Ch. very good. 
 
 cotreggio. A littleTigure, very good. 
 
 Parmeggiano. Two Figures, fine. 
 
 cornggio. A Madonna Pope, Bp. lame as imy Father's 5 
 
 Exquifite. 
 
 Mkh. Angeio. a fine Sketch, Bl. Ch. 
 
 Parmeggiano. A pretty Sketch, both fides. 
 
 Another Book faid to be of Carrafs and 
 his School. 
 
 ^Another Book. 
 
 Titian. AFeaft, or Merry-making; Pen, admirable. 
 
 Three Sheets of very large Paper. 
 
 mtto. The fame kind of Subject. 
 
 campagnoh. AH the reft of the Drawings in this Book, 
 Which are very Numerous, are 6f Campagno* 
 lo, or Copies after him, oiTitian. 
 
 Another Book. 
 
 cailor. Judas hanging upon a Tree, and his Purfe 
 
 hanging by him upon another Tree ; the Purfe 
 hangs as if in Imitation of the Man, and the 
 Strings as the two Less. 
 
 Ditto. Fifteen or fixteen fine Landskips. 
 
 * Another 
 
( W ) 
 
 Another Book. 
 
 The Bacchanal* of Famefe-, but much al- Anmbah. 
 terd 
 
 Bacchus upon an Elephant, and Ariadne v\m. 
 landing at a diftance on a Chariot : Several of 
 the Figures the fame as in this Story in the 
 Famefe. 
 
 A Painter's Head, big again as the Life. Red Dttt0 ' 
 Ch. the fame manner my Father has a fmall 
 Trofile 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 R*/*rfr. 
 of the fecond manner, but extremely fine. 
 
 Madonna and St.Jofefh, lame manner. D ' tt{f < 
 Preaching of St. John; the fined I ever faw. Mola - 
 St. Francis at Prayers, the other Monk, and Dominich. 
 three Angels in the Clouds ; Excellent. 
 
 The Virgin Sowing, St. Jofeph at work, and ^»»' lbale > 
 the young Chrift helping him to (hike a Line. 
 If nothing farther was to be confider'd in a Pi- 
 cture 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 
 jufl come out of his Bed 3 or ofFa Journey, but 
 fuch a Choice would be certainly wrong. The 
 Humility and Poverty of our Lord's Circum- 
 fiances? which the Gofpel fets forth in order 
 
 C x to 
 
Raffaelt 
 
 Titian. 
 
 L. Caratts. 
 
 Called Rafa- 
 r/e, Dosbtrtil 
 
 Giorgion. 
 
 Albani. 
 
 AnmhaU. 
 Corregiio. 
 
 ( *° ) 
 
 to excite proper Sentiments in Us, ought aifo 
 to appear in Painting ; but the Rules of the Art 
 forbid what is too Low, and Vulgar. Painters 
 indeed oftner err in the Other Extreme ; That 
 is no Excufe hower for a Fault on This fide. 
 
 The St. John in the Wildernefs, big as the 
 Life, vail: great Style. Ilook'd upon it an Hour : 
 '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 at Florence ; Which is beft they dis- 
 pute.) 
 
 Ariadne, and Terfeus, as big as the Lite, 
 his very beft manner : Colour'd as fine as pof- 
 fibk. 
 
 Holy Family, and St. Katharine afleep ; Ex- 
 cellent. 
 
 Holy Family, Size of a Half-length ; Deli- 
 cious ! 
 
 God the Father mpported by the four Evan- 
 gelifts; very fine. 
 
 The Duke ol Orleans, of which my Father 
 has the Copy, by Bo logne lAine, the fame 
 Size, and finely Copy'd. 
 
 The Virgin warning Clothes , and Angels 
 drying them as they fly about in the Air. St. 
 Jofeph is plucking Fruit for the little Chrift. 
 An Excellent Picture, tho' the Thought is odd. 
 
 'Diana, and the Nymphs with Calijlo. 
 
 The Madonna with her Face put to the 
 Child's : A Print of this. 'Tis a moil celebra- 
 ted Picture here ; Doubtful. 
 
 The 
 
( rt ) 
 
 The Cabinet of the Yellow Bed. 
 
 A Woman reading to her Mother, while the Rembrandt. 
 Old Woman nods in rocking the Cradle where 
 her Grandchild lleeps : The fame Size as the 
 flnifh'd Drawing my Father has, and exactly 
 the fame, as far as a Drawing and Picture can 
 be. All the good Properties of a Picture (of 
 this Subject) are here in a very high Degree, 
 and fome as high as one can conceive 'tis po£ 
 fible to raife them. They are plain People, and 
 in a Cottage ; and Nature, and Humour mufl 
 be inltead of Grace, and Greatnefs ; the Ex- 
 prefTion is exquifite; the Colouring warm, and 
 tranfparent ; a vaft number of Parts put toge- 
 ther with the utmoft Harmony ; and for the 
 Clair-Obfcure it may fland in Competition 
 with the Notte of Correggio, or any other Pi- 
 cture. 
 
 In a Salon. 
 
 Over the Chimney, KingCharlesl. and his vanDyek. 
 Family. 
 
 Mars and Venus with Cupid, all Naked, cangiafti 
 Extremely good , and well enough Colour'd ; 
 and there appears nothing of the Squaring that 
 is feen in his Drawings. 
 
 Landskip with a Bark. AnnibaU. 
 
 Portrait of a Man in Armour ; great as Ti~ Rubens. 
 tian. 
 
 Xhe next Chamber. 
 
 Beheading of $t.John,big as the Life, feven Guide, 
 Fig, a prodigious fine Picture, 
 
 C 3 In 
 
x ( » ) 
 
 /;/ another Room, 
 ptujfm. j<fa e feven Sacraments in his Strongeft, 
 
 Warmed, Befl Manner ; the Expreffion very- 
 good : but thofe of Cav. Pozzo, tho' Inferior 
 in other Refoects, are rather Better in this. 
 Perfectly well preferv'd. 
 
 Here are other fine Things of this Matter, 
 
 The Gallery of Luxemburg. 
 
 Rubens. The Hiflory of Mary of Medicis by Ru- 
 
 bens,\s fowell known by the Prints and other- 
 wife, that a particular Defcription is unnecef- 
 fary. Thefe Pictures are about ten Foot high, 
 fome more ; Figures as big as the Life. The 
 Colouring is of the Bed of this Mailer, and 
 hold? well; only they are not fo well Pre- 
 ferv'd as one would wifh, the Rain 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 
 both fides of the Gallery ; which has the other 
 Furniture juft as it was in the time of the 
 Queen who built it. 
 
 FOVNTJINBLEJV. 
 
 pw»j hue. Thefe famous Works of this Mailer are al- 
 mofl fpoii'd ; the Colours off in a great mea- 
 fure, and the reft in many plaacs hardly Via- 
 ble. There appears however fbmething of that 
 Gentilenefs which was the Character of jFVi- 
 matlccio ; but the Colouring Blackiih, Bricky, 
 and Dilagreeable. 
 
 There 
 
Ui ) 
 
 Here are feveral Courts adorn'd all round 
 with Antiques, tho'none particularly remarks 
 able. 
 
 MIL4N. 
 
 The Monaftry of the Dominicans. 
 In the Refectory over a very high Door, i9 tionJavimi 
 the famous Picture of the Laft Supper, Figures 
 as big as the Life; it is exceffively 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 Chrift is the bell: prefer- 
 ved,(he that croffes his Hands upon his Bread) 
 and has a marvellous Expreillon, much flron- 
 ger than I have feen in any of the Drawings. 
 Armenini (who wrote about the Year 1580) 
 fays, this Pi&ure was half fpoil'd in his time. 
 That Story of the Head of the Chrift being left 
 unfinifh'd, Lionardo conceiving it impoflible 
 for him to reach his Own Idea is certainly falfe, 
 became one part of that Head which remains 
 entire is highly finifh'd in his ufual manner. 
 They have nail'd the Emperor's Arms over the 
 ChriftH Head fo low that it almoft touches 
 his Hair, and hides a great part of thePidture. 
 
 Ambrofian Library. 
 
 * 
 
 'Drawings belonging the Academy of 
 'Painting. 
 The famous Book of jVlechanicks ; the Dr. Dim, 
 are palled upon large Imperial Paper ; there 
 
 C 4 are 
 
Lionardo. 
 
 'Bern. Loumo. 
 
 Ditto. 
 
 Cir. da Carpi. 
 
 Parmeggtan*. 
 Perino. 
 Raffaele- Age. 
 
 Raffaefe. 
 
 k 
 
 "Baccio. 
 
 Pordenone. 
 
 An. Foytana, 
 [thus writ- 
 ten on.] 
 
 M ) 
 
 are 399 Leaves, and 1750 Drawings, all un- 
 doubted Originals, with Remarks and Expla- 
 nations, writ with his Left-hand backward, 
 but which one reads eafily with a Glais they 
 have for that purpofe : The Hand throughout 
 is the fame exactly as that on a Drawing my 
 Father has of him. 
 
 Another Book corififts chiefly oiQaricatu- 
 raes> or Droll-heads. I believe near 200, a- 
 mongft which a very fine one of Art us, with 
 the lame Account under it as Father Rejids 
 on the Drawing my Father has. Cav. Bened. 
 Luti at Rome has one or two of Artus, the 
 fame Face, but all are in different Attitudes. 
 
 Here are five other Books of well chofen 
 excellent Drawings, the Principal, or moil: re- 
 markable of which are 
 
 Three Boys, fine, like Lionardo. 
 
 A Head upon red Paper, fame Tafte. 
 
 Several Figures ifo&iMich.Angelo, exqui- 
 fite. 
 
 A Woman highly finilh'd, neat Pen, red Ink. 
 
 A Figure, fine. 
 
 Virgin in the Clouds and two Saints ; Pen, 
 Wafii.Wh. Admirable. 
 
 St. George, Bl.Ch. 
 
 Three Figures, fine. 
 
 Fortune mowing the way to Hercules; the 
 fameDcfign my Father has. 
 
 Several Figures in a Vineyard ; Le man pro- 
 pria de Meffer Anibal Fontana intagliato 
 in Crifiallo. Very good Pen. 
 ' Two Figure?, Reed Pen, very fine. 
 
 Marriage 
 
( m ) 
 
 'Marriage of SS. Jofeph and Mary; feveral csrreggb. 
 other Fig. Chiaro Scuro, fomething heavy, but 
 however very fine ; one Foot and a quarter 
 long, and three quarters broad. 
 
 Dividing the Country by Lot ; there is^0- R *ff? ele or his 
 Jhua fitting, his Hand under his Chin, the High SchooU 
 Prieft by him; a young Figure taking Lots out 
 of a Jar, &c. as in the Bible ; Pen, Wafh and 
 White. Afcrib'd to Raffaele. 
 
 Circumcifion, very fine. Bia ss- B <>1 
 
 The Tift ma Mzrabilis, the fame my Fa- ugodacarph 
 ther has, which is alfo afcrib'd to this Mailer. 
 
 Pope giving his Blefling to a Young Man ; pd - <** m°4- 
 feveral Figures, jfine. 
 
 A Frize a&anPoIijfore, where they are carry- Ban. Franco. 
 ing the Barrels : Innumerable Figures, Capital. 
 
 Play of Boys and Goat. [Tel.Modena ©i p e i. da Mod. 
 Qonpagnia^ fo written on the Drawing in an 
 old Hand.] 
 
 Two Heads, ancient manner, like L. da Vin- cripfao 
 &/, a little hard, but good: underwritten di 
 Criftofero Scultore detto il Gobbo. 
 
 A fine Figure. Baroub. 
 
 Another. Mh'».Ange%o. 
 
 Ritratto di ' Franrt Mel%o, [{o written] L.davind. 
 Prof, red Ch. fame rnanner as a Prof, my Fa- 
 ther has. ' 
 
 A Woman's Head, big as the Life; Bl.Lead Ditto. 
 Pencil, Bl.Pap. highly finifli'd. 
 
 More fine Heads ; amongft which a mofl Ditto. 
 noble one of an Old Man. 
 
 TJyche and the Eagle. Giutb. 
 
 A Head, Bl.Ch. as good ?& Mich. Angela <srifloft.ro. 
 wnttenCrzftofero Sol .. .Gobbo Scultore. Scult - 
 
 A Head, 
 
Leonardo. 
 
 Partneggiano. 
 Raffaele. 
 
 £. Franco, 
 Raffaele. 
 
 Partneggiano. 
 
 Correggio. 
 
 Ser. Campi 
 
 ■ 
 
 Titian. 
 Partneggiano. 
 B. Band. 
 
 Jr. B del 
 
 Tiomb. 
 
 G. Roman*. 
 
 A. del Sarto. 
 A. Alantegna, 
 Ir. Bartol. 
 Giulio. 
 Ditto. 
 
 Ditto. 
 Ditto. 
 
 ( **) 
 
 A Head, Bl.Ch. prodigioufly fine, highly fi- 
 nifiYd. 
 
 A Figure a Foot long, RedCh. fine. 
 
 Ganymede pouring out, the fame Figure as in 
 the Feafl of the Gods. Origin ff tmo ; Red Ch. 
 
 A Capital Drawing. 
 
 Two Figures on Horfeback,fecond manner ; 
 Pen and Waih Divine. 
 
 A mod Capital Drawing, nine Figures ; un- 
 known Story. Bl.Pap. Waih and Wh. 
 
 Chriji'm the Manger; fine Clair Obfc. Pen, 
 Wafh,Wh. Divine. ' 
 
 St. John in the Wildernefs, one Foot and a 
 half long. 
 
 Fine Landslip. 
 
 Fine Drawing. 
 
 Three Graces; Gentile. 
 
 Ritratto di Merc ant 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 ifTurk ; the Head 
 exquifite. 
 
 Two Figures, Bl.Ch. Admirable. 
 
 Copy "of the Bark of 'Giotto. 
 
 Monk's Head ; the befl I ever faw of him. 
 
 Continence of Scipio. 
 
 Another Drawing. Both the fame manner 
 as thzZeleuchns my Father has; exquifite. 
 
 Several Boys in an Ornament ; fine. 
 
 Two Angels a Foot long, Bl. Pap. Pen and 
 Wafh; fine 1 : 
 
 Several Old Drawings, and others, but none 
 befides thefe very considerable. 
 
 ''Paintings 
 
( *7) ■ 
 
 Paintings belonging to the Academy, and in 
 the Room next to the Library, 
 
 Duchefs of Milan ; Prof fine. l. da. vhuh 
 
 Six fine PidnreS. BrengheL 
 
 Several Pictures, uuino. 
 
 A Canon of Pi fa ; BelliJJimo. Though a. del Sam. 
 there is a Beauty in the Tout-en femble of the 
 Hiitory-Pictures of Andrea, and a certain 
 brace in his Figures, yet not having a remark- 
 ably Good Expreflion, and iiich a Modern 
 Tafte, particularly in his Draperies, it were to 
 be wilh'd he had apply *d himfelf more to Rit- 
 rattoes, for which Nature feems to have de- 
 fign'd him. 
 
 Prodigal Son and his Father ; good Tafle. cavMcaho. 
 
 The famous Picture of Chrifi waihing his Rafaele, fo 
 Pifciples Feet, which they lay was begun by fald t0 be= 
 Merino, and finiih'd by Raffaele. Figures as 
 big as the Life. It is very good ; but J am a- 
 fraid 'tis not of Raffaele. 
 ' Virgin adoring Chrifi ; Exquifite. F.Barroca. 
 
 A Capital Picture. a. Mantegna, 
 
 A Portrait : Fides Gallic ia Virgo pudicijjl- Fed. Gallkia, 
 ma, JEt. 1 8 . opus hoc Frat. Pauli Morigii Ji- 
 mulacrum An. 72. grati animi ergo ajfytxit, 
 An. 1596. Nature! Admirable! 
 
 Virgin Mary, Head and Hands big as Life; sdpioG^tan. 
 neat, and goodTafte. 
 
 ; Giorgion Singing, and other Muficians. Gwghn. 
 Drawings. 
 
 Three Drawings in one Frame, viz. 
 
 Fealt. GitiUo. 
 
 Three Figures, fine, p. veton. 
 
 A fine 
 
((z«x) l 
 
 'Mb. Barer. A fine Drawing. 
 
 Barouio. Two finePaftiles. 
 
 do. Batt . del A Drawing in a Frame and Glafs ; (with a 
 
 cane. Dog at the bottom of it, which they fay he al- 
 
 ways put in his Pictures,) 'tis of a very good 
 Tafle, and feems to be of the School of Raf 
 faele. 
 
 Luc. oland. Several Drawings upon Glafs. 
 
 In the next Room. 
 
 Cafts of all the bed Antique Statues. 
 
 fafaele. The Carton for the School of Athens, Bl. 
 
 Gh. 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. 
 
 p.?e.rHgino. By it is another large Carton; Great Tafle, 
 and not Stiff 
 
 MOT>ENA. 
 
 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 mull climb as at a 
 Window^ ; for this Room is but to be Look'd 
 into/ 
 cone^h. Here is the Virgin fupported by the three 
 
 Mary" 'sat the foot of the Crucifix between the 
 two Thieves in Terra Cotta, (See Vidriani.) 
 Thefe Figures are made, and beautifully co- 
 lour'd in their proper Colours by Correggio 
 himfelf, as fbme of the Ancients are faid to 
 have painted their Statues. They are marvel- 
 koufly fine. The 
 
( •* j 
 
 The Crucifix and Thieves , and feveral of Beganiil 
 the Apoflles which are here alio are of Terra 
 Coftd,md painted; thefe are of Begarelll. 
 
 TlACENZA. 
 
 In the Church of the Benedictines. 
 A Madonna. Ktffkek. 
 
 TAR MA. 
 
 The Dome, where is the famous Cupola of coneggfo: 
 Correggio, is as big as St.'Paul's in London: 
 This Cupola is fo high that 'tis difficult to fee 
 it very exadtly . The Virgin is about the Cen- 
 tre of it, and lomething 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 Attitudes ; one of which 
 is that he refolv'd on. He has alfb fbme of the 
 Apoftolick Figures at the bottom looking up. 
 
 The Ornaments round the Cupola have not 
 beenGrav'd, where there are Angels, amongft 
 which two or three are of the Hand of Cor - 
 reggio, which are comparable to the fined; 
 Greek Antiques ; the Marble is imitated with- 
 out Blacknefs in the Shadows, and with great 
 Tendernefs. 
 
 The 
 
[..«■■) 
 
 Pameggiano. The others arc by < Parn?eg%iano, and are 
 Dry, compar'd with thofe of Correggio. 
 
 Monfieur Crozafs MS. 
 This Cupola being printed, is well known 
 as to thofe Particulars of which Prints can in- 
 form us. 'Tis famous amongft other things for 
 the fore-fhortnings of the Figures, lbme of 
 Which are indeed Extravagant, and Ungraceful; 
 the Principal of them the BlelTed Virgin was 
 once fo deflgn'd ; the Drawing of it is one 
 of thofe I fpoke of juft now : But neverthelefs 
 that Beautiful Colouring, thofe Joyous Counte- 
 nances; that Angelical Air thatfhines through 
 whatever Defects may otherwife be found in 
 this great Man's Works, is what Gave, and will 
 Preferve their Sublime Character. 
 
 BOLOGNA 
 
 In the Talace Bonflglioli. 
 Drawings. 
 The Drawings here mention'd are fbme of 
 thofe in Frames and Glafles hung in the Apart- 
 ments ; Signior Bonfigl'toli has many more in 
 Books, but he being out of Town , I loft the 
 Sight of them. 
 Rafale. Slaughter of the Innocents, firft lightly 
 
 sketch'd out in Bl.Ch. and then flnifh'd. 
 Ditto. Several Figures in Red Ch. manner of my 
 
 Father's Zoroafter. 
 r Agoft. can. Two fine Head?, one of them his own Pi- 
 cture, which is the fame my Father has , and 
 Mr. Flinck, and others have, and which is al- 
 ways call'd the Gob bo. 
 Guide A fine Drawing. ' 
 
 Another. 
 
 
titi 
 
 Another. Anmbaie. 
 
 vFeed my Sheep, an Excellent Defign ofRaf- Rafale. 
 faele; Sketch RedCh. manner of theBaptiim 
 my Father has. 
 
 Holy Family, a moll; prodigious fine Draw- AnnibaU. 
 ing! largeBl. Ch. heigbtned. Bl.Pap. 
 
 ^Polyphemus, much the Tafle of Mich. An- *««* 
 
 FimCaricatura of Women. AnnibaU. 
 
 Woman, Head 'Prof with a Helmet* odd; Mich. Angela, 
 Reed,Pen,feemsto be one of the Orlando Fu- 
 riofos. 
 
 Madonna, Bland Red; TtiviniJJimo* AnmbaU. 
 
 Two or three fine Acad. Figures. Ditt0 - 
 
 Eight Prodigious fine Heads, Red and Bl.Ch. Ditto. 
 bigger than the Life. 
 
 Madonna, finej>rawing. Parmeggiane. 
 
 Five other fiich Heads as above. Anmbaie. 
 
 Madonna, noble. Guiio. 
 
 Landskip. AnnibaU. 
 
 Another Room. 
 
 Madonna Latt ante, half Life; Red and Bl. correggh. 
 Ch. Incorrect, Well preferv'd, Dfvine ! A Car- 
 ton Drawing in aGlafs. 
 
 %t.John 9 two Foot and a half fquare. Ditto. 
 
 VmeMadonna, two Angels holding a Crown Guide. 
 over her Head ; Drapery conrafed, one Foot 
 and a half long, a Foot broad. 
 
 Five Figures and a Cradle; two pointing up G ' mUo ' 
 to aBoy lying on a Ruin, Other Figures in the 
 Sky, the fame as oneDr.3/<?Whas of thisMa- 
 fter, and that of Btaggio Bplog* my Father 
 has. 
 
 Abraham 
 
Raffdele. 
 
 Annibale. 
 Ditto. 
 
 Ditto. 
 Ditto. 
 
 Ditto. 
 L. Carr. 
 
 ( 51 ) 
 
 Abraham offering Ifaac ; Angel bf inging 
 down the Lamb, manner of Jof. before Tha- 
 roah, (my Father's) fbmething different from 
 the Print. 
 
 Slaughter of the Innocents ; Pen,Wafh.Wh. 
 
 The Defign for the Triumph of Bacchuf, 
 sketch'd,and fhadow'd withBl.Ch. and the Out- 
 line mark'd with a large Pen ; five Foot long. 
 
 Denying ofChri/i by St. Teter, feveral Fi- 
 gures; the manner of the Prodigal Son my Fa- 
 ther has. 
 
 Circumcifion, flill nearer to the manner of 
 the Prodigal Son, and the very lame Poverty 
 in fbme Parts, both are undoubted. 
 
 Two fine Heads, larger than the Life, Red 
 Ch. 
 
 Madonna, and St. Katharine. 
 
 Martyrdom ofSt.Ur/ula, and nooo Vir- 
 gins; fine. 
 
 Another Room. 
 
 Batt. Iran co. 
 
 Valeria, &c. coming in the Camp to Corio- 
 lamts; aFrize two Foot long,call'd heve'Poli- 
 dore, but 'tis after him ; fine. 
 
 Ptrmtggiano. School of Athens, moll exquifitely copy'd, 
 and perfectly well preferv'd : Pen,Walh. one 
 Foot and a half long, one Foot broad : 'tis in 
 the fame manner, lightly touch'd with a fmall 
 Pen, as the Venus, Mars, &c. which my Fa- 
 ther has. 
 
 rod. car. Nativity of St. John Baptifl, Bl. Pen, Wafh. 
 
 Height, fmall Pen. 
 
 xicc.Abbate. Ornament. Women, the manner as my Fa- 
 ther's yellowifliTint of thisMafter. 
 
 * . A fine 
 
( 33 ) 
 
 A fine Ripofo? St. Jofefh, and feveral An- comggh. 
 gels. Pencif with Aquarella of Bl. Ch. 
 
 The Virgin carried to the Sepulchre, fine. l. Can. 
 
 Another, fine, and in the middle of it (At- Ditto, 
 taccatoj is a Woman, fine Figure . Parmegghno. 
 
 Bacchant e^ and two other detach'd Figures, RaffaeU. 
 Red.Ch. manner of my Father's Zoroafter. 
 
 Pictures. 
 
 A Picture in Oil : On the Fore-ground is the Parmeggiano. 
 Mediation of the Sabin Women, the Men be- 
 ing cngag'd in Battel with the Romans. At a 
 diftance, and (which had happen'd a good 
 while before, feeLivyJ is the Rape of the Sa- 
 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 them Por- Anmh t 
 traits ; but thefe are in a dark, hiftorical man- 
 ner, not very proper for Portrait-Painting. 
 
 In the Church of St. Giouanni del Monte 
 Capella Bentivogli. 
 
 The famous St. Gacilia ; Figures as big as Rafaete. 
 the Life, and Hands where 'twas firlt placed : 
 it has never been removed fince : There is the 
 old, plain, Gold Frame, that leems to be what 
 it had at firit. 'Tis very well prelerv'd, except 
 a Line of about half a Foot in breadth quite 
 crofs the Pi$ure,overagainft the Candles which 
 
 D are 
 
( 34) 
 
 are light up before it during Divine Service, i 
 and here the Colours are perfectly fry'd. At 
 other times 'tis always Unit up as in a Box. It 
 is not in his laffc manner (as 'twas done feve- 
 ral Years before his Death) but rather fome- 
 thing Dry and Stiff, and theTinct a little Dark. 
 'Tis not properly a Hiftory, but the Pictures 
 of fi ve feveral Saints; Of thefe St.Cacilia, St. 
 'Paul) and St. Mary Magdalen^ Hand next the 
 Eye ; ihe from whom the Picture is denomina- 
 ted in the midft ; over her Head are Angels with 
 Mufick, to which lhe feems attentive ; thefe 
 take up but little room, and enrich the Picture: 
 In the two Spaces between thefe three Saints, 
 come in the upper parts of St. Job//-, and St. 
 Attftin. Perhaps thefe five Saints were the Pa- 
 trons of thofe for whom the Picture was made, 
 or for whom they had a particular Veneration : 
 the Airs and Attitudes of each are Proper, and 
 Beautiful, tho'to me that of S. Cacilia is leaft 
 io : they are all a little hard, and not elegant- 
 ly drawn ; but at a diflance they are much 
 iw.eeter, and the Colours are very frefh, and 
 pleafing : So that upon the whole this Picture 
 has a certain je neffay quoy that puts it with 
 me on a level almoft with any, hardly except- 
 ing the Transfiguration. 
 
 J mould have faid above, that theDefign is 
 not altogether the fame with the Print ■ Mar- 
 canton io has graved, nor I think io good. 
 There is not fo much of that Noble Simplici- 
 ty, more Mufical Inflruments at the Saints 
 Feet ; the Attitudes of every one of the Fi- 
 gures are vary'd fomething : (St. Cecilia the 
 
 leaft, 
 
( 35 > 
 
 lead) the Light comes in on the other fide^r. 
 My Father has a Remembrance of it by a Bad 
 Drawing. 
 
 Over againft this is the Rojary, a very Gay Domini^uin, 
 and LightfomePi&ure. 
 
 Academia del T>ifegno. 
 
 Two Rooms painted much in the Michael pel - TibaUi. 
 Angelo Tafte; the Colouring not considera- 
 ble, nor the Manner agreeable ; though 'tis- 
 much efteem'd here. 
 
 In another Room. 
 
 An Antique Clay ; a Bas-relief, a Model for Antif. 
 theTrimalchio mpported by a Faun; the Legs 
 broke off 
 
 ^Palazzo Magnani. 
 
 A Frize round the Hall ; proper Colours ; not AnnibaU. 
 very touching. 
 
 A Cupid ftriving with a Satyr ; in Frefco ; Agoftm: 
 the belt I have feen of him. As fine a Tafte as 
 that of Lodottijl, or any other Antique. 
 
 Tab San Tieri. 
 
 A Dead Chrift, the fameDefign entirely as AnnibaU, 
 that z.t'Poggio dChiano, (of which my Father* 
 has the Drawing;) this alfo is Original.. 
 
 A Play of Boys; the mod ce ! ebrated Picture Albani. 
 of thisMafter in Bologna; 'tis a fmall Round : 
 there \% a fine foft Sky, and a little Nymph- 
 like Figure lying along, and turning, her Face 
 Kifling a Cupid. Thefe Figures are in the Au\ 
 bat no Clouds 3 not' any thing elfe to fupporc 
 
 Di theiai 
 
(/ 3& ■) 
 
 them ; but being very Light and delicate on 
 this Sky-ground, produces a lovely Effect ; the 
 Landfkipis loft, and fine; the Boys throughout 
 are coloured as well as Correggio, and unite with 
 their Ground excellently; xk\o Alhani is com- 
 monly inclin'd to a little Hardnels and Scirf- 
 nefs in that Particular. The Large Pictures of 
 this Mafter are the Reverie of his Little ones; 
 the former are uilially Black and Heavy, Hard 
 and Stiff; 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- 
 gainft the Ground : His Pictures are bright and 
 lirong indeed, but this Fault hurts the Eye. 
 This in particular is the Cafe of all thofe of 
 this Mailer which the King of France has. 
 
 Chiojiro diSan.Michele inBofco. 
 
 Guldo. St. Benedict in the Defert ; it is called La 
 
 Turbantina^ becaufe of a Woman in the Picture 
 with a Turband, a moft graceful Air of a Head, 
 and fine Attitude, and which is one of the beft 
 preferv'd, as the whole Picture is of any here. 
 'Tis in Frefco ; the Colouring probably is 
 chan^'d from what it was, however that of 
 this Picture, and in general of all in this Mo- 
 naflery, of whatever "Mailer, isfbmewhatBric- 
 ky, and Thick, and confequently not agreea- 
 ble. This Picture was almofl perim'd in Guido y s 
 time, and reflor'd by himielf by re-painting it, 
 as appears by an Infcription under it. 
 Ma fori, Bri- Mofl of the Pictures painted by MaJ/art, 
 zto, &c Bri&i'o, 8cc. are entirely perifh'd : Thofe by 
 Lodouko. Lodoliico were well enough preferv'd, as to 
 
 any 
 > 
 
(37 ) 
 
 any other Decay, but they are all over fcratch- 
 ed, and in feme places the Eyes put out, and 
 Peoples Names writ everywhere, even on the 
 Faces. The fined of all thofe of Lodouico, is 
 that of the Lafcivious Women lent by the Flo- 
 rentines, to tempt the Saint in the Garden, and 
 it is the bed preferv'd. The next to this, if it Lodouico. 
 is not as fine, is the Mad Young Woman that 
 runs to find the Saint, the Expreffion in her 
 Face is wonderful. 
 
 Th&tof Maffari, when the dead Nuns come M 4^i. 
 out of their Tombs to hear Mais, is I think as 
 fine as that ofGuido, or any of Lodouico. 
 
 Mod of the other Pictures are fo perilh'd, 
 that one cannot tell what elfe to fay of them. 
 There is a Book of the Prints of all thefe 
 Works. 
 
 I will on this Qccafion let down an Obfer- 
 vation I could not make 'till afterwards ; 'tis 
 that (generally fpeaking) the Monks, as they 
 know very little of Pictures, they are exceed- 
 ing carelefs of them, fb that thofe that are in 
 Monaderies are for the mod part horridly ill 
 us'd. Another piece of Gothicifm I mud not 
 omit, which is, that 'tis very common in Ita- 
 ly to fee a fine Picture of the BleiTed Virgin cut 
 to let in a Glaring, Tinfel Crown over her 
 Head to attracl 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 aC6ri/?that were crowning the Vir- 
 gin half cut onyto make room for a vadpreat 
 Crown of this fooliili kind. 
 
 Da In 
 
( 38 ; 
 
 Carlo Ckna- 
 
 nt. 
 
 Guercino. 
 
 Lodouicc. 
 jigoflino. 
 
 Ellf. Sirani. 
 Gio. And. Si- 
 
 Lodouieo. 
 
 In the Church. 
 
 Fine Boys fapporting Cartels ; Bright Co- 
 louring, and a Noble Style. 
 
 CERTOSA. 
 
 St. Bruno upon his Knees, with the Virgin 
 above ; 'tis a fine Piclure. 
 
 Chrifi 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 o£Guido> if 'tis not of him. 
 There is alfo a Print 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 fb Obvious as thofe EfTential to the 
 Story : A Monk hides himfelf 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 Baptifm in Jordan, by Elifabetta 
 Sir ant ; and the other, the Laft Supper, by her 
 Father. Her's is a flrong Manner, fomething 
 Dark, and in Spots, but Tome good Airs, and 
 Attitudes. His is better. 
 
 In one of the private Chapels. 
 
 The noble Preaching of St. John in the Wil- 
 dernels : this was done preiently after that of 
 the Communion of St. Jerome by Agoftino* 
 
 and 
 
( 39 ) 
 
 and in a kind ofTique for the great Praife he 
 had got. 
 
 A fine Pi&ure of the Refurre&ion begun by Gefi. 
 'Geffi, and hmuYd by Albani. MbanL 
 
 In the Infirmary. 
 Over the Door -xwEcceHomo. AnnibaU. 
 
 S. GIORGIO. 
 
 TheBaptifm of Chrift, with xheTadreE- Albani. 
 terno above , furrounded 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 mofl Beautiful Picture, zodouicc, 
 though Dark. 
 
 [Almoft all the Pi&ures of thcCaracci are 
 Dark.] 
 
 The Virgin with the Chrift, which a little St. AnnibaU. 
 John embraces with great Tendernefs, and a 
 St. Katharine ; a mow excellent Picture. 
 
 A fine T^rafepe in Frefio, a Noble, Bold carlo c'tgna- 
 manner, and Bright Colouring, which is the nu 
 general Character of his Pictures. 
 
 TheBaptifm of Ghrift^ with God the Father AnnibaU. 
 above, fiirrounded with Angels. 'Tis the firffc 
 of his Works in which he was affifled by Lo~ 
 douico : A Noble Compofition, and well Co- 
 lour'd. 
 
 StGeorge and the Dragon, with St. Michael Lodouho. 
 falling upon the Rebel Archangels, and God 
 the Father above in the Clouds : A moft Mi- 
 raculous Pidure! But the Lady that flies in a 
 Fright has the rhofl Noble and Gentile Atri= 
 
 D 4 tilde 
 
(4o ) 
 
 tude imaginable ; drefs'd all in White. In this 
 Picture are two feveral Subjects, but fubordi- 
 nately managed ; that ofSt.Georgeis the Prin- 
 cipal apparently, and of That the Lady is upon 
 the Fore ground, and immediately commands 
 your Attention ; (lie (as I laid) runs away, Hie 
 is in a fright, her Back is towards you, but her 
 Head turning over her Shoulder, mows a Pro- 
 file exquiutely beautiful, and with a fine Ex- 
 preflion. The Figures are as big, or bigger 
 than the Life, and confequently 'tis a \~ery 
 lame Picture. 
 
 There "are feveral great Examples of this 
 Doubling the Action in a Picture ; as that of 
 the Mediation of the Satin Women, and the 
 Rape, which was a great while after, by c Par- 
 megviano before fpoken of; feveral parts of 
 the Story of the Prodigal Son I have ieen in 
 one Picture by Titian ; and ofjofepb in one 
 at Andrea delSarto; even the famous Trani- 
 figuration by Raffaele^ and the Delivery of 
 St.Teter of the fame great Mailer, are of this 
 Kind; but this of Lodonico is the mod remark- 
 ably Licentious in this Particular of any I re- 
 member to have feen. Some Reafbns there 
 might be for thus breaking the Unity ofTime 
 and Action, but none can juftify it in Gene- 
 ral , for 'tis certainly choqing ; 'tis like hear- 
 ing two People talk to you at once ; it di- 
 vides the Attention, and takes off much of the 
 Pleafurc to be had from a Picture, by a ibrt of 
 Perplexity this mud necefTanly occafion. 
 Guv uno, The St.G/fglie/mo ; prodigioufly ftrong, and 
 
 finely colour 'd, (the Lights) but the Shadows 
 
 i are 
 
(4i ) 
 
 are gone Black ; perhaps they were too much 
 fo at firfl. 'Tis a valily large Picture, my Fa- 
 ther has the Drawing of the upper part of it; 
 where is a Madonna, Angels, &e\ 
 
 The Capuchins on the top of the Mountain 
 beyond St.M.ich. inBofco. 
 
 One goes afcending 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 flill higher, and 
 the Profped: nobler ; for from their Garden is 
 feen all the flat Country of Bologna that looks 
 like a Sea, and the City appears almofl under 
 you. The whole Country is fcatter'd with lit- 
 tle Towns and Villages, and the Prolpedt ter- 
 minates with the Mediterranean. 
 
 Here is the famous Crucifix, one of the moll G ^« 
 fo of any in this World ; there is only the Chrift, 
 the Virgin, and St. John, which lad is a moll 
 celebrated Figure, and much the fame as one 
 of Agoftino Caracci, of which my Father has 
 a Drawing. 'Tis in a Sacrifly behind the 
 Church, the Figures as big as the Life. There 
 is a proper Solemnity in the General TincSfc of 
 the Picture; but withal aBrishtnefs, Strength, 
 and Beauty in Perfection. The Body of the 
 Chrift has a moil exquifite Sweep, and the St, 
 John looks up upon him with an Air, and At- 
 • titude of Sorrow, as fine as can pollibly be 
 imagined. 
 
 FLO- 
 
( 4> ) 
 
 FLORENCE. 
 
 The 'Dome. 
 Sanffa Maria del Fiore ; this Church is 
 half as big again as St. 'Paul's in London, as 
 Galileo the Great Dukes's Architect allured 
 me, having the Meafures of both. TheCupola 
 built by Filippo di SerBrunelefihi is the lar- 
 <geft, and the utmoft Stretch of Art in its kind 
 that ever has been produced in the World. 
 
 F. zuuaro, 'Tis painted by Frederico Zuccaro , of whom 
 my Father has the Drawing of three of the Di- 
 visions, the whole being divided into eight : 
 The Thought is fine, and given him (as 'tis 
 laid) by one T>. Vincenzio Borghini : On the 
 top in eacliDivifion are Angels, with fbme of 
 the Inftruments of the Padion, 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 fappofed 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, ieverally reprefented by fbme 
 Beafl, or Morifter ; and over their Heads an 
 opcnBook is alio held, but by Devils, their Ac- 
 cufers : there are more Figures about the Cir- 
 
 vafari, cle of the Lantern by Giorgio Vajari. The 
 
 Cupola is lbmething 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 ) 
 
 of almoft all the old Florentine Mailers, 'Do- 
 nate llo, Brunelefchi , Sec. 'tis Multangular. 
 The Sculptures are only of one Figure, but al- 
 mofl every one by a different Hand. At the 
 JHead of this Tribunal is the High Altar, with 
 God the Father holding a Dead Chrifi, lamer 
 than the Life, of B actio Bandinelli ; and be- b. Bandmeiu. 
 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 pleafed with *D an- 
 te's Picture done by Andr. Orgagna ; he is Andr - orgag- 
 teading, and walking in the Fields by his own na ' 
 ^oufe, a View of Florence at a diftance ; ex- 
 tremely well preferv'd, and of a lively Colour- 
 ling. I believe this is the moil Authentic Por- 
 trait of that Poet, and has entirely the fame 
 jFace as the Drawing my Father has. TheBap- 
 itiftery was a Temple of Mars, now 'tis dedi- 
 cated to St. John Baftift. Here are the fa- 
 mous Gates Of LorenZO Gbzfrertt, Which Mi- Lorenzo Ghi- 
 
 chael Angelo laid deferv'd to be the Gates of henu 
 ParadiJe. The Church has three Entrances, 
 the Gates of the Principal of thefe were made 
 by Andre 'a^Pifano : Lorenzo was afterwards Ani * ?(/«»*• 
 employ'd to make thofe for another ; and 
 laftly, thofe of Andrea were remov'd to make 
 room for others, by Lorenzo : they are very 
 large, all of Brafs, of a very high Relief; fbme 
 - of the Principal Figures being almoft round : 
 the Brafs is almoft turn'd blackifh, excepting 
 i where it has been accidentally rubb'd, as be- 
 low, where Peoples Clothes are continually 
 brufhing againfl it. The Gates of Andrea are 
 3 in 
 
(44) 
 
 in the Gothic Style of his time ; but the othei 
 are of a much better Tafte than one would ex- 
 peel: to find in a Work ioo Years before RafX 
 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.Angelo'm Any thing, and of a Purer andi 
 more Pleafing Style : One Pair of thefe Gates II 
 is divided into 20 Squares, in each of which is 
 a Hiftory of our Saviour, with Ornaments and 
 Borders round them; and at the bottom the 
 four Evangelifts, and the four Doctors 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 Vafari, andCivelli, which laft Wri- 
 ter fays, and I think with Reafon, E di vera 
 que fie due Torte di Lorenzo fe fi vedeffero 
 di rado, e 11011 ad ogni ora, come awiene, egli 
 11011 ha dubbio che nou foffero a ragione tra 
 le piit pregiate maraviglie del mondo anno- 
 verate. Thefe Gates were made in Imitation 
 of thofe ancient ones of the Dome ofPifd of 
 BonaMiio'PiJaiWithouvh the Work of thofe is 
 extremely rude and Gothic ; It appears by the 
 Inicription that thefe were made in one Year, 
 viz. 1 1 80. 
 
 The Great 'Duke's Gallery. 
 'Tison the upper Floor of the Palace, avafl 
 Height from the Ground; very light, Win- 
 dows on both fides in fome parts. 
 
 Julius 
 
(45 ) 
 
 Julius Cafar ; Brafs, ~v 
 
 Agripfia. 
 
 Seneca ; wants the Nofe. 
 
 Cicero. > ^ ue 
 
 Of ho, wants the Nofe. Rare,becaufe there 
 re very few of him, and thofe as this, not 
 pod, being all done in the Provinces. 
 
 Bacchus, the Statue which Mich. Angelo MkkAng. 
 nade in Concurrence with that fine Antique 
 hne which (lands near it, and then broke off 
 ;he Hand, and pretended it to be an Antique 
 uft dug up ; one fees evidently where 'tis fa- 
 len'd on : there is a Faun behind him in a fine 
 Attitude eating Grapes : both are Drunk, 'tis 
 Seen in their Faces, and all their Limbs. This 
 jroup is of a very excellent Gout, but differs 
 rom the other as Mafculine does from Femi- 
 line, for This is Mich. Angelo, and That has 
 ill the Delicacy of the famous Venus, as a Bac- 
 chus ought to have. Bifcop has given us a 
 3 rint of this Statue of Mich. Angelo in three 
 feveral Views. N°. 52, 53, 54. 
 
 The Antique Bacchus is (landing, about as The foHow- 
 )ig again as the Life, as that of Mich. Angelo [J^ 6 An ~ 
 s : He holds a Cup in his Left-hand, and leans 
 ipon a Young Faun who kneels, and turns al- 
 no(l backward, looking up in his Face. The 
 Drawing of Raffaele my Father has, and 
 vhich he made a little St. John of, is this ve- 
 y Head. This Groupe is the bed I think in 
 :he Gallery, and the neareft inTalle and Deli- 
 cacy to the Venus of Medic is. 
 
 Hadrian, 
 
( #) 
 
 Hadrian, a Bull. 
 
 Gladiator ; big again as the Life ; black Stone, 
 likeTouch-ftone. 
 
 Antinous, wants the Nofe, a Bull ; Divine ! 
 
 Antoninus Pius, a Baft. 
 
 Venus and Mars, (commonly call'd Faujli- 
 na, and a Gladiator.) 
 
 Chimera, a Lyon with a Goat coming out 
 of his Back, and a Tail like a Serpent; (what 
 remains of it, for a great part is broken off) 
 the hinder Legs have fomething on them like 
 the Fins of a Serpent. It anfwers the Defcri- 
 ptionof Homer tranflated by Aufonius. 
 
 'Prima Leo poftrema 'Draco media ipfa Chi- 
 mera. 
 
 and may be feen on feveral Corinthian Me- 
 dals of M. Aure litis and others. See Vaillant 
 on the Roman Colonies. 
 
 'Twas found in the Year 1548 wzirArez- 
 zo, in the time ofCoJimol. and ufed to be al- 
 ways in his own Chamber, as I was told by 
 Bianchi. 
 
 Cupid andPflche, molt exquifite ! only the 
 Legs and Thighs are too ihort. 
 
 Baec/ms, a moil Noble Figure in Hammered 
 Brafs, (without the Feet) it has a magnificent 
 Lorenzo Ght- Pedeftal, made by Lorenzo Ghiberti, with Ba's- 
 hrti. reliefs upon it as fine as the Statue it felf 
 
 Thele Bas-reliefs are not of 10 great a Relief 
 as thofe 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 ) 
 
 ther, a Sacrifice to Bacchus. On the Front is 
 his Infcription : 
 
 IT POTVI HUC VENI DELPHIS ET 
 FRATRE RELICTO. 
 
 / 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 are Vine Leaves ; 
 \t the Corners are Ram's and Tyger's Heads, 
 ind the Bacchus it felf is liipported on the 
 kck of a Tyger. 
 
 Ganymede ; Head added. This Figure is as 
 ine as th^ Venus of Medicis^ and feems to be 
 left. 
 
 Apollo with the Tripos^ and Griffon upon it 
 n Bas-relief; Lyre in his Hand. 
 
 Marfias ; amazing Air of a Head, but the 
 Arms ieem to be too fliort : the Feet are 
 :rack'd almoft through with Age : the Figure 
 langs mighty weighty, and natural, and is in 
 extreme Pain from his Fingers ends to his 
 Toes. 
 
 Alexander the Great Dying; a Bull three 
 :imes as big as the Life; Great and Vafl Tafle, 
 Greek : the Nofe does not come (trait down 
 from the Forehead, but the joining is much 
 fwelFd; his Mouth is a little open. He is Dy- 
 ing throughout without Agony, except what 
 that Swelling* and a little turn of the Eyes ex- 
 prefTes, which at the lame time gives a Gran- 
 deur to the Whole : 'tis of a fine Yellowim 
 Marble* 
 
 Tufcan 
 
( 48 ) 
 
 Tufcan Orator, a great Tafte, and fine Ex- 
 preflloii 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 ufuai. 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 Brais, and in feveral pla- 
 ces behind not broken, but rotted and decay- 
 ed by pure length of time. 'Tis certainly ve- 
 ry ancient; the Taile though great is hard, 
 and very different from that of the Roman, 
 Greek, Egyptian, or any other, and is a Spe- 
 cies by it ielf, as the Habit is, and truly He- 
 trufcan : befides there are Tufcan Characters 
 upon the Fimbria of the Garment. 
 
 See Mont 'falcon. 
 
 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 thcrGarment 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; inflead of 
 a Stick he has a large, thick, brute Inftru- 
 ment. Bianchi afTur'd me 'tis of undoubt- 
 ed Antiquity, and indeed it feems to me to 
 be fo ; and not at all the lefs for the Badnefs 
 
 of 
 
( 49 ) 
 of the Work; for the Ancients had Indifferent 
 Hands as well as we. This feems to be in the 
 Hetrufian 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, (Clofet 0/Madama.) 
 
 Paintings. 
 
 Adoration of the Magi-, the Angels, and sahdn Botti- 
 feveral other things, heighten'd with Gold. ceUl ' 
 
 Death of the Virgin, better than the laft; PoiUioio. 
 painted in like manner with Gold. 
 
 Circumcifion, the Virgin, and two other mm^GtiU 
 Women; fine Airs, and noble Attitudes ; very landa . t0 * 
 Simple, and Gentile. 
 
 Another Room. 
 
 Adoration of the Magi, good Expreffions, Mippo zipfu 
 but very ftiffand hard. 
 
 Same Subject and the fame Size, i.e. be- LhnJavind 
 tween a Half, and a Whole-length, fomething 
 longer than high. Very good, but not finiih'd 
 at all, except two or three Figures in the mid- 
 dle. 
 
 His own Picture. This is the very fame Sir Pordenone, fe 
 Thomas Hanmer has, and which is written cal1 d * 
 upon T)om. Beccafumi : There is another at 
 'Paris in the Apartments of the Regent, very 
 good ; and another yet, but not fo good* at the 
 , Ek&or c Palatine'sat c Duff r eldorp. But it can- 
 not beTordenone's Pidture, as 'tis calfd here, 
 MVafari has given us a right one of him, for 
 that is very different* and is the fame Face as 
 
 E that 
 
( yo) 
 
 that of my Father's Drawing of him. Neither 
 is this Baldaffar'Peruzzi's, or Beccafumis^ 
 (one of which Sir Thomas Hanmer's is laid to 
 be, I forget which) forthishasnoRefembiance 
 with either of thoie Mailers in that Author. 
 How this is chriftefid 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. BUndheiu. The Laocoon copy 'd from that at Rome (my 
 Father has the Head done with a Pen) the 
 Back of this is finifh'd, which 'tis not in the 
 Original, being to (land in a Nich, or againfl 
 a Wall. At Florence they fay This is as Good 
 as that at Rome ; if 'tis not, 'tis lb near being 
 fb, as to juftify thofe that lay it is. 
 
 Mkh, An^eh. A Woman unfinifh'd, and which could ne- 
 ver have been made Good ; 'tis an ill Attitude, 
 and too iliort ; it feems to be hew'd in the 
 manner defcrib'd by Blaife de Vigenere , in 
 the Notes on Thiloftratus ; There are great 
 Slices ftruck off with theChiilel, and in ibme 
 places, particularly at one Ankle fo deep, as 
 that it muft have been repair'd, had the Sta- 
 tue been finifh'd. 
 
 In a Tard of the Houfe by theDome. 
 
 Ditto. Another unfinilh'd Statue of Michael An- 
 
 gelo. 
 
 Conft anting a Bud; the Nofe has been of£ 
 but put on again. 
 Antiques. Caracalla ; this Bud is the fame as that of 
 
 Farnefe: And 'tis remarkable that all His, 
 
 tho' 
 
( ft ) 
 
 the? undoubtedly Antique, are in the lame At- 
 titude, but the Nofe in This is longer than 
 the reft. 
 
 Clodius AlbinuSi of Antique Alabafler ; 
 Rariff m I 
 
 c Didius Julianus <, Tertinax, atid1)idia 
 Clara, Bufls alfo ; very Rare, and perhaps U- 
 Clique. 
 
 Nerva, a Bull, larger than the Life; Ex- 
 ceeding Rare. 
 
 < Domitian i 'tis a young one ; not good. 
 
 Endymion looking back at the Moon, and 
 holding his Dog ; not a goodTalte. 
 
 Berenice Titi with a Diadem, and Hair in 
 Ringlets , 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 Bufl 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 \ 
 faw of the Emperor's wanted This. However 
 r afterwards uponDifcourle, and comparing the 
 Head with the Medals, Bianchi was convin- 
 ced This was not a Galba, but a Nerva done 
 in the Provinces. 
 
 E % The 
 
( ^ ) 
 
 The Leda of which Cine Hi fpeaks: 'tis ex- 
 tremely Gentile and Delicate, in the Attitude 
 of the famous Venus of Medicis , only that 
 the Swan is added, and which looks more like 
 a Goofe than a Swan. 
 
 Ganymede almoft over-againfl it : 'tis as 
 fine a Figure as any in the World; but his 
 Eagle is as bad asLedas 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^ a Bull:, and 
 extremely Rare. 
 
 A Boar of an Amazing Tafte, Greek : A 
 Call 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 without Wings, grav'd by BiftoJ>, 
 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. 
 
 Philolbpher ; 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 fomething like Homer ; the Pofture Grand, 
 and UnarFe&ed. Greek. 
 
 Narciffus 
 
( n ) 
 
 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 Reafbn. For Delicacy it approachesjthe 
 Venus of Me 'diets. 'Tis of 'Parian Marble. 
 Ovid teems to delcribe this very Figure. 
 
 jidfiupet ipfe fibi: vultuque immotus eodem 
 Hxret^ u't e pario formatum marmore fignum 
 Speclat humi pojitus geminum y fua lumina, Jidus 
 Et dignos Baccho, dignos & Apolline crines j 
 Impubefque genas £5? eburnea colla, decufque 
 Oris - — 
 
 His Left-hand lies flat upon his Back with 
 the Palm out. It is one of the mofl 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 Bull left unfiniih'd, but has a No- M ' tch - An l eU 
 ble Air, turning over his Left Shoulder. It has 
 this Infcription upon it, made by Cardinal 
 Bembo. 
 
 Dum Brut 1 efigiem Sculptor de Marmore ducit 
 In mentem [ceteris venit & abfiinuit. 
 
 Morpheus afleep, a Boy, in Touch-ftone, Antique. 
 fhines very much; the Face is beft, but no- 
 thing very Good, only that the Parts are large. 
 
 Wh.Addifen in his Remarks, fpeaking of 
 this Figure, fays, amongfl other things, 
 
 M "lis probable they chofe to reprefent 
 E 3 « the 
 
( 54) 
 
 God of Sleep under the Figure of a Boy, 
 contrary to all our Modern Defigners , be- 
 caufe it is that Age which has its Repole 
 the leafl broken by Cares and Anxieties. 
 Statins, in his celebrated Invocation of 
 Sleep, addrelTes himfelf to him under the 
 fame Figure. 
 
 " Cr inline quo mcrui, j uveitis placidijjlmc Divutn 
 " Quove err ore m:fer, donis ut folus egerem 
 " Somne tuis ? facet omne pecus jvolucrcfq; fer '<eq\ 13 V. 
 
 Silv.Lib. f. 
 <c Tell me thou be(t of Gods, thou gentle Youth, 
 <c Tell me my fad Offence j that only I, 
 
 While hufh'd atEafe thy Drowfy Subjects lie, 
 In the dead Silence of the Night complain, 
 Nor tafle the Bleflings of thy peaceful Reign. 
 
 u 
 
 11 
 
 a 
 
 I never law 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. 
 
 Bem'wi. A Beautiful Head of his Miftrefs Goftanza 
 
 di Narelli. 
 Antique. Pan, a Head, Greek ; the very Greateft 
 
 Style: fine Humour. 
 Mich. Ang. In the Study there is one like it by Mich. 
 AngelomaAz at eighteen Years old, as appears 
 by the Infcription 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. 
 
 Venus engaging Mars to ftay with her ; Ex- 
 preflion fine. He gives Reafons with his Hands, 
 
 and 
 
( 55 ) 
 
 and yields with his Face ; me 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. 
 
 AntinouS) his Hair comes over his Forehead 
 i within half an Inch of his Eyes, (no Apples in 
 them) Hair a la Romain, 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 25 or 3 o 
 Foot Diameter, with the Windows at the top, 
 and a round Table in the middle. The Figure 
 fronting the Door is the 
 
 Venus ofMedicis, of clear White Marble Antique. 
 turn'd a little Yellowilli; a Beautiful Colour ; 
 the Effecl; of Time : When the Sun iliines on 
 it, (for I have feen it at all Hours of the Day, 
 and in all Accidents of Light) 'tis almoil; trans- 
 parent : the Hair feems to have been Gilded, 
 and is now very dark: the Head is fome thing 
 too little for the Body, efpecially for the Hips 
 and Thighs ; the Fingers exceffi vely long, and 
 taper, and no Mark for the Knuckles, except 
 for the little Finger of the Right-hand : It is 
 fet upon aPedeftal (Modern) about half the 
 height of a Man, and inclines a little forward, 
 fb that probably 'twas at firft intended to (land 
 at a greater height. I confefs, before I law this 
 
 E 4 Statue, 
 
( jO 
 
 Statue, I had fbme Prejudice againft it, from 
 what I had obferv'd in the Cafls ; and it has 
 Faults ; but it has too fuch a Flelhy 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 
 hisBafls. 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 impofTible 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 ; fo 
 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?J juft below the Arm-pits. 
 
 Maffei, in his Notes on this Statue in Rof- 
 Ji's Book, fays, that the Ears are bor'd : I con- 
 fefs that Particular 'fcap'd my Obfervation ; 
 and Sandraart fays it flood in the Tantheon^ 
 but quotes no Authority. 
 
 On each fide of this are two other Venus's. 
 On the right is 
 
 Venus Vittrix, near as large again as this, 
 which makes this look the lefs; it isa\:harm- 
 ing Figure, and holds the Apple in the Right- 
 hand ; the Left-hand and Arm is added. This 
 Figure has fbme 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, efpecially 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 call off thefe in 
 Moulds made exprefs, but in old ones ; the 
 Venus has never been call off iince the Duke 
 of Florence had it. Bianchi. 
 
 This Figure is, I think, take it all together, 
 the beft in the Tribunal; and (as I laid above) 
 'tis Co light, 'tis leaping offitsPedeftal. It does 
 not ihine as the others, not being polifhed; 
 but 'tis very fmooth. 
 
 Grinder : the Head in particular is fine, the 
 Hair the beft I have feen of the Ancients, 
 rough, and finely tumbled, but fhort. This Fi- 
 gure mines very much, and is almoit White. 
 
 Wreftlers; fine Airs of Heads, andearnefl. 
 ThisGroupe mines extremely ; but when the 
 Curtains are drawn, all but of one Window, it 
 makes a fine Effect. 
 
 Next this Hands the Venus Vitfrix already 
 defcrib'd ; and all thefe fland in a Circle round 
 the Tribunal. 
 
 Pictures. 
 
 Here are alfo fkie Pictures. Amongft the 
 reft, 5 
 
 The St. John ofRaffkele, the fame as & Rafael*, 
 thellegenfs. I faw this near, That I could not. 
 
 This 
 
( 5« ) 
 
 This is amazingly fine ; a fingle Fig. naked , 
 fitting, holding out his Right-hand, Face fore- 
 right ; in the Wilderneis : 'tis much browner 
 than the Regents : 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. 
 
 coneggio. A Madonna preferv'd , as when 'twas firft 
 
 done : She kneels, and adores the Chrift 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 Matter, has with its Beauties great 
 Faults. The Drapery is certainly Invention; 
 but neither fhows 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 fo that flie can- 
 not rife, or hardly ftir till he is remov'd. But 
 the Beauty ! the Morbidezza ! the Thought 
 and F.xpreffion! Good God ! 
 
 Raffade. Julius II. extremely fine ; a Brown Picture ; 
 
 the Head the fame as the Duke of c Devon- 
 fhire's Drawing; the iame Likenefs, and I 
 think of equal Spirit. I have mention'd one or 
 two of thefe in the Collections of Rome, 
 which are iliewn for Originals. 
 
 Mich. Angdo. A Madonna, the Colouring exceedingly 
 bright, and the Reflexions ftrcng, the reverie 
 of all the other Pictures I have leen of this Au- 
 thor; the MafTes of Colours want Union, and 
 feera to be placed by hazard, like the moft 
 
 part 
 
( 59 ) 
 
 part ofAn.delSarto's, but more fo; theFIelh 
 is bright, but not tranlparent, and mellow 
 like Andrea's, to whom I imagine he had an 
 Eye at this time, fmce 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, 
 ^\ 46 1 . This Picture is in perfect Prefervation. 
 It's round, and flands fronting the Door be- 
 hind the Venus of Med. By Cine lit s Defcrip- 
 tion of it (p.zy$.) one would believe 'twas 
 rather of Raffaele than Mich.Angelo, fo lit- 
 tle has he conilder'd the true Character of the 
 Matter. But he tells the Story of his demanding 
 at firfl 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 alk'd, and 'twas given him. 
 
 Round the Tribunal is a Shelf full of little 
 Figures. 
 
 A Lyon tearing a Horle, Marble, much fl- Ant. 
 ner than that famous one in the Capitol, which 
 is Marble too, but much bigger than the Life ; 
 different Attitudes. This lalt of the Capitol is 
 more grofs, and of aTafte like thole 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 alio are a great many Miniatures of Miniatures. 
 Fra.Gio.Batt.de Monte, (aMonaltery about vr. do. Batt. 
 five Miles from Florence -J amongll which is de Monte. 
 theCorreggio, and St. John of RajfaelezboYe 
 mention'd to be here. He has alio done the 
 
 Ado- 
 
( *° ) 
 
 Adoration of the Shepherds by Titian ; and 
 the Andrea del Sarto in the Apartments of 
 the Great Prince. The Miniatures of this Monk, 
 are Finer, more Correct, and better Colour'd, 
 than thofe of Don Julio Clovio that the Great 
 Duke has. He wrought about 50 Years ago, 
 and always after Pi&ures of other Maflers ; 
 never did any of his Own Invention, but imi- 
 tated the feveral Manners perfectly well. 
 
 The Gallery of the Taint ers. 
 
 'Tis fluck as full of Pictures as it can hold 
 from theCieling to the Ground. Thofe of Ti- 
 tian, And. del Sarto, Julio Rom. Tolidore, 
 Giorgion, Sec. very fine ; Raffaele's is one of 
 the word of the whole Set of good Matters , 
 but 'twas when he was very young, he don't 
 feem to be above 18 Years old. Rubens 's,and 
 Van *Dyck y s are fine ; fo is Guido Rein's, of 
 which my Father has the original Drawing. 
 
 The Chamber of the Great Trincefs Dow- 
 ager ; Camera di Madama. 
 
 Don Jul. ch- The Tietd of Mich. Angelo, 'tis written 
 upon by himielf Julius Clovius Macedo fa- 
 ciebat,zs he has writ upon mofl of his Things. 
 This is not comparable to thofe Miniatures 
 faid to be of him of the Life of the D. of 1)r- 
 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. 
 
 Ditto. A Holy Family of the fame Character en- 
 
 tirely. 
 
 Two 
 
 Titian. 
 A. del Sarto. 
 Giulio Rom. 
 jPolidore. 
 Giorgion. 
 Raffaele. 
 Rubens. 
 Van Dye k. 
 
(<Ji ) 
 
 Two Crucifixes ; one has a vail: 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, neatLandfkips, but Hard. 
 
 A Portrait of a Woman refembling Raffa- 
 ^'sMiftrefs. 
 
 A Picture of T>ante in Oil, the fame 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. 
 The Tafte too is the fame. 
 
 A fmall Cleopatra Dying, Egyptian. Antiques. 
 Bronze ; a Grofs Inelegant manner, but a fine 
 ExprerTion. 
 
 The famous Flora of Farnefe ; Antique, 
 Bronze ; entire, and well preferv'd ; lefs than 
 my Father's Model of this Figure. It rather 
 leans backward, whereas the Great one in- 
 clines fomething towards you. 
 
 A fmall Chimara like that in the Gallery be- 
 fore defcrib'd, Antique ; Intire. 
 
 A Miniature of a.Pi&uYQof'Paolo Feronefe, Fra.Ghvan- 
 which is in the Prince's Apartment. This has ni ' 
 none of the Faults juft remark'd in thofe of 
 *Don Julio Clovio : the Subject is the Madon- 
 na^ and St. Katharine. 
 
 In theTaJfage out of the Gallery to the Old 
 ^Palace. 
 
 ABuft, and Hand of Galileo Galilei ; Ex- 
 tremely great Tafte. Michelangelefco; 'tis by Marcellwi. 
 Marcelling not quite finifh'd ; nor would he 
 ever finifh any thing in his Life, nor work 
 
 while 
 
( 6! ) 
 
 while he had any Money. He died about four 
 or five Years ago. 
 Donatella. St. John a whole Figure, more dry than that 
 
 Bull in Marble of the Tame 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 oftheOldTictures, Mofl, or 
 All of which were done for this Family. 
 
 b. do da Fie- Two fine Pi&ures ; One , the Marriage of 
 
 Joie. SS. Jofeph and Mary, the Other, the Virgin 
 
 dead; both very Gentile. A great deal of Gold 
 
 about the Clothes, and Ornaments : the fame 
 
 Talteas the Drawings we have leen, and have 
 
 of him. 
 
 sand Botti- The Adoration of the Magi ; much in the 
 
 ceiti. manner of two others of Andr. Mantezna 
 
 A. Manteyna. , , ° 
 
 that are here. 
 Drm. GriiUn- The Virgin kneeling to the Child lying on 
 da ' ' the Ground, his Finger at his Mouth, an Angel 
 
 by : the Picture is round. 
 Giorgio vafa- As I was affured by Bianchi. 'Tis the Pi- 
 "• cl:ure of Giuliano di Medic is D. of Nemours ; 
 
 a Half-length ; Style like Titian, or Giorgion. 
 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 of 
 Sant~ia Croce, fhevvs, that Vafari was a great 
 Man fbmetimes. 
 
 Next Room. 
 
 Mkb. Angdo. 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, unfinifli'd. Lion, da vln. 
 At a diflance Horfes, and Horiemen : Thefe 
 my Father has the Studies of in feveral Draw- 
 ings (fmall ones) and one large one of a Horfes 
 Skull, which is here jufl 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 Flefh, 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 Mailer, 
 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 Raffaeie. 
 my Lord ^r embroke ; fame Size. IS/i.Crozat 
 has the Picture. 
 
 Woman and Child, another Woman Draw- b. Band. 
 ing a Curtain ; Grav'd by Bifcop. 
 
 Woman with the Water in the Incendio del Raffaeie. 
 Borgo : Red Ch . fame Tafte as that my Father 
 has, a Copy of theBanq. 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) lame 
 manner as the laft. 
 
 St. Teter deliver'd from Prifbn. Ditto. 
 
 Virgin dying, Hill of fine Exprellion : Pen, Ditto, 
 Warn. 
 
 Another 
 
Ditto. 
 
 Ditto. 
 
 Mich. Angelo. 
 
 Parmtggiano. 
 Correggio. 
 
 Ditto. 
 
 Ditto. 
 
 Pomeranci. 
 
 Giottino. 
 Gio. Bolog. 
 
 Bajfan. 
 
 Lion, da Vinci. 
 
 D.Jnl.Clovio. 
 
 Lion, da Vin. 
 Correggio. 
 
 ( «4) 
 
 Another Drawing, the lame Subject ; Bl.Ch. 
 Heighten'd. 
 
 Mofes linking the Rock. 
 
 A Figure fitting, Arms folded, Finger in his 
 Mouth : Reed Pen, fine. 
 
 Chrift on a Throne preaching. 
 
 The four Doctors of the Church, two Foot 
 high, one Foot and a half broad ; Pen, and 
 Warn. 
 
 Madonna in the Clouds, St. Sebaftian, and 
 another Saint. 
 
 Figures going up Stairs, and in a Gallery 
 with the Head of St. John Baft ift after Julio, 
 the fame as the Duke of '^Devon/h ire 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 Mailers. 
 
 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 mofl Beautiful Woman's Fiead, highly fi- 
 nifti'd , inferted in an Ornament of D. Julio 
 Clovio, Grotefque, colour'd upon a Gold 
 Ground. 
 
 Three or four Draperies in Guazzo, fuch as 
 my Father has of this Mailer. 
 
 Ten Drawings of Correggio, but flight, and 
 not very confiderable. 
 
 a Part 
 
(*% ) 
 
 Part of the lameDeflgn my Father has with Rafaeli. 
 a Pen, where one Pig. in great Devotion puts 
 his Face clofe to the Ground ; not fo Good. 
 
 Landfkips of various Hands. 
 
 About i oo Drawings of Fra. Bartolomeo. Tra. sartoi. 
 
 Thefe are the Principal Drawings of all 
 thofe which were ihewn me as the whole Col- 
 lection of the Great Duke. As for thofe Capi- 
 tal ones laid to be of Raffaele, and not above- 
 mention'dj I take them to be ail Copies. Here 
 are none of Glulio Romano , Tolydore, An- 
 drea Mantegna^ &c. nor any Good of Ti- 
 tian, Andrea del Sarto, Tintoret, the Carac- 
 ci, dec. There are about 20 Books, and abun- 
 dance of Drawings, and ieveral 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 
 aMafter, Raffaele'm 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- 
 prefiions of Raffaele in fome degree ; and 
 whether fufTicient to be judg'd his Own, is 
 oftentimes not eafy to be known : for which 
 reafbn a Connoiffeur Ihould be careful that 
 this counterfeit Glitter does not deceive him. 
 He mould confider the thing abflraclred from 
 thofe Properties, and obferve 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 ? (fuppoftngThat to be alio known.) In 
 fhort, does he lee That in it that 'tis impoiii- 
 ble for a Copyer to do ? That Liberty, that 
 Spirit, that true Beauty, and Excellence, as 
 would have recommended it without thinking: 
 of Raffaele, or any. Character which a Copy 
 cannot but have in fome meafiire? and which 
 confequently cannot be any Argument in fa- 
 vour of its Originality ; nor mould 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 Matter at his Bell: ; for no Man is al- 
 ways fo. Both Extremes mould 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 
 Venus oiMedicis. 
 
 Palazzo de Pitti. 
 
 At theuppcr end of the Portico on the Left- 
 hand is a Monument of the Gratitude otMef- 
 ferLucaPitti who built this Palace, the Bas- 
 relief in Black Marble, of the Mule that had 
 been ferviceable to him in bringing the Mate- 
 rials. ThisDiftich is underneath ; 
 
 Lefficam, Lapidcs, & Marmora, Lzgua, Co- 
 lumnas 
 Vex it, conduxit, traxit, & ifta tulit. 
 
 Over the Mule in a Nich is a Hercules, the 
 
 fame 
 
(6y) 
 
 Faille as that of Parnefe ; extremely good. 
 
 About four or five of the Cielings of the p.dacortona. 
 State Rooms in this Palace are Painted by e P. 
 da Cartona. 
 
 Madonna and St. John, the fame as the Co- Kaff.eU. 
 py my Father has, the fame 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 Chrift 2. pretty 
 Boy, but not of fo fublime a Character as in 
 fome of this Mailer j and ought to be in all his, 
 and of every other : However there is a fort 
 of Tout , a kind of Scornful Difdaining Look, 
 which gives it that fort of Dignity as inch an 
 Air will give. Here is a judicious Clair Obfc. 
 and fine Colouring throughout % particularly 
 the Arm of the Chrift in the Light has a great 
 Variety of Tineas, and very delicate ; the Hand 
 of the Virgin that is uppermoft, and the fore- 
 ! moil: Foot of the Chrift Difagreeably, if not 
 Wrong Drawn. Highly finifh'd, and hatch'd in 
 the Shadows in many places ; the Hair of the 
 : Chrift 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 Chrift ', and fome other 
 < Places appear at a diltance White by the Co- 
 lour having parted, for it has crack'd in feve- 
 ; ral Places. 
 
 Madonna's and Holy Families are not pro- 
 perly Hiltory Pi&ures, but what Characters 
 are in Writers : they are not particular Stories, 
 but the Actors in confiderable ones defcrib'd. 
 They are a fort of Portraits, only the Faces 
 
 F 2, not 
 
( 6% ) 
 
 not being to be had otherwife are Suppofed, 
 and made to help to give the Character, as the 
 Actions they are employ'd in, and theExprei- 
 fions iiiitable to thole Actions alfo are, jufr. as 
 it ought to be in Portraits. 
 % [jin. <td sarto. Tharoah givingjojepb the Golden Chain ; 
 my Father has a Drawing of three Figures of 
 it, but doubtful. Thefe Pictures were copying 
 in the firfl Room, which is hung with fine 
 
 Borgegnone. ones very large of the Borgognone, and Sal- 
 
 saiv. Ro/a. vat or Rofa. 
 
 Next Room, the Great 'Prince's Apartment. 
 
 [4n. del sarto: St.Laiirence, St.'Domznzck, and four others, 
 with the'Padre Etemo in the Sky. My Lord 
 Tembroke has a Drawing of this, and Mr. 
 Flinck, and my Father, fine Copies. A very 
 bright manner of Colouring, and finelyDrawn, 
 Airs agreeable, and well cholen Tincls of Dra- 
 pery, lb as one very much lets off another, 
 tho' they are (as Andrea's manner is)' Bright, 
 Unbroken Colours, Reds, Yellows, Blues, 
 Greens ; and fuddenly oppoied, without any 
 Mediums ; the Folds alio are very iharp. 
 
 Cinelli has defcrib'd this Picture largely as 
 an Altar-piece in the Church of S. Jacopo tra 
 FojJ?, as without doubt it was in his time, but 
 fmce that remov'd hither. 
 
 And (by the way) let me obferve here to 
 thole that confiilt the Books, that they ate not 
 to be depended upon as to the Placing of 
 moveable Pictures, for the Obvious Reafon juft 
 now mention'd. 
 
 x Madonna 
 
Madonna delta Tefcia, fo cali'd, became it ^faeU. 
 \ once was in a Church there; the D. of *Z)<?iw/- 
 /hire has the Drawing, an Admirable one, and 
 Capital ; the Virgin is fitting, two Saints Hand- 
 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 almoil as 
 high ; in a Finim'd manner of Painting, not 
 Stiffjtho' done Early, for 'twas before Raffaele 
 went to Rome, but he was juft going thither, 
 which occafion'd its being left imperfect, 
 (as Vafari lays) for the Keys of St. Teter, 
 and perhaps fome other little matters, are un- 
 I finim'd. The Colouring is exceeding; Bright, 
 ! and Beautiful, and the Ground flrong, and ve- 
 . ry traniparent, and not too dark, but enough 
 ; to make the Figures appear with vafl Force. 
 I The general Tinct of the Picture is a kind of 
 I Yellowifh Brown, prodigiouily pleafmg; as 
 there is an Air of Dignity throughout which 
 arifes from that fblemn Tinct 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 Picture, the Attendant Saints and Angels, 
 Bianchi told me, that this Rich Board had 
 I been ufed in making a Scafrold for Giorgio Va- 
 Jari, but being luckily obferv'd by him, he 
 j made a Prefent of it to the Great Duke, by 
 t whom he was then employ'd. However, be- 
 ing probably ibon diicover'd , 'tis not much 
 \ damaged ; only the two Angels at the bottom 
 are painted upon, if not all over. 
 j 
 
 F 3 Afcen- 
 
( ~° ) 
 
 Tra Banoh- Afcenfion of Chrift • great Style, and well 
 CoJour'd ; but not fogood as the next of him : 
 'tis however very good. It has the lame De- 
 gree of Grace and Greatnefs of Drawing, the 
 iame beautiful, loft, and bright Tinct of Co- 
 lour, as the Madonna delta Refc'ia over a- 
 gainft which it hangs, as 'tis of the lame Size; 
 indeed one feems to be made as a Fellow to 
 the other. 
 
 /;/ another Room. 
 
 nun. St. Mark, a finale Figure, bioger than the 
 
 Life, and a Style as great a : ,Raffaele; exqui- 
 sitely colour 'd in the Tafte of the Madonna 
 dellaTefcia, 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 
 xnight have been the Raffaele, had not For- 
 tune been determined in favour of the other. 
 His Works are however much efteem'd, and 
 very Rare ; this Picture, tho' one Figure only, 
 coft the late Great Prince 1200 /. Sterl. as Bi~ 
 anch't told me. 
 
 'An. id sarto. Madonna in the Clouds, and Saints below ; 
 the two that kneel, almolT the fame as in that 
 of St. Laurence, 8cc. fame Manner, and fame, 
 Size. 
 
 pate. Madonna, St.Sebajltanj Sec. fame Style as 
 
 the lad of him. 
 
 .?-,. 4fl swo. The two rnoftCapital Pictures he ever did ; 
 both Madonnas in the Clouds, with fevcral 
 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- 
 ferv'djuflnow; nor of being agreeable for that 
 Reafon, if a Harmony is maintained 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, &e. Thefe 
 are both as large as Whole-lengths, or near- 
 ly. All the Pictures of. Andrea of the Great 
 Duke's Apartment, are well preferv'd. 
 
 Another Room. 'Portraits. 
 
 Leo.X. and two Cardinals, exactly the fame Rafael*. 
 as that of the Duke of Cfjandozs,hut that This 
 is Original, and That a Copy ; That of An. del 
 Sarto is here laid to be in the Gallery of Tar- 
 ma. This would be thought the fineft Portrait 
 in the World, if it did not hang; next to VfDyck. 
 ThatDignity that appears in everything that 
 Rajfaele 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 
 Willi fully, I would be drawn by Rajfaele, by 
 Guido, and hyVan^Dyck. 
 
 My Father has two Drawings, Portraits, of 
 the famePeribn, 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 fliewn, if 'twas necefiary here; the 
 one is by Rubens, the other by Ann ibale Ca- 
 racci, in which are the two Extremes Painters 
 ■ are apt to fall into. That of Ann wale has the 
 
 F 4 Spirit; 
 
( 7t ) 
 
 Spirit of a Great Mailer, and finely Drawn; 
 the Features pronounced with great Afkirance, 
 but undoubtedly Rigorous enough; Rubens 
 in making His Younger, and perhaps design- 
 ing to make it More Agreeable, has indeed (as 
 commonly happens almofr. to all that have 
 not very good judgment, and Experience) 
 made itLeis lb, for 'tis Inn pid. It mud be ad- 
 ded however in juftice to Rubens, 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. 
 vanDyck, Cardinal Bentivoglio (the fame of which 
 
 Morin has finely Etch'd the Head) I never fa w 
 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 moil Beautiful, and Graceful in 
 the World) falls carelefly in his Lap by the o- 
 ther, which moil unaffectedly gathers up his 
 Rochet, which is painted Beautifully, but 
 keeps down fo 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%but vaftlymore Gentile: indeed it 
 mull be confefs'd the Difference of the Sub- 
 jects contribute fomething to this Advantage 
 on the fide of Fan T)yck. The Colouring is 
 trueFleih and Blood, Bright, and Tranfparent; 
 Raffacle'sis ofaBrownTinci, and fomething 
 Thick, at lead compared with this. His Scar- 
 let 
 
(73 ) 
 
 let is very Rich, and Clear, but ferves never- 
 thelefs to fet off the Face, ? tis fb well manag'd. 
 The Piclure is enrich'd with things lying up- 
 on the Table, which unite with the Cardinal's 
 Robes, and Flefkand make together the moll 
 pleafmg Harmony imaginable. 
 
 His Eyes 
 
 A fine Head of a Cardinal in the Habit of Raffaek, 
 a Franc tfcan , only in Red, and without the 
 Coul ; he has a Rope round his Wafte. 
 
 Martin Luther playing on a Harpfichord, G i°n' ton - 
 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. and *P-hil. II. two fine Whole- Titian. 
 lengths. 
 
 Eight Half-lengths of the fame Mailer, all Ditto. 
 chofen, and of his befl manner. 
 
 An excellent Half-length of a Man, his Rembrandt. 
 Hands folded ; extremely Natural : This Pi- 
 cture hangs on the Right, that of LeoX. of 
 Raffaele on the Left of a Door, (as you Hand 
 to look on the Van T)jck, which is over the 
 Door.) 
 
 Another Room. 
 
 Several Pictures, not confiderable, of Mo- 
 dern Mailers. 
 
 Another Room. 
 
 Holy Family, and St.Katharzne; the St. E- Raffaele. 
 lizabeth is the Sibyl of Raffaele in the Tace, 
 
 which 
 
(74) 
 
 which Bifcop has Etch'd, and afcrib'd to Mich. 
 Angelo ; ilie reds both her Hands on the Seat 
 flie fits on, and thrufls her Face forwards in 
 Profile; her Head and Shoulders cover'd with 
 white Linen : Little St. John fits upon the 
 Ground, and points up to the Chrifi. It hangs 
 in the dark. 
 
 An. del Sarto. Virgin, Chrifl, St. John, one of the belt of 
 Andrea. 
 
 Titian, old Several very fine Hiflories. 
 
 Palrna. 
 
 Another Room. 
 
 Leon.da vinci. St. Mary Magdalen, Half Figure, very fine, 
 and lefs hard than any I have ieen of him. 
 
 AnnibaU. Two fine fmall Madonna's with Glafles o- 
 
 ver them; the Jofeph of one of them taken 
 from that in the Holy Family of Raffaelemy 
 Father has. 
 
 An. dd sarto. The whole Hiflory of Jofeph in one Pi- 
 cture divided into many Groupes, all alike 
 Strong almoft. This is the Fellow to 'Pharoah 
 giving Jofeph the Golden Chain , and hangs 
 by it. 
 
 D i tt ^ The Angel faluting the Virgin, a great bright 
 
 Glory between them : a Delicious Picture \ 
 
 peiidore. Mufes dancing, upon a Ground of Gold ; 
 
 ieems to be of 'Poliaore. 
 
 Room near the Gallery. 
 
 Amiq. Two fnfcriptions oi^Fab. Maximus, and 
 
 Ap. CI. Cacits, enumerating their Exploits. 
 
 Earth furrounded by the Air and Sea in ve- 
 ry high Relief eight foot long, and four high, 
 the grcateil; Greek Style, and well prclerv'd : 
 
 the 
 
(75 ) 
 
 the Earth has two Children in her Lap, and 
 the Symbols about her ; the Sea fits upon a 
 
 Fifh, and the Air is exprefs'd by 
 
 nor could Bianchi tell ; but this is always faid 
 ItpbetheSubjedt. 
 
 Bas-rel. Bacchanale, very fine, pretty much 
 worn. 
 
 In the Garden of Boboli. 
 
 Adam and Eve, Marble ; admirable for the 
 Thought : She leans one Hand upon t'other 
 on the Shoulder of Adam, and her Head re- 
 clines on thofe Hands ; he Hands with his Legs 
 ;. acrofs, looking down melancholy. 
 
 In a Cabinet. 
 
 The Hermaphrodite, the fame as that in 
 the Borghefe ; my Father's Model the fame. 
 This as big as the Life. 
 
 The Rape of Ganymede after Mich.Angelo. Don. juU 
 See Giorgio Vafari, and Borghini. This of clovu, 
 the fame Character as the others of 2). Julio 
 in the Apartment of Madama. 
 
 The famous Head of 'Euripides of Marble Ant. 
 Bifalta; 'tis in FulvlusUrJmus; bigger than 
 the Life. 
 
 The Model of Mich. Angek for reftoring Mich. Angela. 
 the Tor Jo ; 'tis in Wax, about the fame Size as 
 the Drawing for it which my Father has. It 
 was Vajarfs, afterward Franc ejchlno 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, 
 
(7*) 
 
 Marquis CorfinoV 'Palace. 
 
 This is a yaflly large Palace, but little re- 
 markable in it, except the 
 r Mtiq. Apollo-) the fame as in the Gallery Farriefe. 
 
 Bifalto. 
 
 The Chapel of the 'Medici in ^.Lorenzo. 
 
 Mich. Angela. The Church has nothing considerable be- 
 sides 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 ofjuliusll. 
 
 In this Church is the Deluge ; a horrible 
 Confufion of Figures throughly difagreeabie. 
 See Cine Hi's Preface. 
 
 The Church of S. Croc e. 
 
 Capella Cavalcanti. 
 
 The fine Nunciata. See Cinelli, p. 3 1 6 . 
 
 On the fide two Figures of Andr. Cajiagua, 
 which anfwers the Character in the Drawings 
 my Father has of him. 
 
 Capella Buonarotti. 
 
 Chrift carrying the Crols, the beft by much, 
 I ever faw of him ; except a Portrait of the D. 
 of Nemours already mention'd. This Picture 
 is well Colour'd, and has a fine ExprefTion. 
 
 The famous Sepulchre oiMich.Angelo, a 
 Bufl of him is a'top ; and underneath is Paint- 
 ing, Sculpture, and Architecture ; Painting is 
 
 the 
 
 Ctac, Pontor- 
 tno. 
 
 Donatello, 
 
 And. del Ca- 
 Jtagna. 
 
 Vafari. 
 
( 77 ) 
 the bed Fig. 'tis of 'Battifta Lorenzo, d\ Bat- Batt.Lorenzo, 
 iifta del Cave Here, becaufe he was Difciple of 
 ,Cav. Bacc. Band. The Dreffing of the Hair is 
 finer than that of the Venus oiMedicis ; the 
 Air as good as the bed Antique ; and the Ad- 
 dition of Sorrow gives this Figure the Advan- 
 tage of a fine Expreflion. Sculpture is in the 
 middle ; 'tis not to good as the other Figures ; 
 the Head of Mich. Angelo is alfo of Battifta 
 \ Lorenzo. 
 
 Capella diLodouico diVerazzano. 
 
 The Tomb Of Battifta Naldini is very fine* 
 efpecially the Expreflion of the Virgin. 
 
 Capella Gtiiduci. 
 
 Chrift appearing to the ApofUes after his vafari. 
 Refurre&ion ; very Bad in all refpe&s. So that 
 in this Church is the Bell, and the Worfl of 
 this Matter. 
 
 Church of the Nunciata. 
 
 Capella deTucci. 
 
 At the Altar iS.SebaftianofTollaiolo; all pollaioh. 
 the Figures Spots, hard manner ; fame 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 Cloyfter. The Picture front- 
 ing you as you enter this Gate, is 
 
 TheMaaonna del ' Sacco ; fameasDr.il^^^s An. delsarto. 
 Drawing. The very bell: thing this Mailer e- 
 ver did ; nothing can bempreftriking, nothing 
 
 can 
 
Bern. Pocchl~ 
 
 ettt. 
 
 Ditto. 
 
 Pietro Cavil- 
 lint. 
 
 (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. Akjfio, (my Father has the 
 Drawing of this Figure.) On the Left is one of 
 the Miracles of the leven Founders by the fame 
 Matter, in which is a Head the fame as my 
 Father has a Drawing of. 
 
 In this Cloyfter is a great deal more of the 
 Work of this Matter; whole manner of Paint- 
 ing, and Colouring, the Bright Reds, Yellows, 
 Greens, &c. is the neareft of any to And. del 
 Sarto\ and he painted Fre/co, (as to the Ma- 
 nagement of that kind of Work) as well as a- 
 ny Matter whatfoever, not excepting Annibale 
 himfelf 
 
 Chapel of the Nunciata. 
 
 Here the great Duke goes to Prayers once 
 every Day. 'Tis exceeding Rich, and general- 
 ly lock'd up. Here is what they caii the Mira- 
 culous Picture, the Annunciation, laid to be 
 done by 'Pietro Cavilling Difciple of Giotto. 
 This was a very devout Man ; and having fi- 
 nifh'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 inch a 
 Figure, fell aflecp, and waking, found it fmifli- 
 ed ; upon which he cry'd out aloud, a Mira- 
 cle ! a Miracle ! the People flock'd to fee it, 
 believ'd it to be done by an Angel , and were 
 confirm'd by many Miracles wrought by this 
 Picture, and which Virtue itftill continues to 
 have. This is what is faid of it. here. The 
 
 * Truth 
 
( 79 ) 
 
 Truth is, tho' the Style is Gothic, the Thought 
 of the Picture is fb fine, I wonder other Paint- 
 ers have not taken it in treating this Subject. 
 The Virgin fwoons away at th« Apparition; 
 and theMefTage he brings; and the Air of the 
 Head, and Attitude ofthe Body, exprefles it 
 with great Propriety. 
 
 He ended, or I heard no more, for now 
 
 My Earthly.^ by his Heavenly Gverpower' 'd, 
 
 Which it had long flood under , fireitfd to the height 
 
 In that Celeflial Colloquy fublime, 
 
 As with an Objetl that excels the Senfe 9 
 
 Dazzled and /pent, funk down ■ — ■ Milton. 
 
 The Cortile. 
 
 Here are Frefcoes of feveral Mailers, but Rofr 
 fo miferably damaged, that one can hardly di- l r . ancia B w° : 
 itinguiih the Figures. The principal are of An- Pontormo. 
 drea del Sarto, which have efcaped no better Ale f **&*• 
 than the reft. The Birth of the Virgin is ex- ^.'deismo. 
 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 the Bed- 
 fide, one of which is faid to he Andrea 7 s Wife; 
 the Picture contains feveral Figures defcrib'd 
 at large by Cinelli, and Vafari : my Father 
 has the Drawing, fomething damaged by Time, 
 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 Fcn- 
 
 tana. 
 
 Ditto. 
 
 ( 80 ) 
 
 The Magi, which is next to it, pleafes me 
 much lefs than This, or any Other Picture Ire- 
 member of Andrea, becauie the Airs, andDif- 
 pofition of the whole are lefs Graceful, and Ju- 
 dicious. 
 
 Cinelli mentions two other Pictures here ; 
 but as I don't remember them, I believe they 
 are of thofe that are intirely defaced , or ib 
 much, that one can't diftinguim the Hiftories. 
 One is St. 'Philip curing the Leper, and the 
 other a Story of lbme Prophane People cha- 
 ftifed by Lightning, which is finely defcrib'd. 
 'Tis probable the Drawings of Zuccaro of fe- 
 veral Figures in an Attitude as terrify 'd by fbme 
 fuch Accident, (my Father has lbme of thefe) 
 and which Lanier has faid came after Ltica 
 Signorelli da Cortona, but which are not of 
 Ziic cards, own Invention, are Copies of thefe, 
 as being very much in theTafte of Andrea, 
 but impoffible 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. 
 
 Toggio a Caiano. 
 
 Ldvinia Fontands own Picture done by 
 her Mi) in Little ; 'tis finely Colour'd, and 
 Drawn, and with great Simplicity ; it has a 
 Lovely Beautiful Air, Upon it is written, 
 
 LAVINIA FONT ANA DE TAPPII FA- 
 CIEB. M.DLXXVIIII. 
 
 By this is a Fellow to it; it feems to be her 
 Father's Picture. Both in Perfection. 
 
 Juft 
 
(8.) 
 
 Jufl 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 Luc a zuca delta 
 delle Robbia, and Oclaviano and Agoftino his Rohbta - 
 Brothers, who invented this Art (Vafari) and 
 which was loft with them. There is the Arms 
 of Innocent VUl. with a Boy on each fide over 
 a Door in the Cortile of the Belvedere. See 
 Tinarol^T.i. 301. done by them in the fame 
 manner. More of this kind is in feveral of the 
 Churches of Florence. 
 
 In the Room where are the Pictures jufl now Jnmbak. 
 defcrib'd, is a Dead Chrift, and other Figures: 
 'tis a frnall Picture, and has a Glafs over it : 
 my Father has the Drawing of the Chr (ft; an 
 Academy Figure. 
 
 Rubens' s Wife, the Head the lame Refem- Ruben* 
 blance my Father has in Little : This as big 
 as the Life, with Hands holding aBook,drefs'd 
 jin Black Silk; a Three Quarter; perfectly fine, 
 and highly finilli'd. 
 
 A fmall Madonna, the fame as my Lord AnnlbaU, 
 Har ley's, the fame Size, and the fame Fault, 
 the Hand of the Virgin feems to cram, and 
 land break the broad part, the Thigh of the 
 Chrift who is Handing : an Exquifite Tafle, 
 and Admirably painted. 
 
 A Young Man's Head in Crayons, exactly comzgU, 
 I the fame manner as a large one of a St. John 
 my Father has. 
 
 I In this Room are Pictures of feveral Ma- 
 tters, all excellently good, but too many to be 
 
 G noted 
 
( 8? ) 
 
 noted fcverally,as I did not obferve any thing 
 in particular was to be faid of any one v of 
 them. 
 
 Monafierio de Scalzi. 
 
 a. del sarto. All thefe Paintings are in Frefco> of And. 
 
 Trance Bigi: <&/ Sarto , two excepted, and in Clair-Ob- 
 fcure. 
 
 The Pictures are in a Cloyfter which en- 
 compaiTes a little fquare Court : In two oppo- 
 fite fides of this Square are Doors over againfl 
 one another ; on each fide of which is a Fi- 
 gure reprefenting Juilice, Charity, Faith, and 
 Hope ; and by thefe one of the Hiftories of 
 the Life of St. John. On the other fides of the 
 Cloyfter are eight other Hiilories, four on each 
 fide. ThisMonafhy feenis to be deferted; I 
 found no living Creature there ; I enquired a 
 good while before any one could tell me where 
 it was, and at {aft had great difficulty to come 
 at the Keys. The Pictures are almoft fpoil'd ; 
 and what is very particular, as they are in 
 z JFreJco, the Drawing has been traced ofTon 
 the wetMortar as uiual, but here this Tracing 
 is mark'd fb deep, as in fome 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 : fhofe of Faith, and Hope, arc not near 
 ib good as the Drawing my Father has of thole 
 Figures. 
 
 i. St. John Preaching is by one of thefe 
 Virtues ; my Father has the Drawing of the 
 Groupe of Auditors; and thefe arc the befl 
 
 preferv'd. 
 
( 83 ) 
 
 preiervd. This Picture has fbme fine Airs of 
 Heads: that of the Woman holding her Hand 
 under her Chin is not fo ; nor another, hers 
 whole Hands are in her Lap. 
 
 2. The Baptifm ofChrz/i, where two An- 
 gels are kneeling, not extraordinary. 
 
 Qppofite to theft is 
 
 3 . Zach arias Sacrificing, and the Angel ap- 
 pearing to him. 
 
 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 fpoiFd as not tobefeen. The Woman 
 that brings the Charger (of which my Father 
 has the drawing) is alio a very good Figure. 
 
 On one of the Sides where there is no 'Doors 
 
 5-. Salutation of SS. Mary and Elizabeth, 
 St. J 'of. and 3 other Figures. My Father has a 
 Ricako of the Drawing of the whole Piclure, 
 and a very fine Drawing of the S. Jo ftp h with. 
 a Bundle under his Arm ; 'tis one of the befb in 
 the Picture; and a Drawing in Bl. and another 
 highly fmifh'd in Red Ch. of another of the 
 bell of thefe Figures 1 the Servant going up 
 Stairs. 
 
 6. St. John, a Child, kneeling before his Fa- 
 ther fitting, who bleffes him. 
 
 7. Birth of St. John-, 111 preferv'd. My Fa- 
 ther has two Drawings of this : one where the 
 Woman is bringing the Child, but in the Pi- 
 cture me has a Diih , as in the other Draw- 
 ing. 
 
 Gz My 
 
( 84 ; 
 
 My Notes mention a Salutation here ; 1 
 fuppoie '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 themielves are not very ex- 
 cellent, and much damaged, and in lbme 
 parts quite deftroy'd, I mall be par- 
 don'd if I am not perfectly clear in my 
 Account of them. Let me refer you 
 to Vafari, and Cinelli. 
 
 On the other fide 
 
 9. Beheading of St. John; fo defaced, that 
 one can hardly lee where the Figures have been. 
 None of the Faces remain. 
 
 10. Herodias Dancing ; the Draw ing my Fa- 
 ther has of aFigure with a fort of Hat hanging 
 
 * Looking into Cinelli, I find this is the Meeting of 
 Qhrifl and St John ; ami lie fays too, that This, and the Sto- 
 ry oi Zacharias giving his Blelling to the Young Saint his 
 Son, are ot Francid Bigio, who (as Vafari fays) was em- 
 ploy'd here when Andrea was in France, and not expected 
 to return any more to Florence ; for this Work was begun 
 by Andrea, feveral Years before he finifh'd it. C'tmlli (as the 
 Italian Writers in general) mull be read with Caution, or 
 the Extra vagantPmifes they give will raife falfe Ideas in the 
 Mind of one who has not fcen the Things they write of. 
 This Author, />. S. freaking of this Work , though but in 
 Clair Obfcurc, not only Equals Andrea to Rajfaele and Mich. 
 Angela, but makes him buperior to them. And giving a 
 particular Account of it, p .470, cs-c. commends it prodigi- 
 oufly, but very fnjudicioufly, when the Chief Chandlers he 
 ir. Tilts on is the great Nature, the nrong Relief, and fine Dra- 
 pery, Characters that will by no means equal thole proper 
 to the Works of Rajfaele and Mich.Angelo. 
 
 at 
 
( 8 J ) 
 
 at his Back is in this Picture, and one of the 
 bed preierv'd in it,tho'That is gone in feveral 
 parts : none of the Faces of this Picture remain 
 but the Ladies, and that good for nothing. 
 
 ii. St. John bound before Herod. Saint's 
 Face very good, the Herod pretty well pre- 
 ferv'd. A Figure drawing; a Sword, almoflen- 
 tirely gone. My Father has a Ricalco of the 
 Drawing of this Picture. 
 
 12. Baptizing the Multitude, belt, preierv'd 
 of any. That Man with the Linen on his 
 Shoulders well preierv'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 Alhert'Tlurer, whofe Prints An- 
 drea grew fond of, and Hole many Hints from 
 in other parts of this Work. 
 
 Sir Berkley Lucy has Copies of thefeVery 
 Hiflories in Colours, and the Colouring refem- 
 bles that of And. del S art o. Thefe Copies were 
 made for ~blr.Nelfon at Florence. And in the 
 Palace olSpada at Rome is a finifli'd Sketch 
 of the Salutation (one of thefe) and in Colours 
 too. 
 
 G 3 OF 
 
' [M i 
 
 o 
 
 A N D 
 
 7'* nr 
 
 LP 1 
 
 By J. R. fen. 
 
 Nough has been faid by Others to 
 recommend tbefe Arts to the 
 World if General Encomiums, 
 or the producing Examples of 
 Great Men, or Nations who have 
 Efteem s d,and Lov'd them, and highly Honour'd 
 and Rewarded thofe that have Exceli'd in them 
 were fuxRcicnt. 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 
 ReafoD, 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 this Subject (forlconfefs'tis a Grate- 
 ful one to Me, as well asUfeful tothePublick) 
 yet This being a way of treating it in which ve- 
 ry 
 
( 8 7 ) 
 
 ry Few have gone before me,no wonder ifAH did 
 not OGcur, which I now think neceflary 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 ilie wing the Dignity of thefe Arts, I may af- 
 fifl People in Judging, and making the Belt Ufe 
 of Pictures^and Statues, whether Seen, orDe- 
 fcrib'd. 
 
 Of all the ways whereby we communicate 
 our Thoughts to each other, thofe addrefs'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 exprefs 
 Grief, or Joy, Defire, Complaining, Love, A- 
 verfion, &c. Speech explains, and enlarges up- 
 on Thefe ; which being accompany'd with cer- 
 tain Tones of the Voice, the Expreflion ofwhat 
 is laid becomes flronger, and fbmetimes even 
 the Senfe it felf is vary'd : This is Natural Re- 
 citative, and is infenfibly improved by Men of 
 Breeding, and Good Senfe, without any Skill in 
 Mufick; ButThatArt carries it frill higher; and 
 This is the common Language of the Opera, 
 The Hyperbolical, and Elevated Style of Poe- 
 try is an Improvement upon common Speech* 
 asitsCadency, Numbers, and Rhimes more af- 
 fect 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 
 conjunction, can go to exprefs our Thoughts by 
 Sounds, and fo as to attain the feveral Ends, Ia- 
 G 4 formation. 
 
( 88 ) 
 
 formation, the Touching of the Paffions, and 
 Delight ; and this is the Poctick Ofera-Lzn- 
 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 Iniprov'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 inProfe, thole oi the Opera 
 ought to be liich as are worthy of, and iiiitable 
 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 lome other 
 more Perfect State. And 'tis to be remark'd, 
 that the Audience (at lead the Attentive part of 
 it) is differently afte&ed than at a Comedy, 
 where they Laugh, or at a Tragedy, where they 
 are touch'd with Pity, Sorrow, Horror, or fuch 
 likePaffions : Here we fee a fort of Extatick 
 Delight in each others Faces, which puts one in 
 mind of what Milton defcribes, and to which 
 This bears fome Refemblance, tho' a very faint 
 one. 
 
 I'hus while God [pake Jmb r o ft al Fragrance fill' d 
 
 Ml Heav'n, and in the bleffed Spirits elecl 
 
 Senfe of new Joy ineffable diffused. 
 
 Signs alio 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 
 bell: Orators have always us'd in fpeaking, or 
 fuch as we are apt to make to Deaf People, or 
 thofe who underftand not our Language ; or 
 
 which 
 
vhich thofe that are Dumb make to us : Thus 
 .he 'Pantomimes of the Ancients fpoke to their 
 Spectators. Habits, Ornaments, and Symbols 
 ire of great ufe to the fame End; they have all 
 Tongues. Letters, and Characters, by means 
 }f which, Words, and Sounds are convey'd to 
 mr Minds by the Eye, carry this matter much 
 farther than any of the aforemention'd ways 
 )f conveyance : and the Arts of Defign, whe- 
 :her of Painting or Sculpture, convey a multi- 
 :ude of Ideas, and many of them not poffible to 
 )e communicated by any another means not fu- 
 Dernatural : and Here is the utmoft length Na- 
 Tire and Art can go in enabling Mankind to 
 :onverfe as Rational Beings. 
 
 Thele two laft mentioned ways of convey- 
 mceare notTranfient, as all thole are that are 
 iddrefs'd to the Ear, and moft of the Others 
 ;:hat we fee ; They being once made ufe o£ re- 
 nain, and may convey the fame Idea at anydi- 
 lance of Time, or Place, and to vail Numbers 
 )f People. And as Prefent Ideas foon abfent 
 :hemfelves, Thefe recon vey thofe loft Notices 
 }f things to Our felves, as well as to Others, 
 Vloreover the Latter of thefe two ways is an U- 
 liverfal Language, and asSwiftalmollasInfpi- 
 •ation. 
 
 Sounds, whether Natural, or Artificial; 
 Speech, whether Profe, or Verfe ; Action, Cha- 
 racters, Picture ; All thefe Singly may convey a 
 Vafl number of Ideas, but not ib Many, nor ib 
 Perfectly as whenT wo,or More,are made ufe of 
 it the fame time; as neither is anyone of them 
 done fo pleafing, as when accompany'd with 
 
 Others. 
 
(90 ) 
 
 Others. Words fpoken without fomc kind of 
 Motion, and a Natural Recitative, would not 
 only have much lefs Force than with theie Ad- 
 ditions, but they would be even Nauieous: If 
 this Natural Recitative is 111 let, if the Tone of 
 the Voice, and the Emphafis laid on the Words, 
 is Wrong, the Senfeis Obfcur'd,and even fome- 
 times Perverted. If proper Mufick accompa- 
 ny'd all that was faidin A&ing a Play the Mind 
 would not only be more delighted, but the Sen- 
 timents Would penetrate deeper : If the fame 
 Subject appear'd in Picture (a Theatrical Re- 
 presentation is but a fort of moving, (peaking 
 Picture) Mufick well adapted would produce 
 the like efTccl:; great care being taken that this 
 Auxiliary became not an Enemy, that is, that 
 neither theie Inarticulate Sounds fmother'd the 
 Words, nor that the Mind was diffracted by at- 
 tending to too much at once. 
 
 Theie kind of Thoughts probably gave rife 
 to the Opera, which maybe confider'd ei- 
 ther as a Theatrical Repreientation afTifted 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 thofe that take it in the Other. 
 Both mull have Nature as their Foundation, 
 which they rnufl never depart from; but 
 the farther they go from Common Nature, 
 the better ; provided the Pleafiire advances 
 too, and the Senfeis not loft: 'Tis two feve- 
 ral kinds of Nature that are improv'd upon ; 
 
 Words, 
 
(9i ) 
 
 Words, and meer Sounds ; and theMnflers 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 Xnftruments 
 ;amongft which I now confider a Humane 
 iVoice) in the Other, 'tis not neceflary that 
 Both fhould be Equally taken care of in Both 
 cafes : A Play aiMed by Mufick ought tq be 
 'finely written ; but that Excellence that is re- 
 quired in a Poem is not to be expected in Words 
 which are only to explain Sounds, in which the 
 .Senfe is intended Principally to lie. 
 
 'Tis upon liich Rational grounds as gave rife 
 [to the Opera, that Singing and Mufick has been 
 made ufe of in the Divine Worfhip in almoftall 
 Ages and Nations : In our Cathedral-Service at 
 iprelent the Chanting, and Anthems, are Sacred 
 \Recitative,2nd$QJ32.s. And the Same Reafons 
 would make them common to every Pariih- 
 Church, if Others did not forbid it. 
 
 In many cafes any one of the feveral ways 
 [Of communicating cur Ideas would be very Im- 
 perfect, and hardly of any ufe without the a£ 
 fiftance of feme other : Thus the Mufick in an 
 Opera^ how Expreffive foever/ would of it felf 
 ,be unintelligible without the Words j and thus 
 tho' a Hiftory-Piclure conveys the Idea of 
 Men, Women, &c. to undeiiland Fully what 
 the Painter intended, a previous knowledge of 
 itheStory by the help of Words is Abfolutely ne- 
 ceflary : As on the other hand there are abun- 
 dance of cafes, in which Language, and all the 
 Other mea^is of conveyance are Infof&cient,or 
 :? * Vfeiefe 
 
 
(?* ) 
 
 Ufelefs, and the dernier Re (fort 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 Inftances. Let 
 the Hiftorian 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 V/ords, the Reprefenta- 
 tion of them then muft be wrong : And where 
 ihall 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, and of our belt 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 afTiflance of 
 Language, than Language of thofe Arts : It 
 would be too much to go into the T)etail of 
 this matter, but I will mention one thing very 
 confiderable : When we read, if the Subject 
 rurniihes 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 ihall be More, or LefsTouch'd, and De- 
 lighted with what we read ; and mail moreover 
 have a Truer, or Falfer Notion of the Thing. 
 Now theGreateft, and almoft the Only Help 
 to improve Thefe, is being converfant with 
 the Works of the Belt Mailers in thefe two 
 Arts ; whereas in a Hiltory-Picture (for exam- 
 ple) all may be feen Truly, and Strongly ex- 
 
 prefs'd, 
 

 ( 93 ) 
 
 i prefs'd, only Names, andLe/Ter Circumfbnces 
 ; would be Unknown, or Miftaken without the 
 help of Language. 
 
 But whether to afTiit us in forming thele 
 Mental Pictures when we read, or to mrniih 
 us with other Ideas at all times, the great bufi- 
 nefs of Painting is to Communicate, or Suggell: 
 thofe Thoughts which the Painter had, or 
 ought to have had: And this is the True Tefl 
 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, orWorfe, as it tends to fet 
 forth the Whole, and every Part to the belt 
 Advantage, fo as to convey the Ideas intended, 
 efpecially the Principal, the mofl effectually ; 
 and the Pencil ought to be conduced with the 
 lame View. 
 
 And thus every Man that can judge of the 
 Beauties of Nature, and Difcourfe, may judge 
 of the Goodnefs of a Picture, and not only of 
 what Pleafes Himfelf. 
 
 If it be found that a Pi&ure 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 moll Excellent 
 kind: If Common Nature be Truly reprefent- 
 ed, That is a Good Pidure, as furnifhing us 
 with a Jufl Idea : But to have Falfe ones ob- 
 truded upon us, and iuch as Debafe thofe we 
 have, is Deteftable, and This is what Bad Pi- 
 ctures always do. The Painters in the Firfl In- 
 flancexonceive Finely, and are able to commu- 
 * nicate 
 
( 94) 
 
 nicate thole fine Ideas ; the Others fee Right, 
 and can Exprefs what they fee; but III 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 Exaclnefs 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 Thefe 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 bed Hiftorians and 
 Poets reprefent them ; from the Others we 
 have no Ideas of this kind ; but fuch as a Man 
 acquainted with good Authors, and with An- 
 tiquity, or which Imagines things finely muft 
 reject as Counterfeit ; and generally Low, and 
 Unworthy ; for true Greatnefs does not con- 
 fift in Flutter, and Gawdy Colours. In a Word, 
 'tis upon This account that we prefer (for in- 
 ftance) Raffaele to Taolo Vet -one y /e ; 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 mail conceive more advantagioufly 
 of his Undcrftanding, and Magnanimity ; and 
 even his Drefs ihali 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 efteernd. There we lee fuch Humane 
 Bodies and Airs ; Thence we have fuch Plea- 
 
( 95 
 
 ifmg and Noble Ideas as are not to be feen, or 
 |had EKewhere, or Otherwife. 
 
 If the Workmanfhip b« never fb Exquifite ; 
 if the Pencil or Chifiel be in the utmofl de- 
 gree fine ; and the Idea of the Perfons, orThings 
 reprefeoted 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 Objects are Seen, as the Sounds 
 of Mufkk are Heard ; but 'tis neceflary to have 
 an Eye for One , as well as an Ear for the O- 
 i ther, and both Improv'd by Study, and Appli- 
 cation. Herein confifls the Difficulty of Judg- 
 ing of a Picture, as 'tis the true Reaibn 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- 
 vening with the Bell: Mailers, and the Bed 
 Authors ; but even all this is not iufHcient 
 without Genius, and Application, at lead to 
 carry aMan any confiderable Length. 
 
 when one fees a Good Picture : If a Hilla- 
 ry, tho' the Story is not known ; or an Alle- 
 gory, and that not underflood ; 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'd by the Painter is not con- 
 vey 'd, Fine Airs of Heads Graceful and No- 
 ble Attitudes, Strong Expreffions of the Pac- 
 tions, 
 
 
{96 ) 
 
 fions, or Difpofitions of the Soul, Beautiful 
 Forms, and Colours ; fbmething to Engage, A- 
 dorn, and Entertain the Mind 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 Praciiies, or would only 
 Judge of the Art, will find Advice, and Inftru- 
 ction, as well as Pleafure. What then mull: be 
 the Delight and Advantage of feeing a fine 
 Piece of Workmanfhip, Lights, and Shadows 
 Judicioufly difpofed ; Harmony, Lovely Co- 
 lours, and Forms of Things ; Noble and Grace- 
 ful Airs, and Attitudes ; Juft, and ftrong Ex- 
 preftlons, and the Subject well imagined, and 
 throughly Known, and Underftood. This is re- 
 ceiving a multitude of fine Ideas, and in the 
 moft Perfect, and moft Agreeable manner. 
 
 Without throughly knowing the Subj eel, or 
 being a good Connoiffeur, One is like him that 
 reads a good Author in a Language he is not 
 perfect in ; he may find wherewithal to In- 
 flruct, and entertain him to a certain Degree, 
 but many of the Beauties will be loll: to him ; 
 whereas he that is every way qualified has the 
 Intirc Benefit from a Good Book, or a Good 
 Picture. 
 
 After all \i mull: be confefs'd, that the Arts 
 I have been difcourfing of are not Co necefia- 
 ry to Human Life as ibrne 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 Hanvibal out of Italy-* 
 
 the 
 

 (97 ) 
 
 the Other making Foreign Conquefls ; the One 
 Ifeems to be Superinduced upon the Fall , the 
 Other what was Originally intended for us in 
 paradife : And accordingly there' are Arts and 
 ; Employments fubfervient to us inEach of thefe 
 ;Circumftances ; the Firft kind are abfolutely 
 Necenary, the Others not. Let thofe NecefTa- 
 ry ones boaft of thatNeceffity ; They areMi- 
 niflerialtous only asWretched Beings; where- 
 as Painting, and Sculpture are of the foremoft 
 i in the number of thole that are adapted to a 
 State of Innocence, and Joy : they are not ne- 
 ceflary to our Being; Brutes, and Savage Men 
 iubfift without them : But to our Happinefs 
 as Rational Creatures they are Abfolutely fo. 
 
 H ROME, 
 
(S>8 ) 
 
 ROME. 
 
 In 4?/. Jgoftino. A Small, Old, Dark Church. 
 
 Second Chape I. 
 
 m. vemfli. ^ilffiSLtar-piece ; a Copy from Raffa- 
 
 ele by MarcelloVenufti^ of the 
 lame Madonna of which my Fa- 
 ther has a Drawing in RedCh. 
 done by c Parmeggiano ; very 
 good, and wellColour'd. On the fides are two 
 Figures, both St. Johns-, one the Baptiftin 
 the Wildernefs, and t'other (on the Right- 
 hand) the Evangelift Aged, having his Gofpel 
 \\\ his Hand, and one of the fineft Figures I e- 
 ver faw, an Air of a Head like Raffaele, and as 
 fine altogether as his Prophet in this Church. 
 'Tis well preierv'd, and in a good Light. I 
 varmcipmo. believe 'tis ofBarmeggiano. Ab.Titi has ta-. 
 ken no notice of thefe two fide Pictures. 
 
 Fifth Chapel. 
 
 Ban. da Vol- 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. Auftin ; Altar-piece, Dark Manner, ve- Guercino. 
 ryDifagreeable, andSpoil'd. The San Si a c Pe- 
 tronella of St. Peters-, the ^Dido of Spada, 
 and others are in this Dark Manner, which 
 the Italians like belt. For my own part his 
 Gay Manner is more to myTafle; the other 
 is not only Unpleafant, but Unnatural; 'tis im- 
 poffible 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 Rojpigliofi, 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, w T ould be out of Seafon, and 
 Qhoque the Underftanding : Or if all the Light 
 the Objects reprefented receive, comes from 
 a narrow Aperture-, a little Window, Cleft in 
 a Cave, or the like ; or from a Torch, or ieve- 
 ral Artificial Lights ; or if the Time repreient- 
 ed is the Night, or before, or after the Sun's 
 Rifing, or Setting; or in Pvainy, Cloudy, of 
 Tempeftuous Weather: Thele, and fuch like 
 Circumftances ought to be regarded by thd 
 Painter: But in all thefe he May, and Ought to 
 [avoid that Black, Hard, Cutting Marnier, which 
 H 2 Guerchw*) 
 
( IOO ) 
 
 Guercino, Caravaggio, and fbme others have 
 fallen into ; In the moft.Somi>rotisTin& there 
 may be fuch Warmth , and Mellowneft/ as is 
 not only PJeafing, but Natural. Tho' where a 
 Painter is notConfin'd by his Subject, certain- 
 ly the open, ferene Air, or a Room made ch ear- 
 ful by Bright Sunny Reflexions, mould always 
 beRepreiented. 
 
 Chapel of theVzmrWii on the Left-hand 
 returning. 
 
 Mekhiore St. Thomas of Villa Nova giving Alms to a 
 
 CaffaMaltefe. Woman? in Marble. The Woman is the bell 
 Modern Statue I ever law ; me is young, and I 
 extremely beautiful ; an Air of a Head, Great,; 
 but wonderfully Gentile , and a Turn of the 
 Neck I think as beautiful as that of the Venus 
 of Medicis. The Drapery is entirely Modern, 
 of Silk, but in fuch Great Folds, and that ihew 
 the Naked fb well, that I prefer it to any of 
 the Antique that I have feen. \_N.B. This was 
 before I had feen the Flora,and fome others.] 
 Her Hair is tied up in fomething a different 
 manner from the Venus, but as delicate. She I 
 prefTes to her a Child with her Left-arm, and 
 holds out her Right to receive the Money. 
 ErcoU Terra- This Groupe was finil h'd by Ercole Ferra- 
 ta - ta, fb that I can't judge what fhare 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 has ever made, either in Painting, 
 or Sculpture. 
 
 • 
 
 Over 
 

 ( I01 ) 
 
 Over the Principal Door is the St.Auftin Raffaek, ot 
 fc furrounded by Angels , very well preferved. hlS SchooL 
 'Tis a very large Picture, and feems to be ex- 
 tremely good, but fo High, though in a Good 
 Light, that one cannot judge of it very exactly. 
 
 Upon one ofthePilafters that divide the Ifle Dim- 
 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 notwithstanding the Dis- 
 advantage 'tis feen at, it appears to be a Noble 
 lit ; Picture, Beautifully, and Boldly Colour'd, an 
 reili open Great Contour; in iliort, its Merit is e- 
 tkl qual to its Reputation. The Knee in particu- 
 i lar is itich as to demand the Notice Mich. An- 
 en gelo is laid 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 a Picture to this Church by one 
 of the Belt Matters; Providence perform'd its 
 part; and the Votifi being willing to make His 
 asEaiy to himfelf as poflible, employ'd Raf- 
 faele indeed ; but becaufe he was but a young 
 Man, and rifmg into Credit, he judg'd he would 
 do itCheaper than one whofe Reputation was 
 Ellabliih'd. When the Picture was done, a 
 Larger Price was demanded than the Good 
 Man expected, and aDiipute arofe. To deter- 
 mine which this Cunning Perlbn offer'd to re- 
 fer it to Mich. An gelo ; Raffaele agreed ; 
 Mich.Angelo inftead of Depreciating it as the 
 Honeit Gentleman hoped, after having look'd 
 
 H 3 upon 
 
 w: 
 
 
 
( T ° 2 ) 
 upon the Picture with Admiration for fome 
 time, (aid the Knee only was worth the Mo- 
 ney ; and Rajfaele had it. 
 
 This Figure is Large Life, painted in Oil ; 
 there is a Print of it, the Title Page to Raffa- 
 ele's Bible by ChaJ>ron. It has an old ordinary 
 Frame, probably that which it had at firft. 
 
 This Picture, according to Vafari, had been 
 fmiih'd before Rajfaele 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 
 Capella Sift a 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 
 firii found what Advantage it was to Rajfaele 
 to have feen thefe Works. This Advantage 
 himfelf was fenfible of, if it be true which Be- 
 nedcttoVarchi fays in his Funeral Oration of 
 that Great Florentine Painter, Sculptor, and 
 Architecl:, That he thank'd God there was 
 fnch a Man is Mich. Angelo. Under this Pi- 
 cture is 
 And. sanfipi- A St. Anne. And in a Nich on the Right- 
 v°- hand coming into the Principal Door, is 
 
 Ditto. A Madonna. Thefe are Statues in a Great 
 
 Manner, but not well imagind,and fomething 
 
 stiff: 
 
 Over a like Nich on the other fide. 
 
 polUor*. Some Boys holding a Cartel ; not 111 Co- 
 
 lour'd, but moil Beautifully Defign'd. 
 
 The 
 
i': 
 
 ( I0 3 ) 
 
 The third Chap el on the Right-hand. 
 
 The Beat a Rita on the Altar is Black, and ca. Giaan. 
 ^ood for nothing. But upon the Left-fide the tirandl - 
 iame Saint dying, and addrefling her Mf to ' 
 Chriftj and the Virgin in the Clouds has a 
 fine Expreilion, and is admirably Drawn, and 
 Colour'd ; . in the Tafte of e P. da Cert one, by 
 ¥ let. Luc ate III hisDifciple. 
 
 The Chapels of St. ^uftln, avASt.Gullelmo, tanfranr, 
 are all painted by Lan franc. The Difciples 
 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 byTolldore inthe 
 lame Manner fFrefcoJzs that above mention'd, 
 but fo little remains (the Plaifler being almoft 
 all peel'd off) that one cannot well judge. 
 
 The Madonna delta 'Pace, 
 
 Is another Small, Old, Dark Church, and the - 
 Doors little as of a CommonRoom,but 'tisNeat. 
 Here are the Prophets and Sibyls ofRaffaele. 
 
 In all the Roman Catholick Churches -are Rafaeh. 
 Chapels belonging to particular Families , fbme 
 as large as a final! 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 Firft 
 
( io 4 ) 
 Firfl on the Right-hand as you come in at the 
 Principal Door ; they are in four feveral Divi- 
 sions, two on each fide ; the two uppermoft 
 have in each two Prophets holding Cartels, 
 and thole below have each a Sibyl; all theie 
 are accompany'd with Boy- Angels, and thoie 
 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 mB'if- 
 cofs Book afcrib'd to Mich. Angelo. My Fa- 
 ther has feveral of the Drawings for thisDivi- 
 fion, and that Stifrnefs about the Head, and 
 Neck of this Young Woman which is feen in 
 theie 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 , fo that he has almoft 
 this Whole Work. There are Prints of the Pro- 
 phets by Chateau. 
 
 Theie Admirable Paintings are in Frefco, 
 but very much Damaged, eipecialiy towards 
 the top on the fide fartheit from the Door of 
 the Church, even pieces of the Mortar are bro- 
 ken off in iome places. One lees a Greatnefs 
 of Style throughout, and the General Deflgn ; 
 but as for Airs of Heads, Contours, and other 
 fiich Particularities, they are almoft gone. 
 However, by what is left here, and what is 
 feen in the Drawings, without having regard 
 to Raff aefe's great Character, one cannot doubt 
 but they were admirable. 
 
 The Subject in no otherwife Hiftorical, 
 than to ihew that there were inch People, 
 
 who 
 
( IO J ) 
 
 who being Divinely Illuminated, Foretold the 
 Incarnation of the Eternal Son of God Ages 
 before it happen'd: And as this Considera- 
 tion, and the Airs, and Exprefijon which may 
 3e o;iven to iiich Figures are capable of excj- 
 :ing Sentiments of Veneration, and Piety, they 
 ire very proper for a Church. 
 
 But Raffaele feems not to have contented 
 himfelf with a fort of mere Portraits of theie 
 jYteflengers of Heaven to Mankind, he has en- 
 rich'd his Subject (as I faid) 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 BleiTed Alary, who this Pro- 
 phetefsisiuppos'd to fee in Vifion, and tocon- 
 fider as the Virgin-Mother of him who was 
 the c De(ire of all Nations, 
 
 Vafari fays, this Work was efleem'd to be 
 the Bed that Raffaele ever did ; and that This 
 Excellency (as that of the Prophet in St.Au- 
 ftm's) was owing to his having feentheWorks 
 .of Mich. Angelo , as was faid juft now : And 
 'tis true that here is manifeitly a great deal of 
 the Style of that Vail Genius. This my Fa- 
 ther,and Iobferv'd,in the Drawing of the Pro- 
 phet mention'd above, the iirfl moment we law 
 ,it, and before we knew where 'twas painted. 
 Whether this Author is fo right in faying this 
 Work of the Tace was done After that of St. 
 Ago (lino I am a little Doubtful, becaufe there 
 is fomething of a Drynefs, and Stirlhels very 
 
 Vifible, 
 
( i°<5 ) 
 
 Vifible, both in the Drawings, and Painting of 
 thefe Prophets, and Sibyls, which I don't rind 
 in That other ; and which always diininifh'd 
 as he Ripen'd more, and more almoft everyDay 
 of his Life, and approach'd towards that Ex- 
 cellency he at length attain'd. 
 rim. da u, hi- The p r ophets and Sibyls of Ttmoteo iVr- 
 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 Belt, 
 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 fhare with him as 
 • a Painter merely, though He has all the Glory, 
 and fiich Men as Garofalo , Fra. Bartolomeo, 
 and this Timoteo in particular, are hardly fo 
 much as heard of. There mud have been o- 
 ther Qualities that turn'd the Scale fo ftrong- 
 ly on His fide, and recommended him to the fi- 
 fteen! of thofe ro whom he own'd his Advance- 
 ment. But perhaps after all, more Merit of ei- 
 ther kind would have been InfufTicient, with- 
 out the Affiftance of a Friend that had Interefl 
 and Afliduity. 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. 
 vhcenzo de' The Marble Chapel is next to Rajfaele\, 
 &oJP- and laid to be of Vincenzo de RoJJi da Fief- 
 
 ole. The Old Men over the Arch are better 
 than ever If aw of Bacc.Bandinelli^wiS. fbme- 
 
 thinsj 
 
( 1Q 7 ) 
 thing in his Tafte, as well for the Airs of the 
 Heads, as the Aclions,both which are Admira- 
 ble : 'tis in very high Relief. If any thing of 
 Baccio is fb good as this, 'tis the Balls for an 
 Equeftrian Statue of Cojlmol. that Hands 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 feveral Drawings, one 
 in Red, the other in Bl.Ch. for her Head in 
 Profile. 
 
 ■ Over the Arch of the next Chapel to this is Batt.peruzzi. 
 •the famous Picture of the Virgin going to the 
 Temple, where an Old Gentleman gives Alms, 
 and another Man is juii got offhisHorfe. It 
 is a Large Piclure, with many Figures, prefery- 
 :ed as thofe of Raffaele, or lomething better; 
 what remains is extremely good : my Father 
 has the entire Original Drawing. 
 
 The Altar- piece of the next Chapel to that Gir - daSert » ' 
 of the Crucifix is the Nativity, and Shepherds. " 
 . A noble Picture, and tolerably Colour'd, the 
 Airs are extremely good. 'Tis well enough 
 preferv'd. 
 
 The Cupola of the Chapel overagainlli?^ Baid.peruz.zu 
 faele's is painted with Hiflories of the CUd 
 Teflament in fmall Squares. 'Tis worfe con- 
 ferv'd than any. 
 
 'Piazza Navona. 
 
 In this Piazza is the Fountain of Bernini ; Bernini 
 'tis a vail: Rock pierc'd through, and through, 
 fb as to be divided into four parts which unite 
 
 3 a-top, 
 
( io8 ) 
 
 a-top, where is pkc'd zwMgyptian Obelifk: 
 toward the bottom of each part of the Rock 
 is feaued a Colloflal Figure reprefenting one 
 of the four principal Rivers, with great Fiihes, 
 a Lyon, and Sea-Horie, as coming out from 
 the hollow middle. Upon this Rock, which is 
 about 27 Foot high, on a Pedeflal of near 17 
 Foot, is put the Gnglio, which is almoft 60 
 Foot high, on which is aCrois 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 ftupen- 
 dious Work in Baldimicc't's Life of Bernino^ 
 to which I refer you. My Father has a Model 
 of the Fountain by Camillo Rofconi. In the 
 Summer this Square is overflow'd with Water 
 about two Foot deep, more or lets as they 
 pleaie, through which the Coaches drive (for 
 here is the Ring.) The Noife of the Splalhing 
 of the Horfes Feet in the Water, with that of 
 the prodigious quantity which gufhing from 
 this vaft Rock, and in fbme parts tumbling 
 down a great height, and breaking on other 
 parts of the Fountain, lb as to fling a lbrt of 
 Dew all about ; together with the Echoes 
 from the Palaces, and Churches all round the 
 Piazza, is indeed Sublime. 
 
 The Church of St. Agnes. 
 
 ciro Fan. The Cupola is painted; has many fine A- 
 
 ctions of Angels, Saints, &c. and prodigioufly 
 Gay, and Light ; but ib full of Figures, and 
 without any manner of Harmony, that 'tis 
 Dilagrceablc : As all Pictures, efpecially large 
 
 Compo- 
 
( io 9 ) 
 
 Compofitions, rnuft needs be where the Great 
 MafTes are not carefully preferv'd. 
 
 One of the Altars here that is cut in Bas- Mekb.caffk. 
 relief is very good, but not comparable to that 
 in St.AuJiin's; the Story is St. Euftachins, 
 and other Saints expofed to be devoured by 
 Lyons. 
 
 The Capitol. 
 
 One afcends by Stairs of a vafl length, 
 :and broad, but not deep, bounded with Balu- 
 strades ; at the Foot of which on each fide is 
 ,a Lyonefs on a Pedeflal oiJEgyptian Marble, 
 Ipouring Water out of her Mouth into aBafin, 
 out of which it flows by feveral Streams into 
 another below. At the Head of thefe Stairs 
 areCa/lor zndTollux holding their Horfes as 
 they appear'd to the Romans after the Viclo- 
 ;ry over the Volfci ; they ftand on Noble Pede- 
 ftals ; thefe Statues are Antique, of a Great 
 i Style, but not Elegant. This delivers you in- 
 ; to a large Square, in the midfl of which is the 
 Equeftrian Statue otMarcusAurelius ; on the 
 oppofite fide is the Principal Building of the 
 Capitol, built by Mich. Angelo, and others, 
 to which you afcend 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 aRomaTri- 
 umphans,znd Fountain encompafs'd by a Semi- 
 circle of Baluflrades; on either fide is a Figure 
 reprefentingaRiver, one tb Nile, the other 
 thzTyber. Two other fides of this Square are 
 
 Buildings 
 
( «« ) 
 
 Buildings with Porticoes lately finifli'd : The 
 Principal Building has a fort of Steeple in the 
 middle, and all round a-top runs a Baluflrade 
 adorn'd with Statues, amongft theie a frneVe- 
 nusoiMed. Antique. That fide of the Square 
 by which you enter is open, only a Baluflrade 
 ranges on both fides from the Head of the 
 Stairs. On Pedeftals inferted, on one fide, and 
 the other are, firft Trophies, faid to be of Ma- 
 rius, but are of Trajan; then an Antique Sta- 
 tue, and at the end the Column a Mi Maria, a 
 Pillar which the Romans fet up at the end of 
 every Mile, even to a vafl diftance fwmRome. 
 So that to defcribe a place one, two, or three 
 Miles from thence, and fo on, it was cuftoma- 
 ry to foy, i Primus,Secund'us,Tertius abUrbe 
 Lapis. Thefe Pillars, Statues, and Trophies, 
 by their being feverally of a like height on 
 each fide, and different one from the other, 
 have a Beautiful EffecSt. 
 
 The Marcus Atirelius on Horfeback is 
 much bigger than Nature ; a Wonderful Sta- 
 tue! 'tis of Brafs, and has been Gilt ; fome of 
 theRemains of the Gilding are yetfecn,'tis well 
 prefer v'd 'Twas found in the time of Six- 
 tus IV. A". 1 475. lying in a little Subterrane- 
 ous place near St. John Later an, and fet up 
 thereabouts, but remov'd by 'Paul III. 15-3 % i 
 and placed here. Sandraart fays, that when 
 Totila took Rome he was fo pleas'd with this 
 Statue, that he caus'd it (alone of all thofe in 
 Rome) to be embark'd in the Port of Oft ia^ 
 but that it was afterwards taken again byBe- 
 li/arius, and placed by him in the Piazza of 
 
 St. John 
 
( I" ) 
 
 St; John Later an ; for this however (as his 
 ^uftom is) he quotes no Author. Vafari and 
 Donatusfafix. was placed thereby Sixtus IV. 
 ' without mentioning Belifarius at all. This 
 :Dnly remains of 24 Gilt Equeftrian Statues, 
 .vhich 'tis laid were part of the Ornaments of 
 \ncknz Rome. See Maffez's Notes in RojfJTs 
 1 3ook. 
 
 'Tis fet upon a high Pedeftal, and has aNo- 
 jle Appearance, but would frill look finer if 
 :he Roma Triumphant , and other Figures 
 vhich are behind it, and feen together with 
 t, had not the fame ill erred: as a Ground too 
 Irong, and in broken parts has behind a Fi- 
 gure in a Picture ; the Eye is fomethihg di- 
 verted and perplex'd. 
 
 It is obfervable that the Bridle is much like 
 what we now ufe. 
 
 The fame are feen in a Bas-relief of this 
 mperor triumphing over the Germans^ which 
 ts as you go up the great Steps here on the 
 eft-hand. 
 
 In the Court on that fide. 
 
 Two Egyptian Kings ; Coloflufes, Touch- 
 [lone ; a Noble Great Style, perfectly well pre- 
 erv'd as to what remains of them, for they 
 want the Hands ; and the Head of one of them 
 is ofTJbut fb 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 Sfiarti a S.'Pietro, about a Year a- 
 go. Theyfeem to be a fort of Cdrtatides, but 
 that they have nothing like Capitals on their 
 "eads. Four 
 
( I.« ) 
 
 Four ALgyptian Idols, Women, iupported 
 againft Obelifks, 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 ofVerofpi, which are a 
 part of thofe which were anciently of Saluft, 
 where a vaft many of the fineft Antiques have 
 been found. 
 
 Colo/fits of Conftantine, much damag'd. 
 
 Marforio, a ColoiTal Figure of a River, well 
 enough preierv'd, and of a great Tafte, the 
 Head efpecially. 
 
 Antique Sepulchral Chefl ; Oblong of two 
 Yards by two Foot, full of Bas-relief, very 
 high, but bad Work, and much damaged. 'Tis 
 faid to be of Alex. Sever °us , and his Mother 
 Julia Mammea ; 'tis printed in Teter San- 
 t^'sBook of Ancient Sepulchres,/. 81,81,83. 
 
 Term of a Minerva ; very great Style, and 
 fine Air of a Head. ColofT 
 
 Thefe Antiques in this Court lye as in a 
 Lumber-houie 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 ALgyptian Sta- 
 tues were removed and fet up under the Por- 
 tico over againft the Gate on the other fide 
 which is finiih'd. This Court was alfb order'd 
 to be built in the time of ClementVWl. in the 
 iame manner as That (which was done byM._ 
 Angelo under Taul III.) but the Foundations 
 were but juft laid, when (for what Reafon I 
 know not) 'twas left off. 
 
 In 
 
( IT 3 ) 
 
 In the Entry going up Stairs-, 
 
 A ColoiTal Foot upon a round Pedeftal, with 
 a Sacrifice in Bas-relief, fine. Over it is wrote 
 on the Wall, 
 
 QuoTede nuncutardubia eft fententia nobis. 
 
 Ovid. 
 
 In the Room where is the Collection 0/~Carlo 
 Marat, which is to be fold by Lottery. 
 
 Hercules Aventinus^ Handing, 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, and Fat; but a very Noble Style. 
 
 Several Heads upon fquare Pedeftals, like 
 fome in Fill. Urftnus. 
 
 Three of Tlato. 
 
 Sappho. 
 
 Socrates. 
 
 Tliogenes. 
 
 Alcibiades ; a Lovely Air, and fine Greek 
 Tafle. 
 
 Hiero; has the Air of a young Woman; the 
 
 Nofe has been broken off This is the bed of 
 
 all thefe Heads, tho' not perfect, as not being 
 
 I the very higheftGr^Tafte. 
 
 • A Woman, Fortune-teller, very Capricious 
 
 Action, and perfectly Fine. 
 
 Statue of Marius-, Exquiflte. 
 
 Toppea Sabina, the fame Action as that in 
 the Garden of Farnefe on Mount palatine, 
 
 I only 
 
 \ 
 

 ( "4) 
 
 only that This leans the Right-arm on the 
 Back of a Chair, the other lies in her Lap; th 
 Head falls a little back, and then looks up. 
 The lame Size. 
 
 Hercules Aventinus found in Mount^iw/- 
 tine, of Touch-ftone, a Boy of three Years old, 
 but a CololTal 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 
 
 Colofl.Head ofDomitian, Marble. 
 
 Another of Commodus, Brafs; both almofl 
 as high as a middling Man. 
 
 The Feet, and a Hand of a vaft ColofTus of 
 Apollo. 
 
 Lyon tearing a Horfe ; the Action extreme- 
 ly fine, but the Horfe is not of a good Style ; 
 the Lyon admirable. 
 
 RomaTriump loans fitting, not the belt man- 
 ner ; CololTal : 'tis upon a Pedeftal that has a 
 Woman weeping : Incomparable. 
 
 On the other fide of the Capitol ', in fever al 
 Rooms. 
 
 A Brafs Head o f Lucius Junius Brutus, the 
 Eyes of an Antique Compofition to imitate 
 the Natural Colour. 
 
 Over a Door in Bas-relief, the Head ofMi- 
 thridates King oiTontus, vaflly bigger than 
 the Life. Great Greek Tafte. 
 
 The Fafti Confulares placed in a kind of a 
 Fafade-y of an Antique Building of four Pila- 
 
 fters, 
 
( "5 ) 
 
 Hers, like the Arundel Marbles. Antique In- 
 fcription. Amongft other things 'tis here faid, 
 
 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 moil Fa- 
 mous Heads in Rome ; the Particularity of the 
 Thicknefs, and Flatnefs of the Nofe more fo 
 here than in the Venus of Me 'diets ■; a Mark 
 that it is of a T>orick Mailer. 
 
 Scipio Africanus-, Bald. APrefent of J»- 
 nocentXI. 
 
 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 calPd Virgil, but no Head to it. 
 
 In another Room. 
 
 The mod ancient Wolf, with Romulus and 
 Remus fucking it. 'Tis in Brafs, a great part 
 of the Left-leg behind is melted byLightning, 
 which Cicero lays happened 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 Rajfaele: -On the 
 
 I z other 
 
( "6 ) 
 
 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 in Rome. It (lands up- 
 on aPedeftal of Marble with three Sides, up- 
 on every one of which is a Figure of a Bac- 
 chante of the beil: Greek Tafte. That Figure 
 pulling out the Thorn is call'd the Shepherd 
 Martins in the Infcription under it. 
 
 I mull: take leave to fay, that Maffeis Notes 
 on thefe two Figures might have been fpar'd. 
 That this is a. Cam? Hits, and not refembling a 
 Woman, befides my own Memory, Raffaele'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 
 Roftral Pillar fet up fov'Duilws; 'tis ofPa- 
 rian Marble. Ficaroni believed 'twas reitor'd 
 by AuguftiiS) becaule Livy fays 'twas fpoil'd 
 by Lightning: One Proof is, upon the Decks 
 of the Ships there are Tritons, and Sea-horfes 
 of an Admirable Tafte, which could not be 
 done in the time of 'Dtiilzus, but the Infcrip- 
 tion is certainly of That Age. 
 
 Near that in aNich is a Statue of Auguftus 
 Cafar after the Battel ofAclmm-, 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 RoJJi 's Statues, N\ 16. 
 
 In the Great Court the ColofTal Head of 
 ^omitian is of a vaft Tafte, but however not 
 Good. This Hands 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 luch a Pedeftal, with 
 Figures reprefenting Provinces; This was one. 
 of thofe : 'tis a Greek Tafte. 
 
 Lungara, or the Little Fame fe. 
 
 This Palace is now Uninhabired, and gone 
 to Ruin in a great meafure ; and is fb 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 TJyche, which is one of the Rafaeie. 
 moil 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 o£Lu- 
 nettes, form'd by a Semicircle within a Tall 
 Arch ending in a Point, and the Triangles 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 the Triangles 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 
 
( "8 ) 
 
 feveral parts of the Story, as Raffaele has told 
 it, and which he has not made fo long isA- 
 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 fliow theSharp- 
 nefs of thole of Love; and the lad has ano- 
 ther Boy with a Lyon, and Sea-horfe Rein'd, 
 to mow that All is under his Empire : lo that 
 the Moral is interfpers'd throughout the Fa- 
 ble. The Figures are fomething bigger than 
 the Life, painted as if (hen in the Air, a Sky 
 being the Ground of the Pictures. 
 
 The Gallery is Small, but veryLightfome, 
 and Gay. 
 
 The twelve Pictures,Ten in the Triangles, 
 and Two in the Ceiling fay, that ' Venus ihews 
 TJyche on the Earth (who is notfeen but fup- 
 pos'd)directingG//>/Vto make herMiferable by 
 a Wound of an Arrow, in Revenge of her 
 drawing ofFHerWorfhippers to her felf. Cu- 
 pid inftead of that falls in Love with T'Jyche ; 
 finely exprefs'd by 2 hisfhewing her (frill Sup- 
 pos'd, not Seen in the Picture) to the Graces. 
 3 Venus provok'd applies to Juno and Ceres, 
 who Excufe Cupid, and endeavour to Appeafe 
 her; whereupon 4 fhe mounts in her Chariot 
 to Complain to Jupiter, * which fhe does. 
 6 Jupiter fendsMercuryto convoke the Gods. 
 In the mean time 7 'Pjyche having obtain'd of 
 Troferpine the Beautifying Particle inclos'd 
 in a fmall VelTel, iheks Venus, and * prefentsit 
 to her. Cupid flies to Jupiter, and is ' v/ell 
 
 . receiv'd; 
 

 ( "9 ) 
 
 receiv'd ; and ' ° 'RJyche is brought by Mer- 
 cury : x * the Gods are afTembled in Council ; 
 and ' 2 afterwards at a Banquet upon occafion 
 of the Marriage of Cupid and Tjyche, where 
 : fhe is admitted into the number of the Dei- 
 ties, and receives Immortality. Theie two 
 lad Pictures are in the Ceiling, of many Fi- 
 gures each : All the reft are of One, generally 
 of Two,fometimes of Three, and in one there 
 are Four Figures. The Arches, Triangles, and 
 Lunettes, are form'd by Feilons of Foliage, 
 painted by Giovanni da Udine. Thefe are a 
 lbrt of Frames to the Pictures. The Whole is 
 accurately defcrib'd by Bellori , with feveral 
 fine Remarks ; and Sir NichfDorigny has made 
 Prints of them. 
 
 AgoftinoChigiy from whom this Palace was 
 formerly named, employ'd Raffaele in this 
 Work at the fame time as he was engaged in 
 feveral Others, Some even More confiderable 
 thanThis ; and Agoflino thinking Raffaele too 
 long about it, and fanfying his frequent Ab- 
 lence from it was occafion'd by his Gallan- 
 tries, the Story is, that he permitted him to 
 take hisMiftrels into theHoufe, that he need 
 not loofe time in going after her. It might be 
 Sooner-tr^oes not appear to have been Bet- 
 ter done by this Expedient. 
 
 If this Story is true, what is commonly faid 
 is hardly Credible, viz. that All but two or 
 three Figures were painted by Giulio Romano? 
 from theDefigns of Raffaele-, and yet That 
 appearing lo probable from the Work it felf, 
 makes this Tale doubtful. 
 
 I 4 That 
 
 
( mi 
 
 That the Defign is of Raffaele is certain; 
 and as certain that all ispaintedby Himfelf,or 
 his Difciples ; but neverthelefs this Celebrated 
 Work was undoubtedly Red, and 3ricky,Hard, 
 and without Harmony, and confequently not 
 very agreeable atFiril; and having been much 
 Decay 'd, it was Retouch'd, and in many parts 
 entirely gone over by CarloMarat ; who tho' 
 a very admirable Mailer, has not only not re- 
 ftored Raffaele 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 
 faifd in his Judgment, or in the Execution, 
 certain it is , that what with the Harm, 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 Leiler Pictures, together with 
 the Glaring Retouchings, or Painting upon 
 throughout, which appears not unlike the 
 White Keightnings upon a new Drawing, thic 
 whole Work as it now flands, is far from an- 
 fwering the Idea one is apt to form of it from 
 the Name of Raffaele , 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- 
 paxately 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, 
 
{ III ) 
 
 dtudes, Contours, a great Style of Paintings 
 7 3c. But it muil be faid too, that in this way 
 of confidering this Gallery, one difcovers much 
 :oDiflike, as well as much to bePleas'd with. 
 Venus drawn by the two Doves is I think 
 :he bed Figure in the whole Work, both for 
 Defign and Colouring. At the Banquet where 
 lie. comes in Dancing her Face is ihort, very 
 &ed, and not at all Handfbme. The Mercu- 
 ry, a fingle Figure which is at the end of 
 :he Gallery facing you as you come in, is a 
 SJoble Figure , and has a prodigious Vivacity. 
 ft is Bettor? s Obfervation, that the three Bro- 
 i :her Gods Jupiter ; Tluto, and Neptune, have 
 i Fraternal Refemblance, but fo as withal to 
 i denote their feveral diftincl: Characters. TJie 
 3ack of one of the Graces (and which is agreed 
 s of Raffaele's own Hand) is very fine, but 
 )£ :heFace of the middle one is very Ugly. The 
 :' Cupid is a very Bricky Figure ; of which Co- 
 : our the parts of the Graces that are contigu- 
 i£ dus are fo flrongly tinned, that it feems as if 
 » lis Body was a Hot Coal, and cait a Reflection 
 )n what was near it. IfRaffaele meant this 
 : is an Allegory 'tis not a Fault, but a Beauty ; 
 it md poffibly That was his Intention, and the 
 j Thought may have been taken from Mofchus 
 in old Greek Poet, who in his Amor Fugiti- 
 :■• vus, making Venus defcribe her Son, fays a- 
 nongfl other things, 
 
 \06OTCt fjfy) X X<£lK0g> 7TVI/. d &lKtX@». 
 
 This Excufe may be thought too partial, 
 md Recherche, efpecialfy fince there are fo 
 
 many 
 
 
( I21 ) 
 
 many Inflances here of thefe Faults in Colour- 
 ing ; but it will appear to be lefs fo, if it be 
 confider'd that befides what Talents this Pain- 
 ter poflefTedof his Own, he had the AiTiftance 
 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 Defects, but that would be too tedious. 
 So that I ihall content my felf with obferving 
 that the two great Pidures on the Ceiling arc 
 made to reprelentTapeflries of thofe Stories, 
 and fix'd there ; probably to excufe the Fore- 
 fhortnings which Figures above the Eye and 
 in the Clouds mult 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 feen 
 Or whether it was becaufe he thought himlel; 
 not likely to fucceed in That way ; or cared not 
 to Study a Manner Then little known; or foi 
 whatever other Reafon , is Uncertain : Bui 1 
 whether he ufed this Expedient of the Tape 
 flry, or not, Generally his Ceiling-Figures dif 
 fer not from the Others. As particularly in th( 
 Gallery in the Vatican where all thofe calPd hi: 
 Bible are Such. AnnibaleQarracci has done the 
 fame thing in the Gallery of Farnefe. Correg- 
 gio is famous on the other hand forFore-ihort 
 ning his Figures, feen difottoinfu: Ginlh 
 Romano has alio praclifedThis; and theLat< 
 Mailers in General. Nor was Raffaele incapa 
 ble of This if he had cared to apply himlel 
 to it, as appears by xhcMofaic's in theChurcl 
 
 o 
 
( "3 ) 
 
 f the Madonna delTofolo which were De- 
 gn'd by Him. 
 
 1)j> Stairs over the Chimney. 
 
 Vulcan at his Forge : 'tis not an Agreeable 
 idhore ; and the Colours feem to be Decay'd. 
 fis now of a Dirty, Brown, and Red Tincl. A 
 oy in it has a very fine Air : Throughout is 
 :en a Great Style, and 'tis faid to be of Rafa- 
 le, or Gzulio, but I don't believe 'tis of either 
 fthem. 
 
 Another Chamber over that of the Galatea. 
 
 \ , Over againft the Window, Alexander of- Rwaldo mm- 
 r ;xs a Crown toaLadyfittinguponaRichBed, to ?* no - 
 
 ndUndreilingbyC/^/^r. tan0t 
 
 ? On one fide the Tent of 'Darius. 
 
 On the other a Battel, where Alexander is 
 pon a large White Horfe. 
 
 Excepting a General Air of the Roman 
 chool, This whole Room is one of the moil 
 Ixecrable Works that was ever done ; there 
 ! not throughout one good Air of a Head, not 
 )ne good {landing, nor a Well Drawn Limb, 
 o nor a Thought remarkably good. 
 
 In a lower Room by the Gallery. 
 
 The Galatea \ 'tis pretty well preferv'd,but Rafaele. 
 loes not anfwet the Idea I had of it. The Face 
 -f xht Galatea is notHandfome, nor perfectly 
 >ell Drawn : And her Drapery, which was 
 led, and is flying in the Air, befides that it ^^ 
 las no graceful Shape, is now fo Black that it 
 ooks intolerably Heavy, and as Hard againft 
 
 the 
 
( IZ 4 ) 
 
 the Ground as if it was Inlaid: Butdoubtlefc 
 much of this is owing to the Changing of the 
 the Colour. Throughout the Colouring isDif- 
 agreeable, upon the Dirty Reddifh Tinct 
 All thefe Works in this Palace are in Frefco- 
 Inthelaftmention'dRoom upon a Wall not; 
 painted, in a Corner is the Head Sketch'd with 
 Mich. Angela. Black Chalk, or Charcoal, by Mich. Augelo\ 
 'tis a young Faunus-Wkt Head, feen difotto in 
 /$,at lead: as big again as the Life, and extreme- 
 ly fine ; not Better however, tho'much Largei; 
 than what I have feen Elfewhere ; nor indeed 
 is it Equal to Some of Thofe. This is laid tc 
 be That for the fake of which that fide of the 
 Room was not painted, becanfe then this fine 
 Head mull: have been dellroy'd. 
 
 Villa Medicis. 
 
 The Niobe. I confider'd This, and every 
 part of it for feveral Hours Alone. The Figure? 
 are placed upon a vaft Rock-like Heap oj 
 Stone, about the bignefs of an ordinary 
 Room, and not Group'd at all ; every one i; 
 detach'd from the other, but neverthelefs by 
 Threes, of which there is Five ; they form a 
 ibrt of a Square, three Figures on each Side, anc 
 three in t heMiddle, in all Fifteen, comprehend 
 ing the Horfe. This Injudicious way of fettiiu 
 them is very Offenfive to the Eye atfirftView 
 Nor are they all of a Tafle ; the Niobe hci 
 ieh] and the Daughter flie covers are Divine 
 and fo is ilie that keeps up her Drapery witl 
 her Hand over her Shoulder; the Head of an 
 other of the Daughters is fo too, as is the whol< 
 
 Figun 
 
( SM ) 
 
 i^ure of one of the Sons that is dead, and 
 
 hichis of the moil beautiful Tartan Marble, 
 
 rhich the other Figures are not. There is an 
 
 )ld Man; He from the firftfeem'dto have no 
 
 station to the reft of the Figures, except that 
 
 e is in a fright at fbmething from above, 
 
 hich Fright is Nobly exprefs'd : and enquiring 
 
 lore ftri&ly into it, I found that His Head, 
 
 /hich appears to be itaz^/2 upon all accounts, 
 
 as alfo the Eye-balls mark'd, which the Greeks 
 
 ever did, nor is this done in anv of the other 
 
 igures. When I mention'd the Son that is 
 
 :ead, I mould have gone on to fay that 'tis the 
 
 eft Figure of them all to myTafte; and for 
 
 \ttitude, and Contour, equal to any mRome? 
 
 ike it in any View. Nor has it been mended 
 
 i any part, as all the others have; it wants 
 
 he Fingers of the Right-hand, and the Toes of 
 
 he Left-foot, and half the Right- leg, befides 
 
 'hat the Nofe is broken ofF; but what remains 
 
 :f the Face has a perfectly fine Air : there are 
 
 i feveral places the marks of Red Chalk, and 
 
 "ompafles for the meamring this Figure. In 
 
 11 of them where the Hands, and Feet were 
 
 ot join'd to Drapery, the Rock, or fbmething 
 
 Ife to fecure them, they have been broken 
 
 •fE All but the Niobe are about thebignefsof 
 
 he Life, or rather more; file is abundantly 
 
 arger. The Air of her Head is particularly 
 
 ■ine (my Father has aCaft of the Face) the o- 
 
 her Airs are (generally fpeaking) correfpon- 
 
 lent to the Figures, and Better, orWorfe, as 
 
 fhofeare. Some (thofe I have mention'd) are 
 
 ery Fine, the reft are Indifferent, or very Bad. 
 
 Cleopatra 
 
( "<* ) 
 
 Cleopatra Dying; this Figure touch'd m 
 mofl of any in the Garden ; 'tis three times a 
 big as the Life ; the Head is of the greatel 
 Greek Tafte, and can be compared to nothin. 
 but the Alexander dying in the Gallery of th 
 Great Duke. The Expreflion is moving ; fli 
 is moft Evidently in great Agony, but withou 
 any manner of Grimace, or apparent Altera 
 tionin her Face, but that the Lid of one of he 
 Eyes is more drawn over than the other, am 
 her Chin feems to be drawn tight. I clamber'* 
 up a piece of the ancient Wall of Rome to ge 
 upon this Figure to confider the Features di 
 ftin&ly, as I had before thofe of the Niobt 
 by the help of a like Expedient. 
 
 The fine Vale of the Hiltory of the Sacri 
 fice of If higenia-, 'tis publilh'd in the Admt 
 randa. 
 
 Two Captives on the Niches on each fid 
 the Steps coming into the Garden, who! 
 Faces and Hands are of Marble, and thei 
 Clothes of Oriental Granite. 
 
 Gallery in the Garden. 
 
 Apollo leaning upon the Stump of a Tre- 
 (which is cover'd with Drapery) his Legs a 
 crofs, and feeming to play upon a Lyre, the 
 none is here. A mofl Beautiful Air of a Head 
 and the Limbs, and Sweep of the Body as deli 
 cate as the Antinous of the Belvedere. H< 
 has a Swan at his Feet. 
 
 There are in this Gallery two other Afol 
 loes^both Antique, fo much the lame withThis 
 as that thev have no other Difference but tha 
 
 thed 
 

 hefe two look up, whereas This looks down a 
 ittle, and that 'tis incomparably the Bed. 
 
 Two Antique Copies of the Venus ofMe- 
 licis-, tolerably good. 
 
 There are a great number, perhaps a hun- 
 Ired of thefe Antique Copies of this wonder- 
 ul Statue in Rome, and Florence. 
 
 A Figure in the lame Attitude as xhsAnti- 
 ious ( except the Head, which has a Helmet 
 mi) and the fame Drapery. 
 
 Bacchus leaning one Arm upon a Stump with 
 VPatera ; Exquifitely good, and has a Love- 
 y Sweep ! 
 
 Apollo leaning upon his Lyre , a Serpent 
 reeping up the Stump of a Tree, upon which 
 
 sLyre is plac'd ; Perfectly fine ! 
 
 In thzTortko leading to the Garden (call'd 
 -heTortko of the Lyons, becaufe of two that 
 i-are there, one Antique, the other done by F la- Fiaminius 
 minius Vacca as a Fellow to it, but 'tis vaftly Vacea ' 
 ■better) 
 
 Sabina, as fine as pofiible ; Grav'd by Bif- 
 cojf>. N°.43. 
 
 Room fronting the Garden. 
 
 Satyr teaching aYoungMan,perhaps^<?/- 
 Jo; the Nofe, and Lip of the latter, and the 
 ;Nofe and Chin of the other, has been broke off, 
 :and let on again. I am not very fond of this 
 -Groupe, tho' 'tis famous ; the Legs of the Satyr 
 are certainly very Bad. 
 
 I Antique Copy of thzHerculesFarnefe ; not 
 very good ; 'tis one of the little Statues upon 
 I 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 Bofom is as 
 fine as any Antique in Rome, and fb is the 
 whole Torfo. 
 
 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. 
 f he Head is very Good, but the Sweep, and 
 whole Contour of the Body, and Thighs on 
 both Sides in Perfection. 
 
 Hercules Famefe^ a fine Antique Copy as i 
 big as the Life, the Hand that holds the Ap- 1 
 pies is added, as alfo that Arm. 
 
 Apollo fitting upon the Stump of a Tree, 
 and playing upon a Ftflula, his Legs acrols. 
 Torfo and Legs Antique, andExquifite. Head, 
 Arms, and Fiftula 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 of Medlcis is not This; That was brought from 
 Rome 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 perfect 
 Prefervation. Of this I was infotm'd by Bianchi. 
 
 the 
 
( 12 9 ) 
 
 he Celeftial Globe, and thole on the Table In- 
 iid are faid to be of Mich.Angelo. Thofeon 
 he Globe are fine, and may be of Sebaft. del 
 ' J iombo, but are certainly not of Mich. Aug e- 
 o : As for thofe on the Table, (which are Fi- 
 ures between Columns, and cover 'd with 
 'Lock Cry Hal) they are Otherwife Inconfide- 
 able, and defign'd by fome Inferior Kand. 
 
 The ^Palace Farnefe. 
 
 This Palace (as the Lungara) belongs to 
 :Duke of^Parma, who refiding in hisCapi- 
 l,That is Defolate as I obferv'd before. In a 
 irt of This is at prefent lodg'd the Envoy of 
 ~*arma ; but 'tis not fo frequented by Romans, 
 If others,as one would imagine. 'Tis exceeding 
 [agnificent, fufficientlyfoto be the Palace of 
 lyKing in Europe, and Large enough for al- 
 10ft All of them together: Built by Mich. An- 
 ?lo out of Materials taken from the Collife- 
 and Adorn'd with Antique Bas-reliefs, 
 id other Ornaments inferted throughout the 
 dzes, and other parts of the Building. 'Tis 
 le of thofe fort of Palaces which the It alt- 
 is call Ifolalo, that is, it is detach'd from all 
 le circumjacent Buildings: a Great Square is 
 *fore it, in which are two fine Fountains. 
 r ou enter through a Gate like a Triumphant 
 irch, under which on either hand is a Porti- 
 about 30 Paces long, each having in the 
 Idle an Arch leading out of it: All this 
 ite-way is ofMarble, as is in General thePa- 
 :e, and other Works you find in approach- 
 to it : fuch is another Gate oppofite to this 
 
 K firft, 
 
( i3°) 
 
 firft, which you go through having pafs'd a 
 Court about the bignefs, or rather fomethim 
 leis than Lincoln 's-hin- Square ( not the 
 Fields] which is encompais'd by a Piazza 
 This feccud Gate delivers you into a feconc 
 Court, and That into the Palace. At the En- 
 trance into the Apartments above Stairs flanc 
 the two Captive ^JDacian Kings,but which wen 
 much fpoil'd a few Years fince by the Servant; 
 of a French AmbalTador who was Compli 
 mented by the Duke oi Parma with this No 
 ble Refidence. Theie Rafcals made ufe of thefe 
 Statues to beat and rub their Lighted Flam- 
 beaus againfT, which has finear'd them abomi- 
 nably : my Father has a Drawing of theft 
 Kings done by Battijia Franco. In the firfi 
 Court, and under the Piazzas are fix Statues 
 all upon Pedeftals almoft as high as a Man 
 That near the fartheft Gate, and on the Left 
 hand of it coming in is the Hercules , of 2 
 Beautiful White Marble , mellow'd as to iri 
 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 
 and is fo good that it's not having been done 
 by M.Augelo; nay that 'tis not Antique, neec 
 not be regretted. This Statue was found it 
 the time of Paul III. about twenty Years af 
 ter the Death of Rajfaele, 'tis the Work o 
 Glico an Athenian. In the long Piazza, or 
 the fame fide, and at the end next theHerculei 
 is the Flora, of which the Head, the Right-arn 
 from a little below the Shoulder, and theothei 
 from a little above the Elbow, and both thf 
 
 Hands 
 
ands ; and the feight-foot with about half 
 
 eLeg, and the greateft part of the Left-foot 
 
 have been loft, but fupplied by the fame Ex- 
 
 i bellent Mafter as repaired the Hercules ; my 
 
 Father has a mod Exquifite Model of this Sta- 
 
 : jtue, juft in the Condition it was before its loft 
 
 i parts were reftored. 
 
 On the lame fide ftill, but at the other end of 
 : the Piazza, is the Gladiator, with another on 
 ; his Shoulders whom he has (lain, this is called 
 i pommodus, but Falfly. Juft oppofite to thefe 
 : Three are as many others, another Gladiator, 
 2 (another Flora, and another Hercules, all en- 
 15 jtirelyDifferent from thefe, but Good. The two 
 \ jiOn each fide of the hithermoft Gate, that is, 
 [ the two Gladiators are fbmethingLefs, trie reft 
 are much about the Size of the famous Hercu- 
 les : which is fb Famous, and fb well known, 
 and of which there are fo many Prints and 
 Drawings, feveral of which my Father has by 
 Battijla Franco, Rubens,8cc. that it needs no 
 farther Defcription ; itnlefs it be that tho'This 
 Figure, as well as the Flora,are fb vaftlyLarge, 
 and the firft fb Mufcley, and Strong, neither of 
 them appear Heavy, but the contrary. 
 
 In this Cortile under the Piazza on the 
 Right-hand near the Hercules, is the great 
 Urn found in the Monument of Cacilius Me- 
 tel£us,in which hisDaughter was buried : the 
 iupper part is adorn'd with Foliage, and Ani- 
 mals intermixed, like thofe of Giulio Romano, 
 of whom myFather has feveral Drawings of this 
 kind. The Work of this Urn is Admirable. 
 
 K% The 
 
( m ) 
 
 The Gallery. 
 
 Mercury ; the very fame Figure as thzAn- 
 tino'us of the Belvedere, but that he hasWings 
 upon his Feet, and a Caduceus in his Hand. 
 'Tis perfectly fine, and well preferv'd. 
 
 Seneca ; a Head. In all I have leen of Him 
 he is reprefented with an Abjecl: Countenance, 
 Severe, and fomething Savage, and his Hair 
 not only Carelefs,but Slovenly, as Rich aMan^ 
 and as great a Courtier as he was. 
 
 Homer ; the Famous one ; of Tartan Mar- 
 ble. The Nofe has been broken ofT, but is very 
 well put on. My Father has a Call: of this. 
 
 Hercules and 'Dejanirafyhz with theLyon* 
 Skin, He with the DidafF: He affects Smiles 
 and Effeminacy in his Action, and Face ; SI 
 looks Fierce upon him. Figures about two Foot 
 
 Apollo of black Marble leaning upon hi 
 Lyre, with his Right-hand over his Head: thi 
 is the fined Statue in the Gallery. There ai 
 feveral others in the fame Attitude in Romt 
 and as I remember one at Florence in the Gar- 
 dens Boholi of the Palace Titt't ; but none 
 good as this. The bed is the Trunk lateb 
 found in the Gardens of Macenas at Rome. 
 
 A Bacchus, fine Tade, and a Mercury 11 
 the Action of the Antinous ; exceeding Gooc 
 
 A Vedal's Head, thin Drapery wrapt clof 
 about, and under the Chin ; a Girl of about i< 
 or 1 7 ; the mod Innocent Air, and the mol 
 engaging of all thofelhave feen in Rome, Fl 
 reucc, or elfewherc ; and which (truck rae 
 much that itderain'd rac from the Paintings oi 
 Caracci a confidcrable time. The hivia Mat- 
 
( *33 ) 
 
 'tth_(ot Fauftinajun.) is Alone to be com- 
 par'd with This that I know of. That is an 
 Intire Figure, This only a Head: The Livia 
 is :a Matron, and the Youngefl Lady that ever 
 was of 24 Yea'rs old; with an Air Majeftick 
 altogether, and Forbidding, notwithstanding 
 the greatell Sweetnefs, and Good Nature; me 
 ~ is cloath'd enough for a Matron, but not fo 
 much as to hide the moll perfect Shape, and the 
 Softefl, Eafiefl turn'd Limbs in the World. Her 
 
 - Head is cover'd with the lame Drapery that 
 
 - covers her all over, and which fhe holds up to 
 herBreall (which otherwife would have been 
 
 '- too evident) with her Hand, which is leen 
 M moll Gracefully through it : This Action has 
 
 - another good Eflecl; by putting the Drapery 
 y. which falls down before her at a greater di- 
 
 ftancefrom her Body, and lb excufesthe lhow T - 
 ingTwo much of the Naked. In this Statue all 
 
 - is Awful: But in the young Vellal there is a 
 llrange Girlilh Innocence, and touching Beau- 
 
 G ty more Familiar. They are both Portraits. 
 : The Venus oi Me die is is quite of another 
 :; Character (as a Statue) from this oi Livia: 
 
 That which charms in the Venus is a certain 
 } i Symmetry, and Inexpreflible Lightneis,Delica- 
 : cy, and Softnefs in the Whole, and a Contrajl 
 del -that touches without knowing why: Other- 
 ti wife the Head is hot comparable to This, and 
 u -feveral Others, as well Ancient, as Modern, 
 I particularly one of Guglielmo della 'Porta on G ,, z i j e u a 
 
 the Tomb of Taullll. of the Family of Far- Porta. 
 
 nefe in St. ^Peter's Church, One of the Virtues 
 
 here reprefented. And I believe that almoll 
 
 K 3 all 
 
 
( *34) 
 all the particular Parts are exceeded by fbme 
 one, or other of the Statues, tho' none of 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 and Legs 
 more Beautiful, as the 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 ftands jufl: by This which is Irreproach- 
 able in ieveral of its parts ; yet being fome- 
 thing ftiff in the Whole, and the Head not put 
 on the Shoulders gracefully, nor the Neck fb 
 well turn'd, which are the things that ftrike 
 flrft, 'tis unregarded, being in prelence of the 
 other. I don't doubt but that the Colour oi 
 the Medic ean Venus allures the Eye more than: 
 we are aware of; and the daphne oi Bernini 
 in the Villa Borghefe will ftrike flill 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- 
 dern ; and with this Advantage, that as it has 
 it felf the moft Lovely Air, and Shape of a 
 Young Lady that ever was, 'tis contrajiedhy 
 the mofl Beautiful one too of a Young Man. 
 the Apollo, which has jufl overtaken her. His 
 Air is Wild, and Fearful; his Lips a little open 
 as panting for Breath, and after all his Pains 
 he jufl touches her timoroufly, and draws back 
 
 his 
 
( '35 ) 
 is Arm a little, by which is feen the greateft 
 Refpecl:,mixtwith the greateftParTiOn.ifcr//i- 
 m didnot think fitto follow the Proportions of 
 ithe Venus as to the Shape ofthe2)^£/,?<f, who 
 is more Tall and Slender without that Large- 
 nefs of Hips which is fb remarkable in the 
 Venus; this indeed is fomething owing to the 
 Attitudes of both ; One Hands, and bends a 
 little, which makes the Hips larger, and t'other 
 lis 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 mould find her in 
 ithe fame Place again whenever I pleas'd, tho' 
 ifhe is reprefented as Running; Whereas I al- 
 iways fanfy'd the Venus would flep off from 
 herPedeftal the next moment. 
 
 I was led into this digre/Uve Parallel of Sta- 
 tues by having laid that the Head of the young 
 Veftal was the mofl engaging thing I had feen 
 inlta/y, and that nothing was comparable to 
 it but the L'tvla Mattel ; and this I faid becaufe 
 the Modefly, 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 Sofrneis, 
 and even the Life, or whatever other Quality 
 that can be found in Painting, or Sculpture. 
 
 The Gallery Farnefe is Sufficiently Famous dnnibaie. 
 by That Name, or that of the Gallery of Ca- 
 racci, 'Twas painted juft at the beginning of 
 the lafl Century ; and Seems to have SufTer'd 
 Little, or Nothing by Time, or Otherwife: 
 
 K 4 tho' 
 
( qtf ) 
 
 tho' 'tis certain it has been Something Injur'd, 
 of which * Bellori has given an account, as 
 alio of its Reparation. 
 
 'Tis up one pair of Stairs, you enter into it 
 by a Door at which Hand 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 Pilaflers 
 into '/Spaces; three Larger, of above 6Foot4 
 in widen, and four Lefler, of fbmething above 
 five. Thefe Pilaflers fuftain the Cornifh over 
 which is a Frize fbmething above 10 Foot in 
 depth. The Windows are on one fide of the 
 Room, That oppofite to the Door I ipoke of. 
 Thefe are between the Pilaflers, and under the 
 Cornifh, and Frize ; and being large Glafs the 
 Gallery is very Lightibm, and Pleafant in it 
 felf. But 'tis not near lb Large as that of Hamp- 
 ton-Court, which is about i^oFootbyif, the ' 
 Height agrees better with its Length than its 
 Width. 
 
 On the fide oppofite to the Windows be- 
 tween the Pilaflers are Niches wherein are An- 
 tique Statues,over Some of which are two fmall 
 Pictures one above another with their Frames 
 (Painted) and Ornaments up to the Cornifh : 
 Over others are Marble Heads, with Boys, Fe- 
 flons, or the like Embeilifliments painted: and 
 thefe Pictures, and Heads, &c . are put, the 
 Pictures in the narrowed Spaces, the others in . 
 the widefl. Only over the Door which is in the 
 middle is a pretty large Picture inftead of thole 
 
 ■ — 
 
 * In his Bookof the Pictures of B.ajaele, p.8r. 
 
 Boys, 
 
( J 37 ) 
 
 Soys, Feftons, &c. 'tis the Virgin embracing 
 the Unicorn, the Devife of theHoufe of Far- 
 nefe ; One of thole Heads I fpoke of is over 
 this Picture. There is a little Diftance between 
 the outermoit Pilafter, and the Corners of the 
 Room which is filFd 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, and Grotefque Ornaments. Betwixt 
 the Windows are Statues in Niches, and before 
 Thefe,and Thofe on the other fide are Bulls up- 
 on Pedeftals ranged on each fide of the Gal- 
 lery ; Some of which (as the moil remarka- 
 ble) have been already noted. 
 
 In the Cieling are three Pictures, One above 
 ■2,3 Foot long, and half as much in height, a 
 Bacchus, and Ariadne, with Silenus, Satyrs, 
 Fawns, &c. This is betwixt two Octangular 
 Pictures. In One Tar is receives the golden 
 Apple from Mercury ; and Tan gives theWool 
 to T>iana in the other ; They are above 1 1 
 Foot4high, and fbmething more than 6 Foot 4 
 wide. Thefe (as the Pictures in general) have 
 Frames, and Ornaments painted, andenrich'd, 
 and heigbtnedwith 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 Leffer Spaces: 
 
 In the Firft are Pictures in theirProper Colours; 
 
 1 in the Other are Medallions of a Greenifh 
 
 Tinct ; only to make the General Form of 
 
 thefe more Beautiful the Large Picture in the 
 
 8 middle 
 
( i3« ) 
 
 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 of thefe, in which I have not 
 given my felf the trouble of an Exact Scale 
 as not being neceflary, however 'tis there- 
 abouts. 
 
 P 
 
 IT 1 ' 
 
 3 
 
 O 
 
 In the Side oppofite to the Window the Pic- 
 tures, and Medallions are ' Galatea with 
 Tritons, Nymphs, and Loves ; * Jupiter, 
 and Juno between the Medallions of 'Apollo 
 fleaing Marjyas, and Boreas carrying off 
 Orythia ; and ? 'Diana, and Endymion be- 
 tween thofe of Etirydice carry 'd back to Hell, 
 and Europa on the Bull. On the other Side of 
 the Gallery the larger Picture is Aurora, and 
 Cephalus in a Chariot drawn by two Horles, 
 Old Titan is afleep, and Cupid with a Basket 
 of Rofes flies in the Air: This is betwixt the 
 two of Venus and Anchifes ; and Hercules, 
 and lole ; 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 'Pan, and Leander fwim- 
 ing conducted by Cupid to Hero. 
 
 Thefe Pictures, and Medallions have very 
 magnificent Accompagnements : On the paint- 
 ed 
 
( *39 ) 
 
 edPuafters are placed Terms that feem to fup~ 
 , port the Cieling ; Thefe are in Stone Colour ; 
 Over each Medallion is a Boy that comes near 
 halfway down, then begins Sitting Figures of 
 young Men which feem to liipportthem, and 
 i i Thefe, and the Boys make fomething of aCu> 
 ft cular Figure to humour that of the Medallions, 
 and are in Proper Colours; befides thefe, 
 Standing Figures of young Men, their Heads 
 i i only wrapt in, or cover'd with Drapery reft 
 on that Side of the LefTer Pictures which is next 
 i the Great one in the middle ; Thefe (as the 
 Terms) are in Stone Colours. All this is en- 
 Pi: rich'd with Frames to the Pictures, Feftons, 
 :: Masks, &c. 
 
 m At each End of the Gallery are three Pic- 
 di - tures of different Forms, one over another ; 
 c the bottom of that in the midft ranges with 
 bi the Cornifh over the Windows, as confequent- 
 \t , ly the Pi&ure does with the Frize on the Sides 
 : : of the Gallery, and accordingly it unites with 
 10 ! this Frize by parts of Medallions appearing on 
 le , each Side with Terms, Boys, and naked Fi- 
 gures asThere ; which Terms, Thefe adjoining 
 ■ to this Picture, and Thofe contiguous of the 
 . Frize, meet, and have their Arms interlac'd. 
 : But asThis Picture 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 fb wide as the Picture o- 
 ver which 'tis plac'd; two Satyrs fit at the 
 topCorners of the Frame of This Piclure which 
 , fill up the Space left there by that LefTer one, 
 and thefe Satyrs, and LefTer Picture, 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 
 CielingisSuch ; 'tis flat but rais'd from the Side 
 and End Walls Arch : wife) And fo much of 
 thefe Pictures as isfb rais'd is inclos'd in aCor- 
 nifh painted ; and lb contriv'd in Perlpe6ii ve as 
 if one law beyond into fome farther Building. 
 The lowed of thefe three End-Pictures witn 
 its Frame fills the width of the Gallery, and is 
 fupported by three Slaves, one at each End, and 
 one in the Middle; they are Naked, Sitting, 
 and painted as of .Grcemih Bronze. The Sub- 
 ject of thefe two undermoft Pictures is Ter- 
 feus, and Andromeda the One, and the Other 
 the Combate of Per feus, zndPhineas -, One 
 of the middle Pictures is Polyphemus ', and Ga- 
 latea, He playing upon the Fiftula ; The other 
 is the fame 'Polyphemus with the piece of the 
 Rock which he is about to hurl at Acts ; the 
 little Picture 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 (landing up- 
 on a fort of Balluftrade 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 arc Wreflling ; that is, Di- 
 vine Love contending for Victory with Vo- 
 luptuoufnefs ; Reafbn with PafTion ; a Crown 
 of Laurel radiated juft over them fhews the 
 
 Reward 
 
( Mi ) 
 
 Reward of prevailing Virtue. At another, Di- 
 vine Love endeavours to force the Torch from 
 its Adverfary to extinguifh it. At the third, 
 Concupifcence takes, away the Palm from Di- 
 vine Love. Laftly the two Boys join Hands, 
 and are about to kifs each other, to mew, the 
 two kinds of Love maybe confident. 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- 
 igefl, and moll: 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 leifore, and as their own 
 Judgment, or Fancy directs them; the whole 
 Gallery is printed ; and Bellori has in the Life 
 ofAnnibale given a very Large Account of it. 
 
 The Painting is Frefio, and I believe the 
 moft Perfect in the World. In Rafae lie's time 
 they were not fb Expert inThatWayasfmce, 
 the Cupola of St. Andrea delta Valle by Lan- 
 '■.franco is indeed aMafterpiece for lb vail aDi- 
 ftance ; but This has all the Advantages, and 
 Beauties of Frefio, and Oyl-Painting united. 
 
 And in truth Such a Character belongs to 
 • Annibale himfelr^ in whom is found the feat- 
 ter'd Excellencies of many o ther Mailers ; He 
 has form'doutofAll thefe a Style of Painting, 
 i both as to the Thought, and Execution truly 
 Excellent, and which is to be feen in this Gal- 
 lery 
 
( x 4* ) 
 lery 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, artd Jufl: Expre (lions, a Colouring 
 between the Gravity of RafaeUe, and the 
 Gaiety of Guido, and inclining to that ofCor- 
 reggio-, whom he had much fiudy'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 fomething farther 
 remov'd from the Antique than Rafaelle's, 
 and more approaching to what we find in Car- 
 lo Maratt, and other Later Matters ; but Ex- 
 cellent. In a Word all that 1 had almoft 
 
 laid all that can be Wiih'd for in Painting is here 
 to be found. 
 
 But I will venture to fay 'tis hard to conceive 
 that more can pofTlbly be feenTogether ; Tho* 
 Separately one may find in One more Dignity, 
 in Another more Beauty, Stronger Expreflioiij 
 &c. yet not Much more neither, the Subject 
 being confider'd. 
 
 The feveral Pictures in this Work are Fabu- 
 lous, Allegorical, Poetical Stories, exceedingly 
 Gay, and Agreeable ; but under which are de- 
 liver'd to us Moral, and Theological Truths, 
 and Inftru&ions. Suitable to This manner of 
 Writing is the Painting, the Truths themfelves 
 are Plain, but made Palatable,and Delightful by 
 a great deal of Ornament ; the Painter iiippofes 
 the Fables he has let before us, and their Moral 
 Significations to be well Known, Thefe are His 
 naked Truths ; and he has embellifh'd them 
 
 with 
 
( m ) 
 
 with Variety of Rich, Noble, and Finely ima- 
 gm'dAccomjtagnements. The Gaiety and 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. Had Annibale been to have painted in- 
 ftead of Thefe the Stories of the Cartons (for 
 example) his Pictures mull: have been Large, 
 and not embarafledwith a great many Acade- 
 my Figures (tho' in Stone-Colours) Masks, Sa- 
 tyrs, and Grotelques ; but in the prefent Cafe 
 I he certainly judg'd Well, and has treated his 
 ! Subject in a Style it ought to be treated. This 
 i Gallery was intended as a Gallery of Magnifi- 
 cence, andPleafure, and withal to havelome- 
 thing to Better the Mind. It was to be a Poem, 
 not a Sermon. 
 
 Moft 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 
 Imprefsofiwwy£over the Door isby^Domi- 
 nichino, and eafily diftinguifhed, for tho 'tis 
 Beautiful, 'tis Feeble compar'd with the reft ; 
 and probably Thefe, and perhaps fome Others 
 have aflifted in other parts, eipecially in the 
 Ornaments. Lodovicow&s there a few Days ; 
 no doubt he was not a Mere Looker on. 
 
 'Tis laid Annibale drew every Figure by the 
 Life, and that all thefe Drawings were together 
 in One Collection ; Indeed I don't remember 
 I have feen any of them befides a fmallHead, 
 and an Admirable Figure (very near as much as 
 is feen of it in the Picture) 'tis in the Bacchanal? 
 4 on 
 
( i.44 ) 
 
 on the Cieling. My Father has this Drawing. 
 
 Here Annibale employ'd the beft eight 
 Years of his Life. This Work he had Reaiou 
 to believe would have fet 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 defcrib'd 
 by Bellor i, as has been laid, I did not take Notes 
 of the Particulars I have here given, relying 
 upon thofe Accounts which I believe are juft : 
 I did not oblervewhen I was there, nor have 
 recollected fmce that they were otherwife. 
 
 Next Room. 
 
 Vcmis Callipygis. All the naked part of 
 this Venus is at Ieaft as fine as that ofMedi- 
 cisy and the Drapery that lhe draws up be- 
 fore her is very good, but that part which 
 hangs down is in (freight Lines, and without 
 Invention ; the Head is Modern, and good for- 
 nothing, I had feen a Call of this Figure before, 
 together with thofe of many others of the fi- 
 ned: Antiques in Khz French Academy ; I then 
 confider'ditwell, and compar'ditwithThefe, 
 but thought none of them Equal to it. I was 
 of the fame Opinion when I law ft again a* 
 mongft the ether fine Calls at c DnJJeldorp. 
 My Father has an admirable Drawing of Tar- 
 meggiano of a Venus and Cupid\ the Venus 
 is taken from This, with Improvements upon 
 what is not Well .here. 
 
 I was 
 
m 
 
 ( hj ) 
 
 I was fhewn a Head as That of him that 
 >uilt Coujiautznople, This is efficiently Ab- 
 urd; but 'tis ufual enough to meet with luch 
 ally- Accounts of things fromthofe that have 
 he mewing them, whoever it is that furniili 
 hem with luch, or however they Miftake, or 
 Confound thinss. This is a Head of 'Dante; 
 have feen Several, tho' in different Attitudes, 
 s in the Dome of Florence^ at the Elector 
 
 alatines^ my Father's Drawing, &c\ when I 
 arae to Rome I was cortfirm'd in this Opi- 
 ion, which is the fame I had of it at firfl 
 ight ; the Virtuofi there knew the Head, 
 ndthat it was as I judg'd. 'Twas not done 
 lowever in Dante's time, the. Work is more ■ 
 
 odern, and Better ; 'tis Excellent. 
 
 Venus crouching, and Cupid playing with 
 er; very fine! Large again as the Life: Air 
 j, )f a Head very good. 
 
 Second Room. 
 
 A Fine Head of Saluft the Hiftorian : at 
 uffeldorp the Call of it has That Name up- 
 >n it. My Father has alfo a Cad: of it. 
 
 A Room painted byT^dAto Zuccaro. Jad.zuuaro. 
 
 'Tis the Hiflory of the Actions of Alex. Farr 
 teje, but not in any degree comparable to the 
 laprarolo, and fome other of his Works. My 
 ^ather has a Drawing of a fmall part of it. 
 
 Here is a fine deadC&ri/? of Annib ale gons Ann.carauu 
 31ack, and almoft fpoil'd^with theDampnefs. 
 
 Hall. 
 A Groupe of ColofTal Figures. Alex. Far- s '™ on MA - 
 
 neie 
 
( «4<* ) 
 
 nefi crownd by Victory, and the Low Coun- 
 tries under his Feet: not very good. 
 Gu%i. deiu Two Figures lying of Plenty, and Charity 
 
 porta. ver y Good. The Pedeftals are Wood, anc 
 
 painted in Chiaro Scuro>> Apollo, and 'Diam 
 fitting at one end* and a Matron coming tc 
 them ; Old Men worshipping a fmall Statue 
 As I remember 'tis the lame with that fin 
 •trize ofPolidore, Grav'd by Goltzius, &c. 
 Apollo, the lame, or nearly with that fli 
 one in the Garden of Medic is ; Legs acrois; 
 He is here playing on a Lyre. 'Tis Excellei 
 bat hot Equal to That. 
 
 Under a Shed below. 
 
 ^Dirce, Amphion, and Zethus, upon a vafl 
 Rock, with the Bull, and other Animals. The 
 Figures are very fine, efpecially thc*Dirce, ir 
 Broad parts more remarkably than any othct 
 Statues. 'Tis in a Great Tafte, but extremel) 
 Hard, and without any Delicacy at all. Th<j 
 Animals are but Indigent, and the Rope vcl 
 ry poor. This is commonly call'd thcToro. , 
 
 That Rope, and which is ty'd to the Bull'; 
 Horns is a confiderable length, and detach'c 
 from the other parts of the Marble, but has f( 
 tfcap'd the common Injuries of Time, and Ac 
 cidents, that it is Intire, and Unrepair 'd ; 'ti 
 therefore call'd one of the Miracles of Rome. 
 
 This is efleern'd the Greatefl: Groupe to 
 Antique Statues cut out of One Stone of whicl 
 we have any account (for the Niobe is fevera 
 detach'd Figures placed, and to be Chang'd a 
 Pkafure) 'tis of fine White Marble, fomethinj 
 3 aboY 
 
( J 47 ) 
 
 " fibove thirteen Foot high ; and the Rock, 
 
 . jijvhich is the Ground of it, is about ten Foot 
 
 fjwo Inches in length, and breadth in theUt- 
 
 aoitExtremities^for 'tis not of a Regular Form. 
 
 did not meaflire it my fel£ but believe this 
 
 • Account is right. 'Tis the Work o£ Apollo- 
 
 mius and Taurifeus, Rhodians, judg'd to be 
 
 /- ('rough t to Rome in the time otAuguftus, and 
 
 u tjo be the lame which flood before the Houfe 
 
 -" »f * Afinius T'ollio. 'Twas found in the 
 
 fhermes of 'Antoninus -in the time of W^alTtt. 
 
 x ifince Raffaele) and by him brought to the 
 
 >alace Farnefe ; but being broken in many 
 
 mall Pieces, the Cardinal of that Name caus'd 
 
 hem to be put together, which was done 
 
 Without the addition of any other, the whole 
 
 'Vbrk being found. Mich.Angelo advis'd it 
 
 ' hould be repair'd, and ferve for a Fountain as 
 
 le thought it had done anciently. See Vafari^ 
 
 : v 7 ho miftook however the Subject of this 
 
 : jroupe. terrier, and Others haveGravM it. 
 
 The Story as Hyginus tells it, Chaf.y. is 
 
 his ; " Antiope Daughter of Nyffeus was Ra- 
 
 c vim'd by Epaplms, and thereupon put away 
 
 •■" ' * A famous Historian and Orator in the Reign of Au- 
 
 "fas; he was Conful with Cn. Damitms Calvinus, An. 
 
 '• C. 713. according to Sigonius from the Sicilian Fafti, an4 
 
 ad Triumph'd. I fay thus much of him, becaufe he ap- 
 c '-ears by many Paflages of Pliny to have been the greateft 
 l -firtaofo -of his time: One of which PaflJag.es is where he 
 
 peaks -of this Groupe, Lib. 36. cap. 5. 
 Po-Hio Afinius tit f nit acris vehement U, Jk quoque fpettari 
 
 lonument.a fua. voluit. In iis fotntCentauri, z?c. Zetus zs? 
 
 Amphion, z? Dirce, c^ Taurus, vinculum^ue ex eodem lapide, 
 
 \hoio advecla opera Apollonii ©* Taurifci. 
 
 L % " by 
 
( i4» ) 
 
 " by Lycus her Hufband. Afterwards JuJ>i 
 " ter lay with her. Dirce, whom Lycus hac 
 " married fince the putting 2.\vayofA/itiope 
 " perceiving flie was with Child, believ'd Ly 
 *' a/j- had private Commerce with her, an< 
 " order'd her to be Bound, and ihut up it' 
 <c fbme Dark place. When the time of he i 
 " Delivery drew near Jupiter freed her, an«l 
 " ihe fled to Mount Cytheron : but on thd 
 " way was brought to bed of Zethus, and 
 " Amphion, who were taken care of by Shep 
 " herds. Thefe being grown up, and informY 
 " of the Story of their Mother, to Revengi 
 " her, K.f& c Dirce\o the Horns of a Wild Bull 
 " who thus perim'd Miferabiy. 
 
 How the Story is told by the Sculptor ma] 
 be feen in General by the Prints, and fo far oi 
 the ExpreiTion as appears in the Attitudes & 
 the Figures ; but the Airs of the Heads of tht 
 Principal Peribns are Exquifite ; there is $ 
 Noble Rage, and Vengeance in thole of thejj 
 two Brothers ; and the Fear, and Sorrow o 
 Antiope is very Strong, and Touching. 
 
 Auguftus Cafar on Horfeback, the farjji 
 Action as the Marcus Aure litis, and rather I 
 finer Figure. In his Left hand inftead of th< 
 Bridle he holds Apples ; his Clamyd is button 
 ed,as that of Marcus Aure litis, and very fine 
 ly Invented the Folds. He is here a Youm 
 Man, and not Half Life. Marble. 
 
 Autinous, a moft Beautiful Bud, twice a: 
 big as the Life. There is another much like i 
 at the Palace Ginftiniani at,the Head of th< 
 Stairs. 
 
 Then 
 
( l 49 ) 
 
 There are as many of Antinous, (Statues, 
 [rid Bails) as of the Venus of Medicis ; and 
 .11 have precifely the fame Likenefs, the Hair 
 -lilpos'd in the fame manner, it always covers 
 he Forehead aimed as low as the Eye-brows. 
 Probably the Nobility of Rome made their 
 Court to Trajan by having an Antinomy 
 jvhich occafion'd this great Number. They 
 Kiave all a Melancholy Air; and 'tis in This, 
 jind a certain Exact, and not an Hiftorical Na- 
 ture (befides the Injignia peculiar to thefe 
 Deities) that they differ from the Mercuries, 
 |md Apolloes ; for Thefe have the fame Pro- 
 portions. 
 
 Two Noble Tor foes, One about the Size of 
 the Hercules, the Other a good deal larger. 
 They are of the moil perfect Greek Tafle, 
 and well preferv'd. And are of Apollo, Mer- 
 \ury, 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 Annibale, 
 Hercules Deliberating which Way to chufe, 
 that of Virtue, or of Vice, who are both foli- 
 ating 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 Vlyfes, (my Father has the Drawing ;) and 
 oppofite to it He is ty'd to the Maft of the 
 
 i Ship. On the fide of the Room over againffc 
 the Window are the two Brothers carrying 
 
 L 3 theis 
 
( tfp ) 
 
 their Parents from an Irruption of Mount JEt- 
 na ; and Tor feus and Medufa. All thefe, ex- 
 cept the Round in the Ceiling, are in Frefco, 
 That is in Oil on a Cloth hVd there. The 
 two Figures in the Ovals are about four Foot 
 high, the reiT not quite three ; for not only 
 the Room is fmall, but none of the Pictures 
 come lower than that over the Door, and Un- 
 der them are hung other Pictures of no Con* 
 fequence. Nor are thofe of Annibale very 
 pleafing, the Colouring being Blackiih, and the 
 Room fomething Dark ; tho' the Thoughts are 
 Fine as may be feen by the Prints, and theDe- 
 fcription of BelLori. Befides the Pictures there 
 are painted fmali Figures, and other Orna- 
 ments, Stucco-work, &c. 
 
 Another Room, 
 
 Meleager in Red Mgyftian Stone ; Small ; 
 Very fine, but that the Right-arm which is on 
 the Hip is Lame, and the Head notEaly. 
 
 Car ac alia, the famous one, of 'Parian Mar- 
 ble; End of theNofe broke of, but well refto- 
 red: Antique. This Head has been Copy'd 
 very often by the Ancients, and there is no 
 Caracalla in any other Air, or Turn than This : 
 tho' neither are they fo exactly alike as if they 
 were Cafts, and from the fame Mould. My 
 Father has a Call: of this. 
 
 A Brafs Camillus , the fame exactly with, 
 that exquiflte one in the Capitol, only that 
 This is not fo good; it is not aCaftfromThat, 
 Both being wrought with the Hammer; but 
 
 it 
 
( IS 1 ) 
 
 c muft be a Copy from it. Twas foiled in 
 :he Garden Farnefe. 
 
 Here is a JW/? of Emperors ; Buds, An- 
 iqne; and all done (as is faid here) in their 
 3wn Times, and going very low, but few 
 3ood ; the Car ac alia above-mention'd ( whieb 
 s one of thefe) pleas'd me moll. This Suite 
 lowever is not Complete; as none that I have 
 ben in Rome, or elfe where is s I mean of An- 
 riemes, Galba is wanting. 
 
 The Garden, 
 
 From this Garden one fees the Areh ol Ja- 
 ns, the Temple of Concord, the Roftra, the 
 "emple of Romulus, the Forum Boar turn, &q, 
 hefe Gardens are upon the Ruins of the Pa- 
 ce of Augufius, and amongft the reft thole 
 f his Library. Here is 
 The Statue of Toppaa the Wife of Nero 
 that he kill'd with a Kick. She fitsMelancho- 
 y, 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 
 I Air of the Head, 'Tis one of the fined in all 
 reipeds of any Statue in Rome, particularly for 
 f the Expreffion, which cannot be Exeeli'd. 
 
 In ibme of the Rooms of this Palace (I for^ 
 get which) is 
 
 Cleopatra the Mother of ^Ptolemy ftanding ; 
 a perfectly Gentile Figure. 
 
 A Portrait of a Lady about Ibrty Years QId s 
 ; a Statue ; the Figure the fame as the Venus of 
 ! Medhfa. 
 
 I* 4 A 
 
( ip ) 
 
 AMonafiry of the Carthufians, as fine as aU 
 moft any ^Palace 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 mofl 
 Noble one of Septimius Severus, on the Re- 
 verie Mars. The Inicription is SEPT. SEV. 
 PERTINAX. Rev. DIVI. M. PH. 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 of Ttolemy, whom Ca- 
 ligula put to Death becaufe he came into the 
 Amphitheatre in a Magnificent Drefs , and 
 drew the Eyes of the People ofFHimfelf. He 
 is a Beautiful Youth, and 'tis of a fine Tafte : 
 aDiadem is on his Head, with Holes wherein 
 Jewels, or Gold, or fomething of this kind 
 were probably put; the Eyes are Silver, with 
 twojacynrhs for the Balls, and the Lips are 
 two little Plates of Gold. How could thole 
 Mafters that give luchAirs add fuch Abfurdi- 
 ties ! Yet Thefe, eipecially as to the Eyes were 
 not very Unufual with the Ancients, and even 
 not in the Worft Ages neither. And that all 
 might be of a piece, thefe Fathers have hung . 
 a Necklace to This with Jewels, and a Gold 
 Medal of the fame Ttolemy hanging to it. 
 
 Upon this occafion I will obferve that 'tis 
 not very Uncommon to fee Statues fome parts 
 
 Brafs, 
 
( M3 ) 
 
 Brafs, as the Head, Hands and Feet, the reft 
 Marble : Jewels have been hung in the Ears 
 of Statues, this is laid of the Venus of Medi- 
 ;r/>, and of another Venus ib drefs'd by Alex- 
 ander Severus. The Colour of the Mar- 
 ble has been conflder'd the better to Exprefs 
 the Minds of thofe to be reprefented, and 
 Iron has been mix'd with Brafs for the fame 
 end. See the Notes of Maffei upon the Ve- 
 nus of 'Me 'diets ■, and his Preface to Rojft sBook 
 .of Statues. 
 
 'Palazzo Giuftiniani. 
 
 This is one of the Largefr. Palaces in Rome, 
 and has the Greatefl number of Antiques; 
 with a vafl many Pictures ; but neither One 
 nor the Other the beft Chofen, Generally 
 ipeaking: the Antiques are mofllyof the Bas- 
 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 Juflly. 
 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. Thofe Antiques, and Pi- 
 i enures which Touch'd me molt, Inoted down. 
 
 In the Court. 
 
 A Fine Bas-Relief; an Unknown Hiftory. 
 People engag'd in the Worfhip of the God 
 Terminus, and furpriz'd by Murtherers, 'tis in 
 the Admiranda N°. 52 . Tolydore has copy 'd 
 
 this, 
 
( '54) 
 this, but either it had been well preferv'd till 
 his time, or he mud have Suppos'd the Faces, 
 and fome other parts ; for not one of the Fa-* 
 ces are now entire, and 'tis Throughout much 
 injur'd. My Father has this Drawing. 
 
 Above in the Roams. 
 
 Apollo with the Skin of Marjyas, and his 
 Mafk. A very fine Figure, Antique. 
 Luea suite- A Pi&ure of the Martyrdom of St. 'Peter 
 rilu - by Luc a Salter elUGenoue/e, A . 1637. Great 
 
 Manner, and well Coiour'd. 
 correggio, or Head of a Young Woman, Old Man, and 
 parmeigiano. g Q ^ j fbppofe 'twas for a Madonna. The 
 Young Woman's Hand is WkeParmeggiano, 
 and very fine. 'Tis in Frefco upon a piece of 
 a Wail'. 
 
 IJffon a Table in another Room. 
 
 Mich, Angela. Dead Chrift in the Arms of Nicodemus, or 
 St. Jofeph of Arimathaa ; mod Admirable. 
 'Tis in Marble, fmall. 
 
 Gallery. 
 
 Jupiter, a fine ColofTal Head : Bell; Greek 
 Tafte. 
 
 Silenus with the Bag of Wine. My Father 
 has a Drawing of this in two Views of Giulio 
 Romano. 
 
 Caprone lying down, and as large as the 
 Life, one of the fined for the Style I ever 
 law ; and one of the mod Famous things 19 
 Rome. 
 
 His 
 
( w ) 
 
 His own Son ; a Statue. Very fine. -Bernini. 
 
 fiarce a Touth, yet fcarce a tender 4 Boy. 
 
 Pope. 
 
 A Faun's Head ; of the Beft I have feen. 
 
 Me leager ; the Beft Statue in the Gallery. 
 
 Minerva ; a Standing Figure, with a Hel- 
 met, and other Inflgnia, larger than the Life. 
 Tis counted the Capital Figure in the Galle- 
 ry ; and coll 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 ofRaffizele, (in his firft Ra f a eie. 
 •Manner) and i Pzetro c Perug?no. Some of thofe p.perugmo. 
 of Raffaele moft excellently Colour'd, Strong, 
 and Clear. 
 
 Another Room. 
 
 Hercules ; Bronze ', {mail, Found in the 
 Thermes of Ag rippina. Very f]ne. 
 
 Mercury, Bronze alfb,and fame Size. Ad- Flamingo. 
 mirable. 
 
 JuliusW. for which the Drawing the Duke Raffaele, 
 ofDevonJbire has, was made. 
 
 In the Hall for the Servants. 
 The two bell Statues in all the Palace of *A- 
 
 * I faw this Palace at ray firft coming to Rome, before I 
 knew fo well as llnce to diftinguifli an Antmous from an 
 Apllo-, and I have forgot which thofe were, but finding 
 them in my Memorandurm taken upon the place as the beft 
 in the Palace, was unwilling to omit them, 
 
 j>ollo 9 
 
( I J* ) 
 
 polio, or Antinous ; leaning, with their Legs 
 acrofs. 
 
 Top of the Stairs coming into the Hall. 
 
 The fine Alto Relievo of Amalthea feed- 
 ing 7&/>/>£T. AdmirandaN'.z6. Figures al- 
 moft as big as the Life. 
 
 'Palazzo Ticchim. 
 
 Here is the Meleager, one of the feven 
 principal Antique Statues ; the others are the 
 Venus y the Apollo, Hercules, Gladiator ; La- 
 ocoon, and Antinous. 
 
 No other Statue, or Pi&ure in all this Pa- 
 lace, except an Antique broken Statue or two, 
 of no Confequence. 
 
 *Pal. Barberino del Trincipe di Taleftrina. 
 On the Princess fide. 
 
 Andr. saubi. a Sketch, finifh'd, for the St.Romualdo. 
 
 Domm'tch. Another like Sketch, and as fine as the Pi- 
 
 cture, the St. Jerome. 
 
 Another Room. 
 
 Titian. ALady's Head, and Hands. The Hands 111 
 
 drawn,but the Head is perfectly fine :' a Beau- 
 tiful Air, Broad Manner, and the Colouring 
 Bright, and Tranlparent. 
 
 GiuiioRom. Rajfaele's Miftrefs ; a Copy from one (Be- 
 low) of Raffaele's own doing : 111 Colour'd, 
 and Hard. It was the Queen of Sweden's. 
 
 'Daufe's Picture, lame Size as the Drawing 
 my Father has, and the fame Relemblance; 
 'tis a Profile too, and has fuch a Cap; but 
 
 with 
 
( !« ) 
 
 with the Bays, and the Face is turn'd the o= 
 ther way. Finely Drawn, and Colour'd. 
 
 /;/ another Room are 
 
 Several Drawings in Frames and Glaffes of 
 the Cupola of Correggio. All Copies. Seve- 
 ral other Drawings, But Copies too, or Incon- 
 fiderable. 
 
 Below. 
 
 Raffaele's, Miftrefs ; the Original. This is R*faeU. 
 much more Soft, and better Colour'd than that 
 of Giulio ; but at the beft fhe is Difagreeable 
 . enough : Of a Dark, Sullen, Brown Comple- 
 : xion ; Eyes, and Hair very Black, and like a 
 \ Blackmoor ; Nor are her Features at all Ele- 
 gant ; which I venture to fay notwithflanding 
 the Truly Italian Defcription the Author of 
 . the jflides Barbarina gives of it. 'Primus oc- 
 currit nobis Raphael, in/piciendamque offert 
 nobilijjimam tabulam inqwudimidiatampul- 
 cherrima foemina figuram depinxit, linia- 
 mentis at que color ibus tarn artificiofe anima- 
 tam*> ut profeflb dixerit & tabula profilire, 
 non modo viventemfid b lander xanimant em 
 incaute earn intuentes, cui plane necCampaf- 
 pen Mam, &c. p. 15 3. But the Bufinefs of 
 this Author is not to Defcribe Things, but to 
 make a Declamation upon 'em, which he does 
 generally very Injudicioufly, giving vafl En- 
 comiums to Trifles, and omitting others of 
 Real Value,- of which this Palace is full. In 
 This He is the fame as mofl of the other Ita- 
 lian Writers on Thefe Subjects ; befides many 
 of his Remarks are Affected, and Childifh. 
 
 3 There 
 
Gtt'l&Q. 
 
 . ( 158 ) 
 
 There are in the Apartments of this Palace 
 ibme fingle Boys of Guido Rent in Guazzo 
 under GlaiTes, as there are in the other Pa- 
 laces ; they are of a very beautiful Tincl:, but 
 very Warm, whereas mod of them we fee 
 Here of him in Oil are rather inclin'd to Cold. 
 p. da conona. \ n this Palace is the fined: Compofinion that 
 ever i P. da Cortona made ; and I believe the 
 moil Copious, and Rich that ever was made ; 
 the Colouring is exceeding Bright, and Beau- 
 tiful ; and tho' there is iuch a vail: Number of 
 Figures, the Ceiling 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 Barbarini Houle. The Defcrip- 
 tion of it with Prints is in the Book above- 
 mention'd. 
 
 There is befides a Ceiling in Frefco of An. 
 Sacchi, the 'Divine Wifdom, one of the moil 
 Engaging Pictures I ever law: The Colouring 
 is like the others of this Author, more Lan- 
 guid than t"hatof Q&tona, but extremely De- 
 licate, andPleafing. There is a Print of it by 
 Natalis, and 'tis defcrib'd in the Book. 
 
 The VemiSy the fame the King has, with 
 Servants at a Cofler. This is counted one of 
 the Capital Pi&ures in this Palace : my Fa- 
 ther has the Drawing. 
 
 Amtfar Room. 
 
 St. Andrea Cor Jim praying ; three Angels, 
 two hold the Crazier, t'other the Mitre. A 
 very Light, Airy Picture, and Colour'd mar- 
 velioufly, efpecially the Angels. 
 
 An 
 
 An. Saccbi. 
 
 Titian. 
 
 Ciulio. 
 
( *59 ) 
 
 An Old Woman fitting on the Ground with R*f*'i** or 
 her Knees up to her Mouth, and her Arms MlcL An&el "' 
 wrap'd round 'em ; fhe has a DiftafF between 
 her Knees, which makes me think 'tis one of 
 theDeftinies. 'Tisin/*W/f0,cut out of a Wall, 
 and fplitin feveral places ; otherwife well pre- 
 ferv'd; much like Mkhael Angelo, but I think 
 more like Raffaele. Nothing can be beyond it. 
 
 Juft by it hangs another jFr^/a?, of the lame correggio. 
 Size, and Round, as this, covered with aGlafs. 
 Boys. 
 
 Another Room. 
 
 Death-bed of Germanicus ; fame Size as Poujfm. 
 the Copy my Father has by Giufeppe ' Safari. 
 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 Picture 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 mould find, viz. the 
 want not only of a Beautiful, but even of atrue 
 Humane Shape, under the large Red Drapery 
 hi 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, usTdtitus tells it, is in fhort thus: 
 
 Nero Claudius ^Drujus Germmkm the 
 
 Adopted Son ^ifibsrtus^ and married to A* 
 
 grippina the Grand-daughter oiAugufius be* 
 
 ing 
 
i ( 160 ) 
 
 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, I lhould have caule to complain of 
 " the Gods for {hatching me from my Father, 
 " my Children, and my Countrey, in the 
 u Flower of my Age. But now that I die by 
 " the Treachery of Tifo , and T land Ha, I 
 " leave you the Depositaries of my Lafl Will : 
 " Acquaint my Father, and my Brother with 
 " all their Cruelty, and Perfidy towards me, 
 cc and that I end my Days by a Death moll: 
 " Deteftable. Not only thoie that built their 
 " future Hopes on my Fortune, or which are 
 u Ally'd to me in Blood ; notThefe only, 
 " but even they who have Envy'd my Glory 
 u fhall Pity me, who after having Efcap'd ib 
 u many Dangers in War, Fall by the Hands of 
 " a Woman ! Complain to the Senate, im- 
 " plore the AfTiftance of the Laws: Theprin- 
 u cipal Duty of Friendihip is not Tears, and 
 " Lamentations, but remembring thofe they 
 " lov'd in their Life, and executing their De- 
 " fires: Leave then Tears to Strangers; but 
 " You, if you have lov'd Me, and not my For- 
 a tune only, Revenge my Death. Shew to 
 " the Roman People the Grand-child of Au~ 
 a gitftus&nd our Six Children; Their Prejudice 
 " fliall be in favour of the Accufers ; and if 
 " the Accus'd pretend the Secret Orders of 
 tt their Sovereign, they ihall neither be Be- 
 " liev'd, nor go UnpuninYd." His Friends 
 grafping his Hand, fwore they would rather 
 
 lole 
 

 ( Itfl ) 
 
 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 fub- 
 due her Haughty Temper, and patiently Sub- 
 mit her felf to the prefent Rigour Of her For- 
 tune ; particularly not to irritate by vain E- 
 mulation Thofe 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 fulpecl: the Sincerity of Tiberi- 
 us, and then Died. 
 
 TouJJin has chofen the Inftant in which Ger- 
 manicus intreats his Friends to excite the Peo- 
 ple to Compaffion, and Revenge by the Sight 
 of Agripfina and the Children ; and the Sen- 
 timents of thofe to whom he directs his 
 Speech are finely Exprefs'd ; fo is the Grief 
 of his Wife, 'tisExquifitely fine, tho* 'tis only 
 in her Attitude, for ilie 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 
 thoufand others of the Neceffity 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. For as Germanicus is pointing towards 
 Agrippina, and the Little ones, and with an 
 Air rather of Sorrow than of Indignation, one 
 that remembers not the Story exactly, will 
 certainly imagine him defiring his Friends to 
 
 M take 
 
( t<* ) 
 
 take care of them after his Death ; which be- 
 ndes its being fo fubjecl: to be Miftaken, is a , 
 Low, Common Thought, and Debafes the Pi- 
 cture. Had TouJJin given Another Air to Ger- 
 mauicus, and as he was Meditating Revenge 
 upon his Murtherers, ftronglyExprefs'dThat 
 PaiIion,and Indignation, it would have Avoid- 
 ed the Low Thought I mention'd, and might 
 have A waken'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 be Obfcure, and want its due Force, 
 and very probably be Wrong. Or if Another 
 Inftant had been Chofen , That in which the 
 Friends of Germanicus {wore to Revenge hisj 
 Death ; or when HeWhifpers j4grif>J>ina, nei- 
 ther would have been lo Noble, or lb Touch- 
 ing, and in One of them the Principal Perfbn 
 would not have been in Aclion ; but all would' 
 be Equally Unintelligible, without a Previous, 
 Knowledge of the Story. 
 
 Not only the Time is chofen wherein Ger- 
 maniens recommends his Family as Incite- 
 ments to Revenge, but That Inftant in which 
 he Concludes, and Thole to whom he addref , 
 leshimf elf prepare to Reply, as appears by the 
 Actions of Some of them, which are Such as 
 if They were Alfo fpeaking; and This mult 
 be Suppos'd, or both He and They are Dif 
 courfing, and Replying at the Same time; and 
 'twill be Tome Indulgence if This be allow'd: 
 'Tis a Fault too common to fhow Too ma- 
 ny fpeaking at Once ; when that Abfiirdity 
 might have been avoided, and the Picture iuf- 
 
 ficiently 
 
( 1*3 ) 
 
 iciently Animated by mch Airs, and A tti tudes 
 
 >nly as are Proper, and Natural, upon Hearing 
 
 vhat any One fays without any Other faying 
 
 ny thing. 
 
 : AVentis o£ Me die is-, very fine. 
 
 < A Bacchus and Satyr ; Fine. 
 
 ! A Silenus ; alio very Good. 
 
 The Boy- Angel crying, holding a Nail of dnnihaU. 
 he Crofs: Difagreeable enough. He looks 
 
 00 much like a Common Boy, too Ordinary, 
 nd Un-angelical. 
 
 ; Con verfation of two Women; Half Figures, l. da vlnth 
 The FineftTafte of him that can be. 
 
 The Polyphemus , and Galatea , as in the AnnlbaU. 
 jallery Farnefe. This alfo in Frefio; 'tis ve- 
 !y Neat, and highly Finiili'd ; about a Foot, or 
 
 1 Foot and an half fquare ; a Glafs over it. 
 
 Part of the Pavement of the Temple of For- Ant ique. 
 une a.tTr£neJie> theLargeft ever built by the 
 ancients; \n Mo fate. The Hiflory is that of 
 Europa ; and Figures on the Shore flying, as 
 p a Fright ; Carelefly Executed ; but the De- 
 lign Gentile, and Excellent. 
 
 The famous Magdalen of Guido ; the Fi- GH a 0t 
 left in Rome. His Gay Manner, but very, 
 krong withal, and Admirably well Colour 'd 
 irhe large Drapery a pale Lake ; the Figure 
 inuch bigger than the Life; Beautiful through- 
 out ; nothing Dark ; the Shadows Tranfpa- 
 rent, and full of Reflexions; Plain Sky, and 
 |3ack Ground. There are two little Boy- An- 
 gels; kept down, but finely Colour'd. 
 
 M z In 
 
( i*4 ) 
 
 In another Room. 
 
 
 carlo Marat. The Twelve Apoftles Handing : my Father 
 has the Drawing of one or two of them. 
 
 Antiques. Sabiua, an Antique Statue, without Arms; 
 
 three times as big as the Life. The Drapery as 
 fine as the Florae as is the Head ; indeed 'tis 
 Excellent throughout. 
 
 A moll Beautiful Venus afleep, Marble, as 
 big as the Life, lying on fuch a fort of a Bed, 
 and much fuch 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. 
 
 Bemini. Adonis wounded, and Expiring. He dies 
 
 away finely. 
 
 Antique. A fine Satyr lying, Marble : my Father has 
 
 a large Drawing of this, highly fmiih'd by Ru- 
 bens. Bifcop has it N 3 . 57,58. 
 
 In the next Room. 
 
 Venus, an Antique Painting, as big as the 
 carlo Marat. Life, found in the Gardens of Saluft. Carlo 
 Marat has added three Cupids to it. 'Tis up- 
 on a piece of a Wall in Frefco, very Good. 
 The Antique finely Painted, and Colour'd; 
 and well preferv'd. 
 Antiques. A Head of Antinoiis, as good as that of the 
 
 Belvedere. 
 
 Virgil, afmallHead; Antique. 
 <Plato, a Boy, afleep, with feveral Bees a- 
 bout him ; an Antique Painting. There arc 
 
 three 
 
'( *6l ) 
 
 three Nymphs like' Correggio, and a Cupid 
 likeGuido. The Colouring throughout Co- 
 reggefca ; good Prefervation. 
 
 Roma Triumphans , another Antique Pi- 
 cture, but not fo good. 
 
 Next Room. 
 
 Four Roman Triumphs ; Clair Obfcure ; ta- Polydorel 
 iken out of a Wall , perfectly well preferv'd : 
 figures bigger than the Life. 
 
 Vp Stairs in the little Mezzanino. 
 
 The Drawings after the Cupola ofCorreg- And. sacchi 
 gio : My Father has a Boy of the fame Kind. 
 Thefe are in Frames and GlafTes, 
 
 There is be-ldes in this Palace a Picture Mich. Angelo 
 excellent for theExpreiuon. A young Fellow c * ra ~->' a zz'°'. 
 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 Trine e Don Livio Odelcalchi. 
 
 Fir ft Apartment below. 
 
 Cleopatra Afleep, not Dying, as in the Gar- 
 dens of Medici-, ofParianMwble, 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 Cafar in his Sacrificing 
 Habit; Veii'd, 
 
 M 3 Another 
 
( 166 ) : 
 
 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 ^Parian Marble. 
 
 Caftor, and Pollux leaning upon one ano- 
 ther ; one of them holding a Torch down- 
 ward ; The fame terrier has Grav'd, and cal- 
 led the Uecii. N°. 37. Leda ftands by, very 
 fmall, and holds the Egg in her Hand. I think 
 there are no Finer Statues in Rome than thefe 
 two Brothers, nor Worfe than the Leda; as 
 the Venus oiMedicis has a Fifh 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 bdt Syrian, 
 and Greek Medals, theRevcrfes are almoft al- 
 ways IndifIerentWork,and ibmetimes wretch- 
 edly Bad. 
 
 Venus of Medic is cover'd with a thin Dra- 
 pery, her Bofom, and fo 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 lead 'tis the belt I have feen of all 
 the Copies ; if this may properly be call'd a Co- 
 py : A fine foft Yellowiih Marble, but full oi 
 Spots, which are not natural, but the cfFecloi 
 
 Time 
 
( i<*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 Aldohrandini. 
 
 Three large Bulls, and all Excellent ; Alex- 
 ander^ Antinous, znd'Pyrrhus. 
 
 Another Room. 
 
 The Noble Faun with a Goat upon his Back. 
 Greek. 
 
 Statue of one of the 'Ptolemy's Kings of 
 Mgypt. 
 
 TwoVenus's, One coming out of the Bath, 
 the Other (landing in a molt Beautiful Atti- 
 tude : both Greek, and Excellent. 
 
 A Seneca fitting, in Little: the Countenance 
 :as fine as the Bud in the Gallery Farnefe. 
 
 Buft of Queen Chriftina; Exquifitely Cut, Bemino. 
 but the Air not Pleafing, and the Face not 
 Handfbme, tho' perhaps 'tis not without fbme 
 Complaifance neither. 
 
 Little Gallery. 
 
 ABufl of Alexander ; big again as the Life ; 
 Bronze, GreekTafte. 
 
 A Round Altar with aBacchanale; the fi- 
 ned Greek Style : 'tis in the Admiranda N 3 . 
 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- g. Roman*. 
 tons, Colour'd ; Extremely Fine, Good Har- 
 
 M 4 mony, 
 
Baroccio. 
 
 ( i<« ) 
 
 mony, and Agreeable TincT:. Thefe are much 
 like thofe otRaffaele at Hampton-Court. 
 
 Another Room. 
 
 carlo Marat. A large Bacchanale, and is one of the Fi- 
 ned for Drawing, Colouring, and Harmony, 
 of the many FinePi&ures I have feen of Him. 
 The ALneas and Anchifes^ in a very Odd 
 Condition ; for the molt part 'tis turn'd very 
 Black, but in fome places Spots of the Flefn 
 appear Bright ; fo that one cannot make any 
 Judgment of what it has been. 
 
 Pope Sixtus IV. with four other Figures, 
 highly Finiih'd ; Painted very Smooth , and 
 with no great Body of Colours. Vaft Nature, 
 and very fine \ 
 
 Woman taken in Adultery ; Stiff, Hard 
 Manner, like Bellino, and much fpoiPd ; the 
 Profile of the Woman is very good ; her Hair 
 fmifh'd with the Point of the Pencil. 
 
 AnmbaU. Venus upon a Couch playing with a Cupid \ 
 
 finely Colour'd, and a Beautiful Action, like 
 the Antique. 
 
 Titian. Mercury teaching Cupid to Read ; Venus 
 
 by. The fame as the Correggio in this Collet 
 ction, only that the Venus is different; parti- 
 cularly in that file has no Wings, which Cor- 
 reggio's Venus has. 'Tis the moll: Beautiful 
 Figure I ever (aw of this Mailer (it leems to 
 be taken from the Antique) and one of the 
 bell Colour'd Things even of Him; lo indeed 
 is the whole Picture. 
 
 GuUo. St. Bonaventure, a Cardinal in a Fraud f- 
 
 can's Habit, with an Angel (landing at his 
 
 Knees ; 
 
 Titian. 
 
 Ditto. 
 
( i*9 ) 
 
 i Knees ; a Portrait. His Greateft Manner, and 
 Bell: Colouring. 
 
 Leda, \ about five Foot High, and fbme- 
 
 Danae, f thing Wider. Coweta, 
 
 lo, almofl fix Foot High, and Half as Wide. 
 
 Mercury teaching Cupid to read, the fame 
 height as the Jo, 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 by the Prints, and Copies (at lead,) 
 lif they have not feen the things themfelves. 
 !The Air of the Head of lo is finely imagin'd, 
 and exprefs'd, and is an Idea I never faw 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 Tianae 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, iuppofed 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 a 'Dove 
 
 Was once enough for Cupid thought 
 ; 'Till Mercury was fent by Jove, 
 I For Verms pray' a he might be taught. 
 
 Taught* 
 
( *?a ) 
 
 Taught! what? To Read '; but 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 J aw what Times were coming on ; 
 
 His 'Darts muft Now be tipp'd anew, 
 For Love was Mercenary grown. 
 
 Fancy not then that Mercury 
 Did from Olympus Top difmount 
 
 To teach the God his A. B. C. 
 No, no, it was to Caji Account. 
 
 But have a care thou Silly Boy, 
 For 'tis a moft 'Pernicious Art; 
 
 Learn it, it will thy ,c Pow'r deftroy, 
 
 The Tongue may Love, but not the He art. 
 
 The Cupid fhaving his Bow is not a Child, 
 but a Tall Lad : At the Bottom of the Pi&ure 
 there is a Head, or two, of Boys, and All have 
 iiich a Lovely pretty Wantonnels in them that 
 is Extremely Engaging. 
 
 Young God, in vain is all you do, 
 
 Something is Amifs 'tis true ; 
 But the Fault's inDamon's Heart, 
 
 Not the Bow that fent the Dart. 
 
 He heard, and with a Leer, and Smile 
 Malicious, faid, but Shav'd the while ; 
 
 Tou thought not Thus when Tou were Toung, 
 Now All that Cupid does is wrong. 
 
 I faid 
 
 
( i7i ) 
 
 I faid thefe Pictures 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 poilible to 
 be done without the Affiftance of Time, tho' 
 another Correggio fhould arife. 
 
 And whatever Beauty is in the Other parts 
 of the Pictures theFlefhPrefides, though fur- 
 rounded with Light Colours, as particularly 
 the T)anae is Brighter than the Linen about 
 her, tho' That is as Bright as Linen Can be. 
 
 All thefe Marvellous Pic-tures are Painted 
 i as Correggio 's Manner is with a lufficient 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 DiftincT:, and without what 
 we call Woolly nefs. Some of thefe are laid to 
 be painted on a Gold Priming ; Cav. Ltitti is 
 politive of it, and affirms he has feen it plain- 
 ly on the Edges under the Rabot of the Frames, 
 and ibme pretend 'tis vifible in other parts : I 
 confefs there is fome Yeliownefs 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 Pictures out of the Frames. 
 
 If fiich a Ground has been us'd it mull be to 
 preferve the Colours, or to give them aLuftre 
 by being feen through them, Co feen as that 
 
 the 
 
f 17* ) 
 
 the Shadows efpecially may have a certain 
 Warmth, and Mellownefs, which could not 
 be given otherwife ; and this laft Effecl: fuch 
 a Ground may undoubtedly have. I am not 
 ib certain of the Other. 
 
 Thefe Pictures are (I muft own it) prefer- 
 aafaeie. aD le by muc h to thofe of Rajfaele that are 
 by them, tho' One of them is (I think) the 
 Bed of him I ever faw ; and 'tis the mod Fa- 
 mous of all his fmall Eafil-Piclxires in Rome: 
 The Virgin (landing, holding the Chrift who 
 ftands too, as does the St. John who KifTes 
 him ; the St. Elizabeth is by. My Father has 
 a Drawing of Raffaele of this Subjec-t. And 
 the Attitudes of the Figures are lb much of 
 thefe, as that 'tis not improbable 'twas made 
 for this very Picture. The Figures here are 
 fmall , the Virgin about two Foot in height, 
 or rather lefs: Painted in the manner of 
 that Age, Neat, and highly Finifh'd : and lb 
 well Colour'd as to appear Beautiful, though 
 in prefence of feveral of the mod Capital ones 
 ofCorreggio. I think there is fuch another at 
 Florence,or fomc where elfooppos'd to This 
 as the Original. 
 correjgh. Befides thole already mention'd there are 
 
 feveral others of Correggio, Two of which 
 are Ritrattoes oiCafar Borgia, generally cal- 
 led the Duke Valentino, (of which Machiavel 
 has given us the fine Hidory in a little Trea- 
 tife amongfl his other Works) I do proteft I 
 never was fo furpriz'd as when I came into 
 the Room, and caft my Eyes upon One of 
 thefe ; my Heart flruck againft my Bread : It 
 
 has 
 
( «*3 ) 
 has fuch a Nature, and iiich a Particularity in 
 the Set of the Lips, and Motion of the Eyes, 
 and fiich a Spirit, thatlfhall 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 Picture 
 ; isGay,andLightfome. 'Tis a little more than 
 a Foot 4 high, and almoft as wide. 
 
 The Muletier 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 ofRa-ffaele, juft now 
 !l ipoken of; i Foot <J high, 3 Foot wide. 
 
 Madonna and St. Jofefh. Ditto, 
 
 Noli me tangere, it has a Landfkip, and is Ditto. 
 a Magnificent Picture ; between 3 and 4 Foot 
 high, fbmething wider. 
 AMagd. 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 Mailer, that ever was, 
 Surprizes like Qorreggio ; and yet without 
 an Equal Meafure of Greatnefs, and with a 
 Grace not Antique, nor like any other Ma- 
 tter. I cannot conceive, or imagine how thole 
 Expreflions can be given that I fee before 
 my Eyes, when I fee at the lame time per- 
 petual Incorreclrneires ; not one of his Pi- 
 ctures 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 
 I Finilhing, which was much the Manner of 
 Thofe Times ia thefe LefTer Pictures, and in 
 4 which 
 
( 174 ) 
 which Correggio Excell'd contributes little, if 
 at all to the Surprize I am fpeaking of; La- 
 ter , and Lefs considerable Matters have pra- 
 ctis'd a Nobler Manner of Painting, and which 
 (cater is paribus) would have a better ErTecl: 
 than This, at the Diftance a Picture is com- 
 monly intended to be feen : Nor is the Neat- 
 nefs of the Work very confiderable, compar'd 
 with the other Properties of a Good Picture. 
 The Colouring has a Greater fhare in produ- 
 cing This Effect; but Correggio had a Grace, 
 the pure EttecT: of Nature; not Antique, not 
 like that of Parmeggiano, Guido, Raffkele, 
 or any other Mafter, but fbmething Alone, and 
 which feems to be truly Angelical. The Chief 
 Beauties of Raffaele we fee often, and almofl 
 as often Out-done in the Bed Antique : And 
 all his Other Qualities are found in a higher 
 degree than he pofTefs'd them in the Works of 
 Correggio, and other Matters. BefidesHe fre- 
 quently wanted One of vaftConlequence 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 Angelick Grace 
 of his which is purely Original, and no where 
 elic to be feen : 'Tis This that furprizes us ; 
 and the more becaufe all is accompany'd with 
 Faults like thole of the moft Inferior Painters. 
 In this Palace are many other Excellent Pi- 
 ctures, as Twelve (Hiftories and Portraits) of 
 Titian. Titian, and as many Hiftories oiTaoloVero- 
 
 pajIo veto- ne ^ f t j ieir yer y g e fl. ]y[ aiiners ev*ery one; 
 
 and fb prefcrv'd as if they jutt came from the 
 
 Pencil. 
 
1( «Tf ) 
 Pencil. In Other Palaces One fees fome fewCa- 
 pital Picl:ures,andthe xzftMediocres ; 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 'Paolo 
 jufl 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 'Paris, without the leail 
 Injury in the Carriage to any One of them, 
 iThe Mercure Galant has given the Particu- 
 lars, but without their Dimenfions ; and which 
 •I did not take. Thofe Here I had the Honour 
 to receive from One whofe Authority I dare 
 venture to rely upon, were it for the Good- 
 nefs of the Pictures; but I ought not to make 
 ufe of his Name upon a Lefs Occafion. 
 
 S. Marco de Veneziani. 
 
 The Adoration of the Magi: This Picture carlo Marat 
 is very Famous : The Virgin Hands, 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. Ang. 
 of Mich. Angelo, the moil Gentile of that 
 Mailer. The Virgin is (landing, and a little 
 falling back at the Sight of the Angel, only 
 fupported by a kind of Altar behind her ; flie 
 lifts up both her Hands. Above her is the 
 
 Dove 
 
( V* ) 
 
 Dove in bright Yellow Glory fhooting down 
 
 upon her : the Colouring pretty Good : 'tis 
 
 well preferv'd. Vafari lays this Picture was 
 
 Mar cello Colour'd by Mar cello Mantovano, though De- 
 
 Mant ovano. fig^d by Mich. Allgelo. 
 
 Mkb. Angela. In the Room within the Sacrifly is the Cru- 
 cifix of the fame Mafter, There are little An- 
 gels under each Arm of the Chrift; Over each 
 of thefe a great Light, (as the Sun, and Moon 
 in Eclipie) and another over his Head; the 
 moil Regular thing imaginable, and has the 
 oddeft Errecl: : As tor the reft 'tis finely Drawn, 
 and well Colour'd ; in Oil, 3 Foot high by 1 
 Foot 4. 
 
 Raffaek. In a Room within the laft is a Madonna, 
 
 Chrift, and Little St. John, a Carton; Black 
 Chalk ; Raffaele's fecond Manner ; as big as 
 the Life ; the Virgin at Half Length. 
 
 Juft by this is theBaptiftery oiConfiantine. 
 Antique. 
 
 An. saccbi. Over the Pillars is painted in Oil the A- 
 clions of that Emperor by Andr. Sacchi, the 
 beft of his Work in Rome. Thefe are to be 
 taken down, and others not fo good put in 
 their places, becaufe of aDampnefs here which 
 would fpoil them. 
 
 The Scala Sandta. 
 
 led, cigoii. At the very top over the Holy Chapel is a 
 Crucifix, the Virgin, and St. John. My Father 
 has the Drawing of the Virgin. 
 
 SancJa Croce in Gerufalemme. 
 
 pint ur rice bh. TheMezzo Qupola of theTribunal painted* 
 
 by 
 
( i?7 } 
 
 by Tinturricchio ; the utmoft Prefer vation^ 
 land the mofl Beautiful Colours. The finding 
 of the Crofs by St. Helena. She is Handing* 
 and holds up her Hands johi'd together, fee- 
 ing the Dead Man revive. On the other fide 
 is an Old Man, Admiring. 
 
 Marc Antonio Sabbatini, 
 
 Has a Book in ix°. with Miniatures of 'Don Don Jul. cu~ 
 Viulio Clovio,at lead 'tis the fame Hand with Vl0 ° 
 thofe of the famous Manufcript of 'Dante ih 
 \xk6Vdtican\ but to me they feem more Mo- 
 dern than^DonGiutio, asThefe alfo do. 
 He has another very fine Book of Minia- 
 es in theTafte ofpinturricchio, or Peru- 
 gino. 
 
 i A Woman's Head Larger than the Life, a 
 Model in Terra Cotta as fine as ever was 
 done. Beft Antique. 
 
 In the Church caWd, In Nome de Maria. 
 
 : Under the Altar a Madonna, laid to be of St. Lufa 6 
 
 • St. Luke's Painting. The Frame Silver Foliage, 
 cover'd with Diamonds (fbme very large) and 
 other Precious Stones. The Frame mines pro- 
 digioufly ; the Picture is Black, and Hard, and 
 without Taile ; tho' indeed 'tis almoft gone, 
 5 Tis rarely open'd, but I law it on the Holy- 
 
 • day of this Church. 
 
 The Villa Mattel 
 
 Livia Augufia, One of the fineft Figures 
 in Rome, and the molt engaging. The Air of 
 the He^d exceffively Good* and the Drapery 
 
 N Exquifitei 
 
( 178 ) 
 
 Exquifite. This Statue has a vaft Grace, and 
 Dignity. She is Handing, and one Hand co- 
 ver'd with Drapery, but not hid ; upon an An- 
 tique Capital, and That let upon an Altar, on 
 which are Basrreliefs. See p. 1 3 2. 
 
 On One fide of her (lands a Woman, Small. 
 A Fine Air, and Admirable Drapery. On the 
 Other 
 
 A SmalJ Apollo. 
 
 A very fine Capricious Silenus ; a Bufl. His 
 Head funk into his Shoulders, and his Mouth 
 open'd as if jufl ilifled with Drink ; Exquifite 
 in its kind. I biirfl out Laughing as fbon as 
 my Eyes touch'd upomit. 
 
 Cicero; my Father lias a Call of it. The 
 Nofe, 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- 
 ly be confider'd as a Cicero. 
 
 There is an Unlucky PafTage in a Letter of 
 this Patriot, and Philofopher to his Friend 
 Attic 'us, (Lib.i. Ep.5.) 'twas written in the \ 
 time of the Firii Triumvirate, when accord-, 
 ing to Him None but Cato, andHimiclf with- 
 ilood the Torrent that bore hard againft the 
 ConfHtution. After he had been lamenting 
 the fad Condition of his Dear Coitntrey, he 
 lays, & quoniam * Ncfios prcficifcitnr, cui- 
 nam Augur atus defer atur : quo quidem uno 
 Ego ab iftis cafii poffum, vide levitatem 
 mcam. Nor was Cato Himfelf Unbribeable ; 
 
 g^, Met dim Nefos. 
 
 Money 
 
» 
 
 ( 17 9 ) 
 
 VToney indeed would not have bought him^ 
 lor a Title, nor a Place, nor a Miflrefs , nor 
 nany other Fine things which Other People 
 'alue, but an Alliance did. ^Plutarch tells the 
 >tory in his Life : He fays, that "whenCato was 
 chofen Tribune, having obferv'd that the 
 Election of Coniiils was grown very Mer- 
 : cenary, he iharply rebaked the People for 
 ; this Corruption, and in the Conclufion of 
 his Speech protefted he would Accufe whom- 
 ; ever he mould find giving Money ; yet he 
 ; excepted Silanus by realon of his Alliance, 
 ; for he had Married Servi/ia, Cato's Sifter, 
 ; fo that he did not prolecute Him ; but Lu- 
 cius Murtena, who was cholenConful with 
 f Si/anus, he accufed of Bribery. 
 
 Oh Liberty ! Oh Virtue ! Oh my Countrey ! 
 
 AddifonV Cato. 
 
 In a Drawing of my Father's, Rubens has 
 tThought which mould go along withThofe 
 Reflections that are apt to arife on thisOcca- 
 ,ion. An Angel is Interceding with the Blef- 
 ed Virgin in behalf of a Dead Bifhop holding 
 ip a Pair of Scales, One of which preponde- 
 rates. TheBeftMen have fome Weight in the 
 'Wrong Scale ; as the Worft Sometime^ make 
 ; Excurfions into Virtue. 
 \ Two fine Mafks compos'd of Efcollop 
 Shells; Antique. 
 
 Young Hercules, the Head, and Bread on- 
 ly; a piece of theLyon's Skin on the BreafL 
 'A moll Beautiful Air. My Father has a Call 
 of the Face. 
 
 N ^ l>o 
 
P'tetro Paolo 
 Oliviart. 
 
 Ditto. 
 
 ( 1 80 ) 
 
 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 
 In tire. 
 
 Plot in a the Wife of Hadrian, a Coloflal 
 Statue ; the Head exceeding good. 
 
 Marcus Aurelius as Tout 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- 
 prefs Sincerity ; a Modern Statue, bigger than 
 the Life; of 'Pi etro'JPaoloO liviari : 'twas a 
 Prefent. Under it is written, Virginius Vrfi- 
 nus Cyriaco Matthteio Amicitia Monum: 
 Statuere Illuftrius me ipfaAmicitia non j>o- 
 tuit M.DC.V. 
 
 A Venus, the fame Hand, the fame Size, 
 and over-againft 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 ; cail'd the Famous Ea- 
 gle of the Mattel. My Father has feveral 
 Drawings of the Head of it by Giulio Ro- 
 mano. 
 
 On the Outfide of the Houfe againit the 
 Wall are feveral Statues: One of Julius C*e- 
 farm. his Confular Habit, Sacrificing: One of 
 the fined that can be ieen. 
 
 A Coloffal Head of Alexander the Greats 
 cail'd the Alejfandro Mattel. 
 
 Talazzo Mattel. 
 
 The Great Co art is full of B as* Reliefs 
 4 round 
 
 
'( i8i ) 
 
 :-ound tlieWall: Amongft the reft that of the 
 Triumph of Love, where Cupid is on the Back 
 pr a Centaur: 
 
 The nine Mules with. Apollo and Minerva, 
 
 Both perfectly well preferv'd ; Small. 
 
 My Father has Drawings of both thefe by 
 Battifta Franco. 
 
 ^Palazzo Borghefe. 
 
 A Madonna, St. Francis, and St. Jerome, vhm Perugh 
 ,s big as the Life: my Father has the Head of*'* 
 he Madonna, a Drawing with a Pen, which 
 s afcrib'd to Raffaele when Young, which 
 3robably it is, and taken from This, of which 
 my Father has other like Inftances. The great 
 Splendour of Raffaele, and fome few others, 
 ihas Eclips'd much of the Merit of the Old 
 Matters, Terngino is not in this Picture StifT^ 
 or Dry, nor in many other of his bell things ; 
 ibut in a manner equal to Raffaele himfelf : 
 So Tinturriccbiohas done Admirable Things, p'mtumcchio: 
 The Library in the c Dome of Sienna is paint- 
 ied, and they lay There 'tis byTerugino, and 
 Raffaele-, but Vafari fays 'tis of Tint tirric- 
 chio, and I believe it. 
 
 The Adoration of the Shepherds, a moil m leh. AngeU, 
 Extravagant Defign, faid here "to be of Mich. orpele s nno 
 Angelo. 'Tis in That Tafte, but gives meadi- * ' ognci ' 
 'ftin&Idea from that I have of him. I believe 
 'it is of TelegrinoTibaldi of Bologna, and the 
 rather becaule of a Drawing my Father has of 
 one of the Figures in this Picture, and which 
 he always judg'd to be of Him, as it certainly 
 'iSo His Tafte is indeed Mich.Angelefca; ib 
 
 N 3 that 
 
( i8* ) 
 
 that Count Malvafia fays Annibale Caracci 
 call'd him // nqftro Michel Angelo Riforma- 
 ta, but the Bolognefe is manifeftly diftind: 
 from die Florentine. 
 Fred. Barocci. ^£ neas an( j Anchifes ; the fame as the Print 
 
 of Agofi. Caracci. There is another of thefe 
 in the Palace Odefealchi of the Duke deBrac- 
 ciano ; Figures as big as the Life. This iecms 
 to be Original ; that Other is fo damag'd, that 
 no Judgment can be made of it. 
 
 /;/ another Room. 
 
 comggio. St. Cecilia, famous under the Name of Cor- 
 
 reggio, more Curious than Excellent; Ex- 
 tremely Hard,and theDrapery exaclly like that 
 of Andrea Mantcgna, but undoubtedly of him 
 to whom it is afcrib'd: 'Twas alio the Opi- 
 nion of Cav. Lntti the Belt Connoijfeur in 
 Rome% where there are fo few that 'tis fiirpri- 
 zing, 'till one confiders how few good Paint- 
 ers there are too, as well as in the reft of Ita-> 
 /y, and indeed every where elfe. ThisPicturej 
 is in Correggio's Firil Manner coming out of 
 the School of Mantegna: 'Tis of that part of 
 the Saint's Life when a Young Gentleman' 
 comes in to RaviiTi her, and looks upon her 
 AftonihYd, 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. 
 
 Andr.dd Sar- A Saint led to Martyrdom, of which my Fa- 
 ther has the Drawing ; the whole Pi&ure is 
 but about 2 Foot long, by i Foot 4. In the 
 
 Lonta- 
 
Lontanezza are feveral upon CrofTes, and d- 
 therwife tormented ; 'tis Excellent, but much 
 Mildew'd. 
 
 Cardinal Borgia, at\dMachiavel,fa\d to be Titian, or 
 of Raffaek, but I think 'tis rather of Titian. Ra $ aele ' 
 Half Figures, Big as the Life, Standing. Ma- 
 chiavel looks the Cardinal fledraftly in the 
 Face. The Drawing of MachiavePs Head by 
 Cav. Giacinto Brandi which my Father has, 
 and which he always judg'd to be after Ti- 
 tian, is the fame Face, the Attitude different. 
 
 The famous Crucifix for which (as theSto- Mich. Angela. 
 i ry goes) the Porter was kilFd. 'Tis the fame 
 L . as that at St.John Later an, only This has the 
 [j St. John, and the Virgin, which That has not. 
 k This is Lefs than the other ; I believe the Fi- 
 
 Igures are about a Foot long, and not Good. 
 'Tis fo far from being probable, that a Man 
 p was Murther'd on purpofe to make the Ex- 
 
 Ipreffions Strong, and Juft, that there is hard- 
 ly any Expreflion at all either in the Face, or 
 Body, but a Tame Ordinary Figure : My Fa- 
 it ther'has two Old Drawings of this with- a lit- 
 ■ ; tie Variation (not Original.) The Virgin, and 
 t St. John are no better than the reft; the At- 
 \ titude, and Expreflion are Improper in the 
 B f one, and Mean in the other ; but painted La- 
 bor ioufiy as the Manner of this Mailer, and 
 in general of thole of this time was, in Eafil 
 Pidtures,efpecially Small ones, as This is. 'Tis 
 pity this great Man ever meddled with Works 
 of Devotion, where Tender and Lovely Cha- 
 racters enter ; he had a certain Ferocity in his 
 Temper which difabled him from treating 
 
 N 4 thofe 
 
 
Titun- 
 
 'Corrsggio. 
 
 X. da Vinci. 
 
 Titian, 
 
 ( 184) 
 
 thofe Subjects with Succefs ; tho' in fome O- 
 ther refpects, and in what his Genius was fit- 
 ted for, no Man ever Equald him. 
 
 Titian's School-Matter, (lb calPd) and one 
 of the Famoufeft Pictures 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 I Eve- 
 ry part is Fine ; and 'tis well Preferv'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 the Prince Jleeps after 
 'Dinner. 
 
 The Leda of Lionar do da Vinci, the fame 
 my Lord ^Pembroke has ; Soft, Mellow, and 
 well Drawn. 
 
 The Venus, where there are Servants in a 
 Room within, opening Chefts ; the fame the 
 King' has. 'Tis very fine , and Undoubtedly 
 Right; much etteem'd, and always kept co- 
 ver'd with a Curtain. My Father has the 
 Drawing ; a firft Thought. There are feve- 
 ral of thefe Pictures. I have mention'd them 
 elfewhere. 
 
 In theRoomofDrawings. 
 
 They make a great Affair Here of thele. 
 Drawings, and they lay a great Price was gi- 
 ven for them. There are fevera! afcrib'd to 
 Giulio, and one or two to Raff ae fa in Frames 
 
 and 
 
( i8y ) 
 
 and GlaiTes : All Evident Copies, and fo judg'd 
 to be by the Connoiffeurs here. 
 
 A Copy of the Picture, faid to be of Raffa- After Rajfc 
 ele, but who This is done By, or After, is not ele ' 
 ifaid Here. Venus is putting in the Quiver of 
 Cupid, the Arrows brought her by Vulcan: 
 there are alio feveral other Cupids. Agoft. 
 Venet. has made a Print of this , where the 
 Defign is alcrib'd to Raffaele, 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 
 ofjDon Giulio Clovio is begun, but not car- 
 ry'd round. 
 
 By this is a Copy of SophinishaAngufciOr 
 Ids Picture. 
 
 In the Apartment oftheTrincefs. 
 
 Titian and his Miftrels ; the fame as the Titian, 
 Print inTenier's Gallery. 
 
 In the Garden. 
 
 A B as- Re lief of five Figures, One fits up- 
 on a Rock playing on zFiftula. 
 
 Two Antique Statues, extremely Fine, of 
 the Hercules of Farnefe '• Lefs than that, but 
 as big as the Life. 
 
 A Venus of Medicis ; Antique. 
 
 • 
 
 Cav. del Tozzo. 
 
 Our Lord giving the Keys, full of Expref- Poufm. 
 fion, and Action, but ill Colour'd, and Paint- 
 ed , The Colouring looks like Whitiih Clay. 
 
 The 
 
Di:t9. 
 
 Ditto. 
 
 Ditto. 
 
 Ditto. 
 
 Ditto. 
 
 ( i»0 
 
 The Landfkip where the Man flies from the 
 Serpent. 
 
 Bacchus and Ariadne, Bacchus ftands up- 
 on his Chariot, and Ariadne lies down; he 
 looks with great Tenderneis towards her. 
 
 ^PouJJin has taken the Dying Cleopatra, to 
 make this Ariadne. i'Tis a Noble Picture, Fine- 
 ly Colour'd, and good Clair-Obfcure. 
 
 Rachel giving the Meffcngers Water. Di- 
 vine ; My Father has the Drawing, Slight; 
 and a more perfect one of one of the Maids, i 
 
 A Fine Landfkip, in it a Woman fitting, her' 
 Chin upon her Hand, her Elbow fupported 
 on her Knee; a Child afleep, and another Wo- 
 man pointing to fomething. 
 
 Another fine Landfkip, where ^Phocion is 
 carry 'd out to be buried, of which Groupe my 
 Father has the Drawing. This Picture is ex-i 
 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 iort 
 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 
 ihould be, Generally ipeaking, they muft be 
 Suitable, and only Subfervient to the Land- 
 fkip, to Enrich, or Animate it; Otherwiie the 
 Picture lofes its Denomination, it becomes Hi' 
 ftory, a Battei-piece, &c. or at lead 'tis of an 
 Equivocal kind. This fort of Painting is like 
 Paftoral in Poetry; and of all the Land (kip- 
 Painters Claude Lorrain has the moil Beauti- 
 ful 
 

 ( i«7 ) 
 
 ftd, and Pleafing Ideas ; the moil Rural, and 
 of our own Times. Titian has a Style more 
 Noble. So has Nicolas PouJJin, and the Land- 
 fkips of the Latter are ufually Antique, and is 
 feen by the Buildings, and Figures. Go/par's 
 Figures are Such, otherwife he has a Mixture 
 of Nicolas, and Claude. Salvator Rofa has 
 generally chofen to reprefent 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 Mailers are Excellent in their Seve- 
 ral Kinds, but I think TouJJin has fometimes 
 Err'd in the Figures he has put into his Land- 
 i fkips, as in two of thofe I have mention'd ; 
 the Man flying from the Serpent, and the Fu- 
 neral of Thocion ; the One an Accident, the 
 Other a Hiftory : in Neither the Scene agrees 
 with the Actors ; for the Subjects in Both are 
 . Grave, Dreadful, or Solemn; but the Land- 
 fkips are Gay, and Riant ; Thus the Mind is 
 diftra&ed with contrary Sentiments ; One can- 
 not have the Delight which a Beautiful Repre- 
 sentation of the Countrey naturally gives, 
 when one fees at the Same time what awa- 
 
 ■ kens Other kind of Thoughts ; as one is in- 
 terrupted in thofe Serious Reflections by the 
 
 i Gayety, and Beauty of the Landlkip. Befides 
 * the Figures are too confiderable for Landfkips, 
 i as the Landfkips are if the Pictures are to be 
 
 ■ confider'd as Fliflorical. Let the Figures, or 
 ! theLandfkip be apparently Principal; but two 
 : contending Powers of Equal Confideration 
 
 in 
 
( i88 ) 
 
 in a Picture, as well as in a State, Will create 
 Difturbance, andConfufion. 
 
 There is a Set of eight large Prints ofTouf- 
 Jin's Landfkips, amongfl: which are the two I 
 have been fpeaking of, and the Pictures are 
 There laid to be in the Gallery of the Louvre. 
 'Tis not unufiial for a Matter to repeat his 
 Works : 'Poujfin may perhaps have done it in 
 Thele Inftances, as well as in fome Others. 
 pit to. The Sacraments ; in which there is much 
 
 Variety, as to their Manner ; Some of them 
 have at firfl Sight a great Air of Copies, O- 
 thers are much better Painted. None of them 
 are well ColourM, tho' Some better than O- 
 thers ; without doubt they were Raw at firfl : 
 They are in General Laborioufly done. But 
 what makes amends for all their Defects is, 
 they are finely Thought, and the Expreflion 
 throughout Admirable ; in which reflects I 
 think they are better than thole the Regent 
 has, and confequently are preferrable to His, 
 whatever Difadvantage they may Otherwife 
 have in theComparifon. 
 
 TheBaptifm has no good Clair-ObfcureJ 
 but is remarkable for the Expreflions of Sur- 
 prize, and Devotion upon the Sight of the 
 Dove. 
 
 The Communion, or LeB'tftern'tum^ 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 fo. 
 
 That of Marriage; and 
 
 That of Extreme Unction, are chiefly re- 
 markable for the fine Airs, 
 
 That 
 

 
 ( i*9) 
 
 That of Confirmation is bell Painted of s 
 them all ; there is a Bold Pencil feen, and bet- 
 ter Colouring than in any other of them. 
 
 Here is a Copy of thzNozze Aldobrandi Ditto. 
 alfo done by Ton/fin, 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 faid Here to be an Original. I have 
 ifeen another of thefe Copies atBruJfels. 
 
 The Palace Savelli. 
 
 This was the mod ancient Family in Rome, 
 Horace calls it ancient. Extinct 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 ^Palace Colonna. 
 
 The Gallery for the Structure, Elegance, 
 and Antique Pillars, the moil Magnificent, 
 and moil Famous in Rome. 
 
 A Peil, about a Yard long, and not quite P°»ff in ° 
 fo much high : Finely Colour'd, and Painted. 
 My Father has a finiih'd Drawing (Original ) 
 of the Principal Groupe. 
 
 Several other Pictures of Good Mailers, ciaxde Lor a- 
 
 nefe, Gaffer 
 
 The Church of St. Carlo Catinari. Poti $ n > &c - 
 
 The firfl Altar on the Right-hand of the Lan f rt 
 i Marquis Cojiagtiti has the Annunciation by 
 Lanfranco. My Father has the Drawing. 
 
 The 
 
 franc. 
 
( J 9° ) 
 
 The Church of St. Gregorio. 
 
 AnnibaU. The Biihop at Prayers. (St. Gregory.) The 
 
 Duke oiDevonjhire has the Drawing. 
 
 Palazzo Spada. 
 
 In the Gallery. 
 
 An. dd sarto. The Salutation of SS. Mary and Elizabeth, 
 a Finifh'd Sketch, the fame Defign as that 
 Painted in the Scalzo in Florence, only This 
 is in Colours, about a Yard long. 
 
 cmdo. Cardinal Belardino Spada ; Whole-length, 
 
 Sitting. TheC/^ir^O^/a/r^inPerfedion; the 
 Face is Evidently the Principal, the Light de- 
 icends gradually, and fweetly fpreads it felf 
 throughout; for all is Light, and Gay; but 
 with iiich 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 Gnido great- 
 ly delighted in. The Fleih is Warm, and the 
 Colouring Clean, and Tranfparent. No Hair 
 is feen, he has aRedCap,and the Drapery Ex- 
 quifitely Painted, 'tis a Cardinal's Summer 
 Drefs, Crrmfon Sattin, and the Rochet mows 
 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 tum'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 realbn. 
 
 The Death ofDtdo, ihe is fallen on the 
 Ground, and the Sword comes above a Yard 
 
 through 
 
 Cuerciao. 
 
( i9* ) 
 
 ;hrough her Body ; the ExprefTion is Tome-* 
 hing Savage, and Outre ', but withal very 
 :ouching ; the Picture is bigger than the Life. 
 Tis in a Strong, Black manner, as almoft all 
 -lis are ; particularly the St. Tetronella at 
 St. Teters. In this Piclure is a Man drefs'd like 
 me of the Swiffes of the Pope's Guard. 
 
 The Statue ofTompey as big again as the Antique. 
 Ufe, holding a Globe in One hand, and the O- 
 |iher ftretch'd out as making aSpeech; 'tisExcel- 
 ent ; and moreover, 'tis the very Statue at the 
 bot of which Julius Qtefar fell, and is the On- 
 y one in Rome of this Great Man, and found 
 In the time oi Julius .III. in the Ruins of the 
 ^phceTlutarch has defcrib'd. 
 
 On the Houfe caWd il Mafchera d'Oro, and 
 that ofBdloni 
 
 Is painted the Rape of the Sabins (of part Poiidore. 
 pf which my Father has two feveral Draw- 
 ings) pretty well preferv'd, except that part 
 pf the Wall is broke juft under the Window. 
 There was another Story which is now quite 
 rain'd; 'twas divided from this by the Cato 
 i 'painted as a Bronze, of which my Lord So- 
 wers had the Drawing.) Here is alfo the fa- 
 mous Frizes of the Apollo, and Niobe, and 
 me Mutius Scavola (of which lafl I think 
 -my Father has the Drawing, Capital) but as 
 they are almoll: gone, part is plaifter'd over 
 again, I cannot be very positive 'tis the Same. 
 Thefe were painted on the Outfide Walls in 
 Chiaro-fcuro. The Houfes are not Contigu- 
 ous, but Oppofite to each other, 
 J.. 4 Villa 
 
( w ) 
 
 Villa Palombara, heretofore the Villa of 
 Mecsenas. 
 
 The fine Trunk of Apollo the fame as thai 
 of Black Hone in the Gallery Famefe. Lately 
 dug up. As big as the Life. 
 
 Palace Ottoboni. 
 
 In the Chancellery is a Bull in Touch-ftone 
 of Vefpafian ; very Fine, and 
 
 Hercules Famefe, 1 4 foot, Antique : Ad- 
 mirable ! 
 
 Nothing elfe Here, whether Statues, or Pic- 
 tures very confiderable. 
 
 St. Marino ; in the 'Dome. 
 Gutrt'mo. Flaying St. Bart ho I. one of his Beft. 
 
 In the Forum Nerva?. 
 
 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 'Paolo decollato alle 3 Fontane. 
 
 Guide. St. Peter with his Head downwards, re- 
 
 markable particularly for the Swing the Figure 
 has; and withall for thofe other Circumitan- 
 ces Natural to a Body in that Uneafy Atti- 
 tude. Thefe together with the Darknefs ol 
 the Picture give it a fine ExpreiTion. This 
 was done whenGtizdo was Young; and drag- 
 gling for Reputation againft Caravaggio who 
 then bore down all before him 5 infomuch 
 
 thai 
 
( r P3 ) 
 
 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 considerable Ad- 
 vantage, not only in Rome, but in France, 
 Holland, and England. FelJlnaTittr. torn. 
 
 2.. 21. 
 
 The VATICAN. 
 
 > When I enter'd the Gates of Rome I found 
 my felf at the utmoft of my Wifhes, as to the 
 ^Places I was to fee in this World; the Vati- 
 can is That to Rome, vinidhRome is to all the 
 World befides. 
 
 For Here are the Mofl, and the moft Cele- 
 brated Works ofRaffaele, the Apollo of Paint- 
 ing. Here it maybe faid was Raffaele's Paint- 
 ing-Room: Here he Began at his firft 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 calPd leLogie di Raf- 
 r aele, are a Suite of Four Rooms, Beginning 
 'vith the Hall of Qonftantine , and Ending 
 : vith that call'd the Chamber of the Signa- 
 ture. Thele have been defcrib'd by Vafari, 
 Filibien, and others, but efpecially by Bello- 
 'i, who has been very Particular, and to my 
 :ertain Knowledge veryExacl:, for I read him 
 ipon the Spot, and compar'd his Defcription, 
 vith the Things themfelves, which therefore 
 av'd me the Pains of taking Notes, as Ifhould 
 
 O other- 
 
( i94 ) 
 
 otherwife have done, His Book being to me 
 inftead of Such, io far as it goes ; by the help 
 of which therefore I mall delcribe thefe Cele- 
 brated Works in my Own way. 
 
 The Vatican is a Vail Palace, and very Ir- 
 regular: Part of it is very Ancient, Other 
 part Built, or Repaired in Later Times : Much 
 of the Furniture that was there in the Days of 
 JulmsW. andZy^X. remains dill. There are 
 Paintings by feveral of the Old Mailers, and 
 Some by Raffaele, or his Scholars, befides 
 thole in the Rooms I am about to lpeak of 
 
 One mounts up to thele by a Stair-Cale 
 which is Circular ; the Stairs are of Brick, and 
 of Co Eafy an Afcent, that a Horle might al- 
 molt 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 iliall lpeak in their turn. 
 
 The * Pope has chang'd his Relidence foi 
 about 1 1 Years pall ; and probably this Pa- 
 lace will not be the Habitation of future Popes 
 it being neither fo Commodious, nor in fc 
 good an Air as Monte Cavallo, where he nou 
 relides. I was lurpriz'd to find the Painters 
 and Lovers leem to have forlaken this Plac< 
 as well as the Pope; for tho'I was here abou 
 20 times, and often llaid Long, I never lav 
 any Creature (befides the Servant that let mi 
 into the Lodgings, and always attended me 
 but Once a Painter that was making a Wretch 
 ed Copy of the Battel oiConjiantine. 
 
 * This was writ before the Death of Clement XI. 
 
 Th 
 
( i9J ) 
 
 The Rooms are weil Shap'd, and the Ceil- 
 ings of a good Height, the Hall oiConftan- 
 tine is the LargeiT, and has the Highefl Ceil- 
 ing: This alio is by much the Lighted, for 
 the reft are Dark, all Three pretty Near, or 
 probably Exactly of the Same Dimensions * 
 but the Windows (on the Iniide at leafl) jet 
 aut from the Room with Seats round them, 
 is if they were fo many fmall Apartments, 
 Thefe Windows are divided into Little parts 
 with Thick Frames, and thofe Divifions Glaz'd 
 vvith little Quarrels ( as I think they ufe to 
 
 u tall thofe fmall Pieces of Glafs in Old-fafhion'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 {landing ofF from the Superficies 
 as the Rafters of a Cottage cover'd only a-top 
 
 e ; 'with the Floor of the Room over Head, from 
 'whence the Hint was undoubtedly taken for 
 thefe fort of Ceilings, commonly feen in Old 
 
 11 'Noble Buildings. 
 
 All the Paintings in thefe Apartments are 
 not of Raffaele: the Chamber of the Signa- 
 ture had been Begun by Others, but whatThey 
 had done was Now DemolihYd by the Pope's 
 
 [ ' Order, Except a Part of the Ceiling whichRaf- 
 
 11 ^/^Preferv'd. The Hall of Confiantine was 
 
 * : ^Painted after his Death byGiulio Romano^nd 
 Francifco^Pennii call'd il Fat tore di Raf- 
 faele , tho' by the Defigns which were made 
 
 ' by their Great Mailer, for the Principal Pi- 
 ctures There, if not for the Whole Work : 
 
 O 2, And 
 
( 19<J ) 
 
 AndThefe, and Others of hisDifciples paint- 
 ed the Little Hiftories, and Ornaments, and 
 probably Afiifted in the Large Pictures in tho 
 Rooms that were flniih'd in his Life-time. 
 
 Raffaele 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 1 5-08, (He was then 25" Years Old) and he 
 Dy'din 15*10 ; fo that he was at leaf! 12 Years 
 about Theie Works: tho' he did many Others 
 alfo in That time, as well in Architecture, as 
 in Painting. 
 
 On the fides of the three Rooms are the 
 Large Pictures , which with a fort of Frame, 
 or Ornament in Old-fafhion'd Work us'd in 
 that time, and is a little upon a Got hick Tafte, 
 reach up to the Ceiling, and down to about 
 the height of a Tall Man; the reft to the 
 Ground is Divided by Car tat ides in a Brown 
 Colour, between which are little Hiftories, as 
 Bas-Reliefs painted in C lair-Ob fear e upon 
 aYellowifh 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 oiConftantine 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 
 purpofe, on which one fits Commodioully to 
 
 lelfina Pittrice. P. 2. p. 45;. 
 
 obferv 
 
( *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- 
 deral Rooms of a Like Form, or Dimenfion, 
 Tome are Larger than Others ; mofl of them 
 Arch'd a-top, and lome being over Windows, 
 |md coming down on each fide make a Shape 
 Accordingly. 
 
 The Different Pofitions of thefe Works 
 make a like Difference in the Advantage of 
 feeing them ; Some are feen in a Good Light, 
 aut That is only in the Hall oiQonftantine; 
 All the other three Rooms are too Dark, and 
 ieven of thofe Pictures that are the Beit feen, 
 :he Ends are more obfcur'd than the Middle, 
 ::heReft are feen, Some withWindows glaring 
 ( n your Eyes, and which you cannot Always, 
 )r Wholly remedy, and Some are in fuchDark 
 places that they mufl needs have been paint- 
 ed by Candle-light, or the Windows Were not 
 is they Are Now. 
 
 The Colouring in General is Blackifh, and 
 Oifagreeable ; whether 'twas fb at Firft, or 
 ^hang'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 
 vhich makes thefe FamousWorks appear with 
 Lefs Advantage than Otherwife they would 
 lave done, and that is a General want of Har- 
 mony, not only in the Pictures themfelves, 
 
 O 3 but 
 
( *9« ) 
 
 but in the whole Rooms, being too much 
 Crowded ; the LefTer Works Embarafs the 
 Greater, which would have fhewn themfelves 
 Better had there been no Other ; and the Eye 
 bounded, and kept to Thefe by Frames that 
 had only lerv'd for that purpofe, and not fuch 
 as to Allure, orDiftracT: 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 Pictures done by Raf- 
 faele himfelf, by comparing them with thofe 
 of Him at Hampton-Court : Here is that 
 Greamefs 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 Circumflances I have 
 been remarking ; the want of Harmony, the 
 Difadvantageous Pofitions, theDarkneis, and 
 not a Little to the Got hick Old-fafhion'd Place, 
 and That Heightened by its being Uninhabi- 
 ted, and Unfrequented, which together with 
 the Reft ipreads a fort of Melancholy Air 
 throughout, Eipecially in the Rooms painted 
 by Raffaele Himielf, which (aslfaid) want 
 Light extremely. 
 
 As to their Prefer vation,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 Perceived without one Looks for 
 it with Care. 
 
 The Room flrft Painted was the Chamber 
 of the Signature. 
 
 The 
 
( 1 99 ) 
 
 The General Defign of the Paintings of 
 This Room is to dilplay the Power of the 
 Human Mind, capable by the Divine Alii- 
 fiance, Ordinary, or Extraordinary, to attain 
 the Nobleft Sciences, Divinity, Philofophy, 
 (Moral, and Natural) Civil Law, and Poetry, 
 which are reprelented 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 Amfted in the Conduct of it: And 
 confidering the Time, Place, and Subject, 'tis 
 exceeding Probable he was More under Dire- 
 ction than Painters commonly are; and more 
 than would have been Necenary to Him in 
 moll Other Cafes. Nor was This Afliftance, 
 or Direction Impos'd upon him Altogether, 
 He Himfelf Defir'd it, at Leaft Some of it. 
 
 ; He apply'd himfelf to Painting from his In- 
 fancy ; and fb Diligently as not to leave Time 
 for fb much Reading as in fiich Subjects as 
 
 : Thefe was Neceflary. A Friend of mine has 
 feen (in the Hands of Cav.Tozzo at Rome, 
 about 2^ Years ago) an Original Letter of 
 Raffaele to Ariofto,xk\z Bufinefs of which was 
 to deflre his Help in the Picture of Theology, 
 as to the Characters of the Perfons that were 
 
 , to be introduc'd, their Countreys, or whate- 
 ver Other Particularities related to them in. 
 order to reprefentThem feverally as Perfect- 
 
 . ly as poflible, and as they Ought to be repre- 
 fented. 
 
 O 4 But 
 
( lOO ) 
 
 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 felf 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 ; confequently in Thofe, 
 we know not Who is Applauded, or Combat- 
 ed. But if That part which one may Reafon- 
 ably judge to be His in thefe 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 AfTiftants, 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- 
 noiffeurs are not fufficiently Careful toDiftin- 
 guiih between the Times, and Kinds of Work 
 of a Matter. We have a great Idea of Mich. 
 Angelo (for example) but ib great a one does 
 not belong to him when 20, as at 5*0, or when 
 he Painted, as when he cut a Statue : That 
 Great Idea which we have of him from his Befl 
 Works muft not be carry'd along with us 
 Throughout, and apply 'd to All he did. He 
 is fo many Different Men in thefe Different 
 Views; and you may AttzckMAngelo, with- 
 out Attacking the Great Mafler. Thus if when 
 I was fpeaking of the Galatea in the Lupgara, 
 
 (P a S- 
 
( »oi ) 
 
 (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 
 ihe painted the Cartons ; fo much had thofe 
 few Years that Interven'd Chang'd the Man. 
 And I mould have been Juflify'd in my Cen- 
 (ure by the Authority of Mich. Angelo who 
 (aid the fame thing, (would to God I could 
 fay it as He did !) When He, with all Rome, 
 :ame to fee that Picture when 'twas firft O- 
 3en'd, He only drew that fine Head of the 
 Faunus upon the Wall fo much Bigger than the 
 Life. Which Language Raffaele understood fb 
 veil, as it put a Stop to his Labours There. 
 
 This Account of That Matter I have heard 
 ince I wrote That, which was Then the On- 
 y Reafbn I knew to have been given for the 
 kre Walls in the Remaining part of That 
 loom (as it Now is, tho' 'twas formerly more 
 >pen to the Air) and This being Probably the 
 teft, I have taken This Opportunity to inlert 
 t : Both however do Juflice to Raffaele as a 
 vlodeft Man ; and Both might have been True 
 leafbns whether he gave anymore than One 
 »f them to thePublick, or Not. 
 
 I muft premife One thing more concerning 
 
 Ay Remarks on thefe Pictures, which is That 
 
 s Raffaele wanted the Affiflance of Thofe 
 
 hat had More Learning than Himfelf in the 
 
 . Minting of them, fo do I inConfidering them. 
 
 pretend therefore to give Only Some Hints 
 vhich Others Better qualify'd may pleafe to 
 aake Ufe of (if they find them of Any) to- 
 wards a more Accurate Examination of thefe 
 Celebrated Works. Our 
 
( i01 ) 
 
 Our Writers differ upon the Queftion as to 
 the Picture Raffaele Began withal : Vafari, 
 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 Stiffhefs in the Difpofition 
 of the Figures, and which alfo favours of Go- 
 thicijm^ and is mor« than is to be found in a- 
 ny of the Other Pictures, as indeed the whole 
 is in a Style Inferior to what he did After- 
 wards, as ihall 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 
 mod remarkable ProfefTors of it. This more- 
 over is a kind of Local Syftem of the Chri- 
 flian Religion ; and in That refpedt, and be- 
 caufe the Principal Figures are fb vaftly Supe- 
 rior in Dignity to all the others, as is alfo the 
 Subject itfelf, it might have been the Nobleft 
 of all thole 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 lome time longer : 'tis 
 however a very magnificent one. 
 
 The Eternal Father is reprefented as prefi- 
 ding over the Univerfe: This is not quite a 
 
 Half 
 
( 20 3 ) 
 Half Figure, plac'd Fore-right upon the top 
 of an Arch which is over the Chrift, 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 manifeilly, and 
 That as exercis'd with great Benignity ; his 
 Head reclines a little, and with Open Arms 
 she feems ready to receive the Supplications of 
 all Mankind: But his letting his Foot (Ibme- 
 ; thing rais'd) upon a Cloud, and juft as it were 
 upon the HolyDove,has ibmething Choquing, 
 iand that Reprefentation of the Third Perfon 
 of the Trinity does not ftrike the Eye in Such 
 iia 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 Raffaele feems 
 not to have had any Thought like This, for 
 even the Four Gofpels which are yet Nearer, 
 i 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 
 I Spirit as here represented. 
 \ - OntheRighthandoftheC6ri/?isthebleiTed 
 : Virgin in an Adoring, Supplicating Pollure, 
 and addrefling herfelf wholly to Him ; The 
 Mediatorfhip feems to belong to her, as the 
 Regency does to her Son 5 but very little re- 
 gard 
 
 
( 20 4 ) 
 gard is fliewn to the Father by any of the Or- 
 dersof Angels, (of both kinds) Saints, or Men, 
 the Firft in Clouds on each lide of the Upper 
 part of the Picture, the Second Order on like 
 Clouds on each fide about the Middle ; One of 
 the Old, and one of the New Teftament 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 Archwife, 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 the Picture, fo that This Laft 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 Perlbns 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 Pidhire ; that is, thefe threeRows 
 are fb many Semicircles plac'd Horizontally ; 
 jeen in Perfpective, and cut in the Middle by a 
 Perpendicular. 
 
 On the Left hand of the Son of God is feated 
 St. John Baft ifl. I cannot imagine why that 
 Preheminece is here given to him, who is e- 
 qually Confpicuoufly plac'd with the Virgin- 
 Mother : if the ftrange Regularity which is 
 feen in this Picture mull: be continued through- 
 out (for the Virgin, xhzChrijl, and this Saint, 
 make the Bale of a Triangle which the Father 
 compleates) one would have thought St.Teter 
 fhould have been preferr'd, but he is remov'd 
 
 to 
 

 ( 20J ) 
 
 to the very Extremity of the Pi&ure in the row 
 of Saints of both Teftaments, and is feated next 
 to Adam, He to St. John the Evangelift, &c. 
 as St. Paul is in the extreamity on the Other 
 fide next to Abraham, &c. only This Prefe- 
 rence is given to St. 'Peter, he is on the Right 
 fide ; but as I faid as Remote as poflible from 
 the Principal Group in the Centre. 
 
 The Doctrines of the Trinity, Incarnation, 
 and Mediatorihip, being thus exprefs'd, that 
 of the Crucifixion of our Lord is noted by the 
 
 1 Wounds appearing in his Body, the Glorifica- 
 tion of which implies his Refurrection ; and 
 
 •: the Saints on the Clouds a Future State. There 
 
 • remains only the Euchariftical Prefence in the 
 Church tocompleattheSyflem, which accor- 
 ding to Their Doctrine of Tranfiibftantiation, 
 is exprefs'd by the Hoft in the Golden Often- 
 forio on the Altar. 
 
 The lower Order of Figures coniifts of Di- 
 vines, and others ; 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- 
 
 1 templating, Writing, Dictating, Difcourfing, 
 and two or three adoring the Hoft. 
 
 Amongft thofe of this Lower Order is 
 Dante the Poet, Bellori lays He is plac'd 
 
 '■ with the Divines, as having in his Poem de- 
 
 ' fcrib'd Hell, Purgatory y and Heaven. 'Don 
 !$uevedo had he been Then, might as well 
 
 1 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 
 
 well 
 
( zo6 ) 
 
 well asEcclefiafticks,and Without any Name, 
 or Particular Character, as well as With fuch, 
 'Dante's Face, he being a Favourite Writer, is 
 put to one ofThefe. Thus, but not Othervvife 
 is Raffaele to be juflify'd in this Affair. 
 
 I wifh I could as Eafily get over Another 
 Objection to this Picture, and that is with rela- 
 tion to the Management of the Light. The 
 Holy Trinity is here reprefented, the Three 
 Perfons feverally, Each of them furrounded 
 with his Own peculiar Glory ; but they receive 
 no Light fromThence Themfelves, nor do they 
 communicate Any to the Other Figures in the 
 Picture, not even to the moll: Contiguous ; All 
 partake of the Common Day-Light juft as if 
 none of that Brightnels had proceeded from 
 thole Sacred Perlons. 
 
 'Tis very Choquing to fee a Figure all in 
 Glory, and Another juft by it fhadow'd on 
 That ftdc, 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 maybe 
 Thought that had thisLight been made to have 
 had its Natural Effect:, it would have created a 
 Confufion in the Picture, and fuch as would 
 have been a Greater Evil than what was a- 
 voided by fb doing : If This were the Cafe 
 'twas certainly well judg'd to make it as it is, 
 it would be Then a Beauty, not a Fault. But 
 I believe with a much LefTer Licence than is 
 Here taken, the Light might have been fpread 
 as Advantagioufly upon All the Figures as it 
 Now is, and have proceeded from that part 
 £ from 
 
( 2 °7 ) 
 
 from whence it would Naturally come : nay 
 I will venture to fay farther, that it would 
 Thus have had a Better EfTed than it Now 
 has ; befides that it would have given a great- 
 er Dignity to Thefe Reprefentations. 
 
 The Three Perfbns of the Trinity are All 
 Near each other, and would have made One 
 United Light ; and Thefe Figures being Paint- 
 ed with Tender Shadows only, and their Com- 
 mon Glory DifTus'd on Each Side, and Below, 
 Diminifhing gradually as the Obj e£ts on which 
 it ftruck were Remov'd from It towards the 
 Extremities of the Picture would have had a 
 .ovely EffecT:; efpecially flnce the Subordi- 
 nate Figures have that Semicircular Form, and 
 are fo Plac'd as has been Noted ; for Thus not 
 only That Light would have gone ofT, aslfaid 
 towards the Outfides of the Picture, but all 
 thofe Figures which in thofe Semicircles are 
 Behind the Perpendicular, or in the Middle, 
 would have been in Full Light indeed, but 
 ThatWeaken'd by theDiftance as They Seve- 
 rally have, and fo as to make a Fine piece of 
 Aerial Perfpeclive. This alfo would haveDe- 
 tach'd the Principal Figures from all the Reft, 
 and have occafion'd a fine Subordination in 
 the Whole, and with That a moil: Beautiful 
 Harmony. What I have Advanc'd will be bet- 
 ter comprehended by confidering It together 
 with the Print. 
 
 Tho' this Picture is commonly call'd the 
 Difpute of the Sacrament, Here is no appea- 
 rance of any fuch thing ; the Divines and Ci- 
 thers are employ'd as Men of their feveral 
 
 Characlrers 
 
( 2 ° 8 ) 
 
 Characters mud be fuppos'd to be if there was 
 no Controverfy intended to be reprefented. 
 
 The Doctrine of the Real Presence is of fo 
 Sublime a Nature, and indeed the higheft 
 Stretch that ever was made by Man in the Af- 
 fair of Religion 5 that 'tis no wonder KiRaffaele 
 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 Difpu- 
 table,or to luppofe that any of the Perlbnages 
 Here introduc'd ever Doubted of the Truth 
 of this Doctrine ; Nor were the Oppofers of 
 it at That time Confiderable enough to be Thus 
 taken notice of by the Court of Rome; for 
 This Picture was done fome Years before the 
 Reformation was begun by Luther, who ap- 
 pear'd not 'till in the Pontificate of Leo X. 
 the Succ efTor of Julius II. in whole time this 
 was Painted. 
 
 This therefore was never intended by Raf 
 faele when he defign'd this Picture ; but a 
 Senle put upon it afterwards when that Con- 
 troverfy 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 fuppos'd to be 
 theOccafion of it. 
 
 The Bufmels of this Picture is to let 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 
 
( *°s> ) 
 
 Lively Reprefentations , and by Expreffions 
 Juft, and Strong; and all with that Grace and- 
 Noblenefs of Style peculiar to Rajfaele^ but 
 j in what degree I have obferved already. 
 
 The nextPiciure in Dignity, and which Va- 
 fari lays 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 
 iSublime kind. The Thought of Raffae/e, as 
 .Obvious as it is, has been Shamefully miftaken 
 byF'a/ar?) who has imagin'd it to be the A- 
 jgreement of Philofophy and Aftrology, with 
 ^Divinity ; and that there were Evangelifts* 
 jyand Angels, and I know not what, which he 
 ildefcribes with great Pomp, and Applaufe, 
 } ThomaJyn who has Retouch'd the Plate done 
 'by Giorgio Mantovano has given a formal Ac- 
 count of it, as of St. ^Paul difputing with the 
 Epicureans and Stoic ks ; and has put Glories 
 about the Heads ofF/ato, and Ariftotle, iup- 
 pofing thefe Figures to be Apoftles. This is 
 i an Addition of his Own, for 'twas not in the 
 Plate Originally, as there is no fuch thing in 
 I the Picture; which is evidently that of Phi- 
 lofophy, Moral, and Natural, reprefented by 
 jtheTeachers, and Learners of thofe Sciences, 
 in Attitudes, and Employments to exprefs 
 their fe veral Characters ; and where Afliftance 
 •could be had from Medals, Intagliaes, Statues, 
 or Buds, there Raffaele has given us the Re- 
 semblances of thePerfons ; for the reft he has 
 Imagin'd them, or put the Faces of Other Per- 
 fans then living, as of his Friend and Patron 
 
 P Bramante 
 
( 1IQ ) 
 
 Bramante for Archimedes , of the Dukes of 
 Urbiv, and Mantua for Scholars ; at leaft ib 
 'tis faid, he has brought Himielf in as one of 
 the Latter fort, and amongft the Mathemati- 
 cians, and very Modeftly in the very Extre- 
 mity of the Picture. 
 
 Raffaele was the befr. 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 fiich) of an AiTembly 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 poflefTed by the Ancients, 
 could exprefs that Dignity, Wifdom, 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 he was 
 out of his Depth, the Blame ought to be plac'd 
 to Their Account under whole Direction he 
 was, or who Ought to have A/lifted him. 
 
 Next theBafe of the Picture is a Pavement, 
 whence arife four Steps, upon which is rais'd 
 a Magnificent Building, confiding of three 
 Arches one behind another like Scenes : Jufl: 
 Under the hithermoft of which Arches,andin 
 the Middle of the Picture, (land 'T/ato, and A- 
 riftotle\ and on each fide of them their Dif- 
 ciples ; onlv on the Right, (T'lato's fide) is 
 Socrates Reafoning with Alcibiades,and two, 
 or three Others attending. On the Second 
 Step, and a little to the Left of the Picture, 
 but veryConfpicuous fits 'Diogenes, and one 
 
 Figure 
 
( ti\ ) 
 
 Figure is juft by him Mounting from that Srep 
 to the next as going to thofe above, Another 
 is Defending. On the Pavement below, and 
 on the Right fide isPythagoras with his Dif- 
 ciples,a large Group e that reaches to the mid- 
 dle of the Picture ; Another lefler Groiifie of 
 Figures is on the other fide, where is Archi- 
 medes? with his CompafTes forming a Figure 
 on a Tablet on the Ground, Zoroafires, and 
 another, He with the Terrefirial, the Other 
 with the Celeflial Globe : Thefe alfo have 
 their Difciples. 
 
 The Statues of Apollo, and Minerva, and 
 the Bas-reliefs which are feen in the Build- 
 ing, &c. Uluftrate, and Explain the Subject of 
 the Picture, as they refer to Moral Philofo- 
 phy, Arts, and Sciences. 
 
 Plato was always efteem'd by the Chrifti- 
 ans as one whofe Notions agree with Theirs, 
 more than thofe of any other of the Heathens 
 as to Divine Things, and he has the Principal 
 Place ; Ariftotle has the Next being Then, 
 and for fome Ages in the greateft Efteem. So- 
 crates is a Beautiful Character, and is nobly 
 Employed in Reclaiming a Fine Gentleman , 
 and conducting him into the Paths of Virtue, 
 and he is Juflly placed very Confpicuoufly. 
 Pythagoras alio is where he Ought, and with 
 proper Dignity. AsUiogenes is well known, 
 he is plac'd in full View ; and with equal Judg- 
 ment RafFae le has fluncr him uoon the Steos. 
 Hti Dreis, and Air is moreover very Cynical. 
 The Looks, andBebaviour oftheDifciples of 
 Archimedes ihew the Wonders, andDemon- 
 
 P z ftrations 
 
( m ) 
 
 flrations of theMathematicks, for they feera 
 to Admire, but to be Satisfy'd. The My- 
 fterious, and Surprizing Doctrines of Tytha- 
 gorasare feen by the greatThoughtfulnefs of 
 thofe that attend to him ; Even the Manner 
 of the Reafoning of Socrates isExprels'd ; he 
 holds the Fore-finger of his Left-hand between 
 that, and the Thumb of his Righr,and feemsas 
 if he was faying, You grant me This, and 
 This; and T/ato points to Heaven, which 
 4hews his Character. An Old Decrepid 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 Ihew that none are too Old, 
 or too Young to Learn. 
 
 Thefe, and perhaps many More, (befides 
 thofe comprehended in the General Character 
 of thefe Works already given, and which eve- 
 ryone knows mud be found in what Raffaele 
 did) are the Beauties of this Picture. I wifh I 
 could here finiJh my Remarks upon it, or go 
 on in the fame way ; but ibmething alfb muft 
 be laid on the Other hand : That the Books 
 throughout are of the Modern Form, not 
 Rolls, except in one Inflance, is of no great 
 Confequence, tho' 'tis Wrong ; the Ancients 
 having no fuch. Nor is it to be efleem'd a 
 Fault either in Raffaele, or thofe that Direct- 
 ed him that Zoroafires is reprefented as a King, 
 'twas the Opinion of that Time : Neither do I 
 object againft his having a Terreftrial Globe, 
 'tis a fort of Liberty, but being a Man of Ge- 
 neral Knowledge, as well as the.Rcftorer of 
 
 the 
 
. (»3 ) 
 
 the Seel of the Magians, (tho* That was his 
 Chief Character) he might be introdue'dto 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 
 Zoroaftres ; for my Father has his Study for 
 That, and fbme other Figures in this Picture, 
 and he has given fbme 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 Epicureans, and the Stoic&s, 
 two fuch very confiderable Sects in Philofo- 
 phy. Here are about Threefcore Figures, of 
 i which but Seven only are Principal ones : 
 Tlato,Ariftotle, Socrates, TliogenesSPytha- 
 goras, Zoroaftres, and Archimedes-, or if you 
 pleafe let Alcibiades make an Eighth, for the 
 great part he has in Expreiling Moral Philo- 
 fophy, the Chief of the two Branches of which 
 the Whole confuts: All the reft are Difciples 
 only, and without any particular Character : 
 Here was Room, and Opportunity to reprc- 
 fent thofe two great Sects, and to do this far- 
 ther Juftice to them ; to ihew 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 Water : And Cato, as Lu- 
 can has delcrib'd him 
 
 Bearing his Arms in his OizmT atient Hand 
 
 would have mads a Noble Figure, with Labie- 
 
 P 3 nus 
 
( "4 ) 
 
 nus afking him to enquire of the Oracle what 
 fhould be the Fate of the Republick ; which 
 Story Monfieur St. Evremont prefers to any 
 thing in Homer y or Virgil. This great Stoick's 
 Aniwer is too long for me to inlert, and per- 
 haps 'twould be too much a DigreiTion, 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 tranflated by Mr. Row. 
 
 So /pake the Hero ; and to keep his Word, 
 Nor Ammo n, nor his Oracle explord; 
 But left the Crowd at Freedom to believe, 
 And take fitch Aufwers as the 'Prieft jhould 
 give. 
 
 After Divinity, which is to teach us the 
 Knowledge of the Supreme Good, and pro- 
 vides for our Happinefs, not only Here, but 
 throughout our whole Exiftence, that is for 
 Endiefs Ages ; and Phiiofbphy, which is to 
 Regulate our Paflions, andlnlarge our Under- 
 standings in the Prefent State, and fo to pro- 
 mote our Happinefs Here : After Thcfe comes 
 Poetry, whole Bufineis it is to Improve that 
 Happinefs, to add Delight to Inftru&ion, and 
 to Impregnate our Minds with the molt 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 aWeil-govern'd li- 
 berty of Invention, by the Elevation of her 
 Thoughts, and by a Style too Florid forProfe. 
 All the Images Divinity furniihes us with ought 
 to be EfkenYd True, whether they Seem to 
 
 be 
 
( *** ) 
 
 be So, or No : Thofe of Hiftory fliould 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. 
 
 Thti T)eefi, yet Clear, thti Gentle, yet not 
 'Dull, 
 
 Strong without Rage, without tier-flow- 
 ing Full. Denham. 
 
 This Picture (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 Difadvantagiouflyplac'd with re- 
 fpecl: 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. 
 
 Apollo fits j uft in the Middle upon c Parnafl 
 Jus, 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 ; Two 
 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- 
 iiand : In the remaining part the Poets are 
 plac'd, Some on the fame Line on Both fides 
 of Apollo, 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 
 
( II* ) 
 
 The Subject ofThis Picture being Different 
 from the reft in This Room, occafions a fine 
 Variety, and Contraft. The Divinity-Picture 
 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, &c. 
 That of Philofophy has a Magnificent Build- 
 ing for the Scene of its Figures, who are 
 Grave as the Other, but not fb Awful, and 
 Sublime. This has a Hill, a Fountain, and 
 Trees, and is Peopled with a Fictitious Deity, 
 and Other Imaginary Beings, as well as with 
 Poets their Creators, and who are Eternally 
 Creating more flich Non-Entities. 
 
 I wiih however that This Difference in the 
 Subject had been farther confider'd than it Is; 
 and that all Here had been Graceful, Light, 
 and Gay; whereas the General Tinct of Co- 
 lour, and the Figures of this Picture are no 
 More fb than in the Others ; on the contrary, 
 they are rather Leis, and confequently Le/s 
 Agreeable, which is by no means the Chara- 
 cter of Poetry, or of the Perfons in This Pi- 
 cture. 
 
 And as in the Former Philofophy is Imper- 
 fectly represented, in This Poetry is fo, theE- 
 pic, and Lyric, and perhaps ibme Other kinds 
 of Writers in Poetry have Here their Repre- 
 fentatives; but either the Dramatic Poets are 
 Not here, or what is as bad, they are not Known 
 to be fo. 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 thofe of 
 
 . JEfchylus, 
 
(*I7) 
 
 Mfchylus? Sophocles? Euripides? Menander, 
 Terence?and others who had a better Title to 
 a place Here than feveral of thofe that are 
 luppos'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 aflign'd to reprefent O- 
 thers ; but as there is nothing to denote Who 
 is meant, the Picture lays only there was a 
 Homer? a Virgil? and mch Others as are Ap- 
 parently here; and that there were Several 
 more; without laying Who, orWhat they were. 
 It is only faying that Poetry confifts of the 
 Epic, Lyric, <§c. Which whoever ihould have 
 faid, and no More mull be confefs'd to have 
 Ipoken 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 ; fhe 
 might have had a fine Expreflion of a Lover 
 inDefpair for her 'Phaon? whereas here ihe is 
 a Tame Figure without Any Character, but 
 what her Name, and the Inftrument me holds 
 in her Hand gives her. 
 
 The reft of Thele we know by their being 
 Portraits, or by certain Circumftances, as Ho- 
 mer is Singing his own Immortal Verfes, and 
 a Young Man writing them down, which 
 ihows the Hiftory of their being Collected 
 
 into 
 
 
 
 )«1 
 
 r: 
 iff 
 
( **8 ) 
 
 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 , znd'Tindar; 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 Pindar, tho y he might have beenO- 
 therwife Indicated, and Better, 'Pindar is 
 known by the Regard Others have to him, 
 not by any Particularity which his Character 
 demanded ; 'tis a Figure that would have ferv'd 
 better for one of lefs Force, and Fire than he 
 was remarkable for. 
 
 Homer is very Conspicuous, as he ought to 
 be, and fo 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/^/r^/Zdoes 
 not make that Appearance which the place he 
 holds amongft the Poets requires. He may 
 however have the Confolation 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 leems in Rap- 
 tures upon hearing it, but very little regard is 
 had to him by any of the Poets, only Virgil 
 feems to direct 'Dante to attend. Bellorifoys 
 he has heard This Inftrument was put into 
 the Hands of the God to complement a Mufi- 
 cian at that time much Efleem'd ; admitting 
 this to be true, I fear the Excufe is not Suffi- 
 cient. 
 
 The 
 
( "9 ) 
 
 The Place in which Apollo fits is indeed the 
 Proper one, the Middle of the Picture, and the 
 moll Confpicuous ; but he is not Sufficiently 
 diftinguifh'd from theMufes as he Might have 
 been by Standing, in an Attitude as fome of 
 the Antique Statues reprefent him. Nor is 
 there a due Diftance obferv'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 donbtlels 
 made Since this Picture, and perhaps fome 
 Years ; whether from fomeFormer Defign,or 
 that This was afterwards Corrected by Raffa- 
 ele,is hard to determine, tho y Be lloriis of the 
 |Firfl Opinion : But Some of the Faults of the 
 Picture are not in the Print; particularly A- 
 pollo Here has his Lyre, and thatGroupe 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 
 i one fees in it, which alfo mud be laid of the 
 Pi&ure. Neverthelefs the Other Defects in 
 That, which I have taken theLiberty to men- 
 tion are far from being repair 'd in This ; Poe- 
 try is not Truly reprefented, there are fewer 
 .Poets Here than in the Painting; and Thole 
 Left out are fome of the Bell Figures There ; 
 and very Confiderabie ones : But lome Boys 
 ; are Added, flying in the Air, every one of them 
 with a Laurel Crown in each Hand ; Ifuppofe 
 to exprefs the Bounty, andGoodnefsof^W/0 
 ready to bellow Rewards on Future Poets; 
 for ail Here are Already Ripply 'd with fuch. 
 
 I can- 
 
 
( 220 ) 
 
 I cannot pafs by an Inflance of Vafari's 
 Carelefnefs, and Luxuriant manner of Writ- 
 ing, nor forbear thereupon obferving with 
 what Caution one ought to read This, and in- 
 deed all Italian Authors in general on thefe 
 fort of Subjects. 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,fece intomo a quel monte una felua on- 
 brojijfima di lauri-, ne'qualijlconojce per la 
 loro verdezza quafi il tremolare delle foglie 
 per Vaure dolcijjime ; & nella aria una infi- 
 nite- di Amori ignudi con bellijjime arie di 
 vifi che colgono rami di lauro, & ne fanno 
 ghirlande, & quelle /par gano, & gettanoper 
 il monte. Whereas inftead of this iweetfhady 
 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 Picture ; in the Print indeed there are Five. 
 
 Amongft the other Differences, This Print 
 has not Raffaele's Picture : In the Painting 'tis 
 with Homer, Virgil, and 'Dante, who Groupe 
 with thole Mufes that are on the Right-hand 
 of Apollo. 
 
 Bellori takes it that Raffaele 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 
 collocato in 'Parnafo, ove daprimi anni guftb 
 
 Pacque 
 

 ( 221 ) 
 
 I'acque del fonte Ippocrene*, & fit, dalle Gra- 
 zie, e dalle Mufe nutritO. 
 
 Whatever has been written by Raffaele, ve- 
 ry Little is Known, whether Publifh'd, or in 
 Manufcript : All that I have heard of is Four 
 Letters, and a Sonnet ; Two of thefe Letters 
 are All that is Publifh'd, One by Count Mat- 
 vafia in * Felfina 'Pittrice, and the Other by 
 f Bellori. This laft has no Date, but by One 
 of the 3VIS. Letters (and of which I mall give 
 an Extract ac the end of my Remarks on the 
 Works of thisMafter in thefe Apartments) it 
 appears 'twas written about the Year 15- 14. 
 Here is aThird; and the Other Letter of him 
 is That I mention'd/. 199. written loAriofto* 
 The Sonnet is This: 
 
 h penfier do Ice erimembrare^ e .... 
 di quello a/alto, mapiu grauo el danno 
 del part ir, chio reflate como quei cano 
 Smarperfo laftellafeluer odo. 
 
 >r lingua diparlar difogli elnodo i 
 a dir, di quefto inufitato ingano, 
 chamor mi fece per mio grauo afano % 
 ma luipiu ne ringratio, e lei tie lodo. 
 
 Lor a S eft era che locafo^ un fale 
 aveua fat to, e laltro furfe in locho 
 atipiu da far fati che parole 
 maio refiai pur vinto at mio gran focho 
 che mi torment a che done Ion file 
 dejiar diparlar piu rimanfiocho. 
 
 * P ^. p. 4S- 
 
 t D?fcnz.zi'j?i-e dills Imapm dlfmts da Rflffade, 2#r. p. 100. 
 
 It 
 
( 222 ) 
 
 It ought to be confider'd that this is but a 
 Sketch of a Sonnet, not a Finifh'd Poem ; 'tis 
 written on a Drawing of Raffaele, 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 t)rawing is in the Collection of the Ho- 
 nourable Mr. Bruce, and is indifputably anO- 
 riginalv And that this Sonnet is alio of him is 
 as little to be doubted ; for befideswhatisno-. 
 ted juft now, and the Corrections I mail 
 mention prefently, the Characters, and Spel- 
 ling agree with Others that are of Him. 
 
 The lail Word of the firft Line is torn ofF$ 
 the Words Sefta in the ninth, and fat i in the 
 eleventh Lines, were nera and patto, but al- 
 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 have been writ- , 
 ten, and partly to the Manner of That Age : 
 But becaufe This may have made it ibme- 
 thing Unintelligible, I got the AiTiftance of 
 Mr.ift?///, who reads it Thus: 
 
 *On penjier do Ice e Rimembrare, e go do 
 * ptrckfc. "* que W Ajf alto, ma piu provo il 'Danno 
 
 delpartir,* cftio rejtai come quel ctianno 
 in mar pe? fo la fella, fe il Vcr odo. 
 
 Or lingua diparlar difciogli il uodo, 
 a dir di queflo inufitato Inganno. 
 che Amor ml fece per mio grave affanuo : 
 ma litiph) ne rtnvrdzio, e Lei ncLodo. 
 
 L or a 
 
( 223 ) 
 
 Uorafefla era, che Voccafo un Sole 
 
 avevafatto, e Paltro forfe in loco 
 
 atto fiu da far Fatti ; che 'Parole .* 
 \Ma io reftai pur vim o\almio gran foco t dai - 
 
 che mi torment a : * che dove l iC VomJuole * Perch\ 
 
 dejlar diparlar ; fiu rimanfaco. 
 
 Sweet Remembrance ! Hour of Blip 
 
 When we met, but Now the more 
 I Mourn, as when the Sailor is 
 
 Star-lefs, dijiant far from Shore. 
 
 'Now Tongue, thtf 'tis with Grief, relate 
 
 How Love deceived me of my Joy ; 
 "Difplay the1)nacctiftom y d Cheat, 
 
 ButTraife theNymfih,andThanktheBoy. 
 
 It was when the declining Sun 
 Beheld Another Sun arife ; 
 i 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 tofpeak weMoft deflre 
 
 The More we find we muft be 'Dumb, 
 
 Divinity, Philofophy and Poetry, Enrich, 
 and Adorn the Mind of Man, but the Welfare 
 .of Society is not mfficiently provided for, if 
 the Precepts Thefe teach relating to it are not 
 Explained, and Enforc'd by Pofitive Human 
 Laws : Here is Another Noble Science which 
 therefore remains to be reprefented in this A- 
 partment; 'tis done on the fide of the Room 
 
 oppofite 
 
 i 
 
(224 ) 
 
 oppofite to that where the Tarnajfus is paint- 
 ed, and in a Pi&ure of the Same Form. In the 
 upper part of this Piclure is Prudence, Tem- 
 perance, and Fortitude, properly reprefented 
 by Figures as ufual. Thele Virtues, tho'necef- 
 fary to every Private Man that would be Jufty 
 and the beit Security againft Injuftice, are here 
 chiefly intended to reprefent the Qualifica- 
 tions of good Legiflators, and Magiftrates. On 
 the Right fide of the Pi&ure is Pope Greg. X. 
 giving the Decretals, together with his Bene- 
 diction to a Lawyer, kneeling, Others {land- 
 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 oi Me diets ; (af- 
 terwards LeoX.) AnthomQ&x&wA delMon- 
 te, Alexander Cardinal Farnefe, (afterwards 
 <Paul III.) On the Left fide of the Pidure is 
 the Emperor Juftinian delivering the Code to 
 Trehonius, who is on his Knees; Others in| 
 * the Habit of Lawyers ailifting. 
 
 We Artifts know very well how great a 
 fhare Other People have in our Works, which 
 nevertheleis ourCotemporaries, and Pofterity 
 Confider, and Defcant upon as purely our 
 Own. 'Tis exceeding Probable that This was 
 Raffaele's Cafe, Here Efpecially ; bur the Sub- 
 ject: would have Admitted, and indeed Requi- 
 red a Nobler Picture than This ; Prudence, 
 Temperance, and Fortitude, might have pre- 
 fided as Here ; but if inftead of thefe particu- 
 lar Hifbories which make a very Reftrain'd, 
 and Imperfect Reprefenr^non of the Science 
 * here 
 
( "J ) 
 
 here to be treated, there had been the Foun- 
 ders of Empires as to their Civil Government, 
 thofe that have collected fcatter'd Savages in- 
 to Societies , or given Laws to Kingdoms or 
 Cities ; If here had been Mofes^ Confucius, 
 Romulus, Numa, Solon, Lycurgus, and fuch 
 renown d Benefactors to Mankind ; not with- 
 out Jufttnian, and if ^^%^'s Directors had 
 pleas'd Gregory IX, and fome particular fa- 
 mous Lawyers in their Habits. If this Picture 
 had been Thus manag'd I take upon me to 
 lay it would have done more Juftice to the 
 ! Science, and to Raffaele, 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 
 renliir'd by Some ; I deflre therefore it may 
 )e confider'd whether, whilit I oppo&Raffa- 
 ?le, or Thofe under whofe Direction he was, 
 i whoever They were, I have not on My fide 
 ;That which is a Sufficient Support, though the 
 "Vhole World were on the Other, that is, Rea- 
 p. And I defire it may be Further obferv'd* 
 iat as I faid at my Entrance into thefe Apart- 
 lents I might Criticize thefe Works without 
 caching Raffaele, I may do fo without op- 
 )ofing 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 Particu- 
 
 Q, lars 
 
( zi6 ) 
 
 lars which I do little more than Touch upon, 
 but Admire for the moil part as much as Any 
 one: But the Manner of Thinking, as Impor- 
 tant a Circumftance as it is, has not been So 
 much Confider'd, and 'tis That which I chiefly 
 concern my felf with : It being I think fiiffi- 
 cient to give a General Idea of the Reft as I 
 have done, for to be Particular in Remarks in 
 Thole would be Tedious, and of little Ufe, 
 and That to a very Few only. 
 
 If my Remarks are juftThefe are Excellent 
 Pictures of Human Figures, tho' notasRepre- 
 fentations of Philofbphy, Poetry, &c. They 
 have Parts Exceeding Fine, but Thole put to- 
 gether are not fo. 
 
 Thele Inequalities mult not be wonder'd at 
 in the Works of Men, the Greateft have had 
 them : There is One very remarkable Inftance 
 of This in Shake/pear, a Man as Great as Raf- 
 faele in his Way, and like him in fome Other 
 Refpe&s : What I mean is in his Second Part 
 of King Henry IV. A^t.^.Sc.^. Harry Te tr- 
 ey's Widow isDiffuading his Father Nor thitm- 
 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, 
 When your Own Peircy, when my Heart-dear Harry 
 Threw many a Northward Look to fee his Father 
 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. 
 For Tours may Heavenly Giory brighten it : 
 
 8 For 
 
( 2? -7 ) 
 For Flis it (luck upon him as the Sun 
 In the Grey Vault 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 Senfe 
 by Thofe that Refblve 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 Subjects ; fome are Hiftories, and 
 fome Allegorical. 
 
 The like is done in the fmall Pictures in 
 Clair -Q b f cur e^ that are between theCariati- 
 des under the large Works on the Sides of the 
 Room,and which little Pictures are all ofT^o- 
 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 whofe Pontificates thefe 
 Works were done. 
 
 In the Chamber next to that of the Signa- 
 ture is painted the Heliodorus, and the Mira- 
 cle of Bo Ifenna&niitid in 1 5*12, Ju litis II. tnen 
 being in the Chair ; and the ditila, and Deli- 
 very of St.Teter fmifh'd A\ 15 14, in the 
 time ofhisSuccelTorL^X. 
 
 Q^2 The 
 
( 118 ) 
 
 The Picture cali'd the He/iodorus is a Deli- 
 cate Complement to the then Pope, who va- 
 lued himielf as having by his Arms driven his 
 Enemies out of the Patrimony of St. Teter ; 
 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 higheft of that kind, a Song ; which being 
 ftripp'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 Picture fays is in fhort 
 no more than this ; That the Holy Father 
 drove out of the Ecclefiaftical Patrimony his 
 Sacrilegious Enemies, as the Angels of God 
 Axon e Heliodorus out of the Temple which be 
 had wickedly pillaged in the Days of Onias^ 
 a very Holy High Prieft. 
 
 Thus underftood, this excellent Picture is 
 not liable to an Objection which every one 
 will be apt to make, for you fee the High 
 Prieft at his Devotion before the Altar; He It- 
 odor us is driven out by aHorfe-man, and two 
 Young Men Miraculoufly fcnt by God, as the 
 Story is finely told in 2 Maccab. 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 Picture, inltead of an Objection you have 
 a Beauty; no Other Picture that could have 
 
 been 
 
( ll 9 ) 
 
 been made to Complement the Rope 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 Architecture of this Picture has a Scene- 
 like Regularity, as in the School of Athens-, 
 but the Story is admirably told , and particu- 
 larly whereas theHiftory 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 defcrib'd. The Story is, 
 that in, or about the Year 1 264. in the Pontifi- 
 cate of UrbanYV. aPriefl celebrating Mafs in 
 the Church of St.Ghriftina in Bolfenna having 
 confecrated the Hoii, doubted of the Tranfub- 
 Q_ 3 itantiation, 
 
( 2 3° ) 
 
 ftantiation , whereupon Blood fpirted out of 
 the Wafer as he held it in his Hand, in Me- 
 mory of which was inftituted the Annual Feaft 
 of Corpus 'Domini. 
 
 Over the Window is the Incredulous Prieft 
 performing the Sacred Office, and Convinc'd 
 by the Miracle, with the Ailiftants, and Spe- 
 ctators There, and on One fide ; and on the 
 Other ^is Pope ^//^J II. on his Knees with his 
 Hands join'd, Devoutly intent upon the Sa- 
 crifice of theMafs, and attended by two Car- 
 dinals; and as many Prelates in like Devout 
 Attitudes, together with ieveral Officers of the 
 Holy See, all Portraits. 
 
 Raffaele has here taken the utmoft Li- 
 berty allow'd to a Painter ; I don't mean 
 in inferring the Portraits of the Pope his Pa- 
 tron with thofe of other of his Cotempora- 
 ries, inftcad ofVrbanlV, &c. That (as has 
 been obferv'd more than once) is allowable e- 
 nough : But in bringing in the Pope at all ; for 
 the Hiflory, at leaftTlatina who is my Au- 
 thor, fays no fuch thing : However it gives a 
 Dignity to the Pictu re, which would have been 
 too Plain had the Story been Nakedly related ; 
 and 'tis a Double Complement to the People 
 Thus introduced, as being a Commemoration 
 of Them to Poiterity, and that with a Chara- 
 cter of Faith, and Piety. 
 
 A late Anonymous French Author (but. 
 who is faid to be the Abbe de Bojfe) in his 
 Reflexions Critiques fur la Toefie^ & fur la 
 Teinture, fpeaking of this Picture upon occa- 
 fion of the Colouring of Raffaele,{ for this by 
 
 the 
 
( *3* ) 
 
 the way is faid to be the belt Colour'd of any 
 of Tbele) obferves very Ingenioufly upon the 
 Different and JuftExpreilions to be feen here. 
 The Pried:, his AiTiftants, and the Swiffes 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, T 'art II. p. 46. lays," Jules re garde 
 " bien le miracle avec attention,mais ihien 
 f paroit pas beaucoup emu. Le 'Peintre 
 r fippofe qtill fut trop perfuade de lapre- 
 r fence reele, pour etre fiirpris des evene- 
 r mens les plus miraculeux qui puffent arri- 
 f ver fur une hofiie confacree. On ne ffatt- 
 f roit caraflerifer le chef vi fib le dePEglife, 
 <c introduit dans un fe?nblable evenement par 
 " une expreffion plus noble, & plus conve- 
 r nable. 
 
 I hope this was not Rajfaele\ Thought. 
 Surely the fame Expreffion that would have 
 been proper at an Ordinary Mafs, is not fb on 
 fo Extraordinary an Incident ; nor is it incon- 
 fiflent with the Character of the Head of the 
 Church to be greatly affected on fiich an 
 Occafion. I believe the Truth is, Raffaele 
 when he refolv'd to infert This Portrait took 
 it from the Life as he faw it, without thole 
 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 necelTary to Invent fuitable Expreffions ; or 
 perhaps did not enough Confider it. What I 
 have here laid is upon the Suppofition that 
 the Picture is as this Author has reprefented 
 
 0.4 *> 
 
( 2 3 2 ) 
 it, but I confefs I do not remember whether 
 'tis fo, or not. 
 
 Attlla King of the Huns having ravag'd 
 great part of Italy, with vail Cruelty was on 
 his way to Rome in the time oiValentinian 
 the Emperor, Leo the Great, calPd alio St.Leo, 
 being then Bifhop 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, Ecclefi- 
 aftically attended ; He by the Awful Sanctity 
 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 
 whilit the Pope was Speaking, the Barbarous 
 King was terrified by the Apparition of two 
 Horf e-men (fuppos'd to be St. Peter and St. 
 'Paul lays Tlatina) 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 Pannonia. 
 
 This Story is the Subject of the Picture on 
 the fide of the Room oppofite to the Hello- 
 dorus, and is admirably told by Raffaele. He 
 has made the two Apoflles 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- 
 ftance in the Picture, and Raffaele has done 
 it by fuppofmg the Action in that Inftant when 
 Att'ila nrft Saw, and was Terrified by the Ap- 
 parition ; and before any Other preient, had 
 obferv'd it long enough to look up alfo, 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 fTrflDiibr- 
 der. The Saint, and thofe with him exprefs 
 great Tranquillity, andFirmnefs of Mind, as if 
 Allured of Succefs. Here are feveral Ritrat- 
 ioes, particularly that of Leo X. the then pre- 
 fentPope, which ferves for hisPredeceilbrSt. 
 Leo : and the Habits of the Court of Rome 
 are Modern, not mch as when theEventhap- 
 pen'd. 
 
 To exprefs the Ravages of thefe Barbarous 
 Invaders, a Town on Fire is far in the Lonta- 
 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 
 aotice of chiefly to fhew how much better the 
 Picture is Thought than this Defign was : For 
 Here the Pope appears coming at a great di- 
 stance ; confequently the Figures are very 
 Small, and feem lefs confiderable than the part 
 :hey have in the Story requires. Thofe Fi- 
 gures moreover that are in That fide of the Pi- 
 Sure, and which are of the Army o^Attila^ 
 
( z 34 ) 
 
 fee the Apparition above, or feem as if they 
 did, whereby a Material Circumflance 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 ofSt.Teter out of Pri- 
 fon, and alludes to that of LeoX. who was 
 made Prifoner (being then Cardinal Legate) 
 at the Battel of Ravenna, but efcap'd by Flight 
 that very Day Twelve-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 mail confiderThat Circumflance 
 as Largely as I think the Nature of it will re- 
 quire, and muft therefore be the more Exact 
 in theDefcription of the Picture it felf 
 
 'Tis over a Window, and (as the reft o| 
 thofe in theie Apartments that are fo) of an 1 
 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 thai: 
 One Room, the Walls of which are very thick 
 and continue the Perpendicular Line of th( 
 Window 'till they end in an Arch a-top, verj 
 near the greater Arch of the Out-line of th( 
 Picture ; which Room is feen into through i 
 large Iron Grate, which reaches from Side t< 
 Side, and from the Top to the Bottom. Th< 
 Walls I fpoke of ftand upon about half a do 
 zen Steps, which however are only feen oi 
 each fide of the Window, That going fomc 
 thing higher than thole Steps. 
 

 ( *3J ) 
 
 In this Picture are two leveral diilinct A- 
 ctions, St. Peter is in the Prifon Sitting, and 
 almolt 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 the Outfide, on the Steps 
 on the Left-hand as you look on the Picture, 
 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 
 Apoftle 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 Action, 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. Peter, who looks too like a Common 
 Malefactor. 
 
 Here is indeed Four Lights in this Picture. 
 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 Action in the 
 Prifon receives Light from the Angel Only, fo 
 does the Secondary Action : 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 
 
( ^6 ) 
 
 I will not take upon me to fay whether 
 All thefe Lights, and the Reflexions through- 
 out are duly plac'd of an exacl; Strength, 
 and with their juft Tin&s ; of which there 
 mud be a great, and beautiful Variety : But 
 admitting them to be fo, (as we have the 
 Judgment ofRaffhele, and the General Ap- 
 probation to juftify luch a Prelumption ) 
 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 Flemijb Mailers, 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 
 fuch an Amazing EfTecl from the Principal 
 one, together with fuch a Variety of Others, 
 as Here. Thofe great Matters owe their Fame 
 in this Particular chiefly to the Unity of 
 Light, furrounded by Darknefs; Here all is 
 Night, but all Shines ; with fiich a due Subor 
 dination however, that One does not hurt An 
 other, or torment the Eye in the lead, 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 fhow his 
 Art in the Management of the C lair-Ob fair e<, 
 had it been a pure Jen d'EJprit, in Painting; 
 it had been much lefs confiderable ; but This 
 moreover contributes vaftly to the Expref 
 fion, That fierce Flafh of Light given by the 
 
 Angel 
 
( *37 ) 
 Angel in the Centre of the Pi&ure, together 
 with the Horror of a Prifon ftrikes forcibly 
 upon the Imagination : The Iron Grate thro' 
 which thofe 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 
 j it muft be confefs'd the Angel with the Apo- 
 j (lie Deliver'd breaks the Unity of the Action, 
 yet one cannot wiih this Picture was without 
 this Fault ; it is Enrich'd by it, and you have 
 one of the Fined Pictures in the World of two 
 Figures as it were flung into a fpare Corner of 
 I This ; for thefe two Figures are exquifite : Nor 
 are they without their farther Ufe ; ,the Mind 
 is fomething reliev'd from the Concern 'tis in 
 | upon feeing the AbjecT: Condition of the Apo- 
 | ftle in Chains : Here he is feen as w T e mould 
 Wifh him ; at Liberty, and under the Conduct, 
 and Protection of his Heavenly Guide. 
 
 I have nothing farther to obferve upon this 
 Piclure,but that Rajfaele has painted the An- 
 gel as fiich Luminous Beings fhould be paint- 
 ed; and Belloris Words are fo fine, they are 
 I fo much a better Defcription of this Figure 
 than any I can give of my Own, that I will 
 ; tranfcribe them: UAngelico Spirito, inLu- 
 ■ cida vejie di gloria-* fcintillmte da ogni can- 
 ' to-, irradiando la prigione , rifulge, e traf- 
 pare in Je ftejfo compofio di aria y e di luce 
 | fiaza mortal pejo. t 
 
 In 
 
 
( *3« ) 
 
 In the Ceiling of this Room amongft feveral 
 Boys, little Stories, and Grotefque Ornaments, 
 done by lome of the Painters which wrought 
 here before the coming of Raffaele, is paint- 
 ed by him four Scripture Stories correipond- 
 ing to thefe larger Works on the Sides of the 
 Room. Over the He liodor us is God appear- 
 ing to Mofes in the Burning Bufh, promifmg 
 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. 
 'Peter. 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 Juftification of Leo III. and the Co- 
 ronation of Charlemain by the fame Pope ; 
 the Incendio diBorgo, or the Miraculous Ex- 
 tinguiihing a Fire at Rome, and the Victory 
 over the Sarazens at the Port of Ofiia by 
 LeoW. 
 
 The Story of the firft of thefe is, that this 
 Leo, a mod Excellent Man, being accuied by 
 Malicious Enemies of certain Crimes, Charle- 
 maine then ativW^requir'd an Account from 
 the Prelates, and Clergy, of the Life and Man- 
 ners of the Pope; Thefe infifled on the Privi- 
 lege of the Church, as being accountable Only 
 to God, but certainly not to Lay-men ; yet 
 Leo voluntarily purged himfelf by Oath ir 
 the Prefence of the Emperor, and the whole 
 AfTembly. This happen'd in the Year 8co. 
 
 The 
 
( 2 39 ) 
 
 The true Tafte of the Goodnefs 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 law the Picture, my Idea of it would 
 ,have been Improv'd in Some Particulars ; but 
 as to the Main, and moll Eflential Parts, I 
 fhould have fuffer'd by it. The Zeal, Piety, 
 Innocence, and Humility of the Good Pope; 
 ; ;the Dignity of the Aflembly, and the EfTecls 
 of all thefe Circumftances upon the Minds of 
 ithe People, are not So exprefs'd in the Picture 
 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 Raffaele, it is 
 not without its Excellencies. 
 
 This is over a Window, and of the fame 
 Form as the reft that are fo. 
 
 Of the Picture of the Coronation of Charles 
 the Great, I remember nothing particularly 
 .remarkable; the Subject is Magnificent, and 
 'tis painted by Raffaele. 
 
 Vafari miftakes thefe two Stories ; he fays 
 they are of Francis I. of France^ not of a 
 I 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 fo Ufual,as well Elfewhere 
 I 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 refpec-ts a very Valuable one, is not 
 always to be rely'd on. The vaft Variety, 
 I and 
 
 
( M° ) 
 and Multiplicity of Matter he was engag'd in, 
 will however in fome meafiire 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 Extinguifh'd by the 
 Pope (Leo IV.) by making the Sign of the 
 Crofs, and giving his Benediction. 
 
 Raffaele has taken the Point of Time in 
 which the Principal Action was perform'd, 
 that of the Pope; the Happy, and Altoniihing 
 Coniequence of which does not appear, nor 
 could be known by the Picture it felf: And 
 tho'This is as I faid the Principal Action, and 
 St. Leo the Principal Figure; and next to This 
 the Fire is the Main CircumiTance of the Sto- 
 ry, yet This Figure is at a great Diftance, and 
 confequently he, and theGroupe that appears 
 with him at aWindow of his Palace are very! 
 Small ; nor is much of the Fire feen, Some i 
 indeed on both Sides of the Picture : Butiv^ 
 faele has very Judicioully made the Figure o 
 the Saint Considerable by many Others on th 
 Fore-ground, and in the intermediate Space 
 addrefling themfelves towards Him,with grea 
 Faith, and I>evotion, imploring his Afliftano 
 in this their Extremity ; and the Calamity i 
 felf is feen more by the Dilirefs of the Peo- 
 ple, Varioufly, 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 poffible with 
 things Inanimate, but made out their Story 
 by Human Figures where That could be done ? 
 
 tho 
 
( 2 4 I ) 
 tho' for the lake of That they took a liberty 
 with Nature it fel£ making feveral People com- 
 ing out ofaHoufe too little to hold One fingle 
 Figure ; arid the like Seeming Abfurdities. And 
 this (as I have obferv'd elfewhere) is a Suffi- 
 i cient, and the True Anfwer to the Obj e&ion e- 
 very body makes to the Boat in the Carton at 
 Hampton-CouH ': 
 Another KuleJRaffaele has obferv'd in this 
 i i| Picture is* that he has avoided mucli of the 
 i Horror he might have given it. His good- 
 natur'd Genius delighted not in reprefenting 
 A -what would too much choque the Imagination. 
 He has (aslfaid)mewn little of the Fire; he 
 has fix'd the time to be that of Reft, for the 
 % ^People are apparently frightned out of their 
 ,i ; Sleep, and run abroad half naked ibme, and 
 pa tothers wholly fo ; but 'tis broad Day-light* 
 ver. and after Sun-rifing in the Morning. If he 
 nei would have painted Horror he had a fineOe- 
 lt\ 'cafion; he might have chofen the Darknefs of 
 the Night, and fhewn the Pope at Ibme Di- 
 jiiti jftance furrounded with Flames, and Smoak; 
 from which Fire all the Light might have come, 
 in;;: which wouldhave had a Wonderful Effecl: 5 and 
 v nade This Picture very different from all the 
 :v ireft in thefe Lodgings, which being Many that 
 . ft Variety was the more Neceflary . 
 
 Here is indeed a difference from the Others ; 
 but 'tis a Good-natur'done, and with that he 
 las contented himfelf. He has fhewn a great 
 Variety of Humane Bodies ; Men, Women, 
 Children, Old, and Young, Robuft, and Fee- 
 's; and in a great Variety of Attitudes j Va- 
 R tioufly 
 
( H* ) 
 
 riouflyAffe&ed, and Employ 'd; and all this fo 
 as to give a Compleat Idea of the Vaftnefs of 
 the Diitrefs, and conlequently 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 Rajfaele, and that is, Toexprefs 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 ule of it already mentioned, i\ 
 more animates the Picture ; all appears ir 1 
 Motion, and in a Hurry. 
 
 The Naval Victory of the fame Pope (S 
 LeoYV.) over the Saracens at the Port of Oft % 
 is the Only Picture in this Room remaining t( ! 
 be lpoken to. 
 
 That here mult be a Navy, and Sea Port 
 the Pope attended by his Ecclefiafticks, an«| 
 Prifoners brought by his Soldiers a Painte < 
 of Lefs Invention than Raffaele would hav 
 found; tho' none but he could have executa 
 This as he has done ; But to diftinguifh Sue! 
 a Picture from what might Ordinarily b 
 made, a Further Thought is neceffary : Th 
 Character of that Pope, remarkable for hi 
 Piety, and Clemency; and the Greatnefsan 
 Importance of the Victory ought alfo to b 
 Exprefs'd, and So as to Touch the Behokfc 
 llrongly, and infpire him with fuch Sent 
 ments as would arife upon reading a Well-writ 
 ten Hiftory, or Poem on the Subjecl:. Th 
 good Pontifte is with Hands, and Eyes lifte 
 up to Heaven, Adoring, and Praifing God fc 
 
 hi 
 
r 
 
 ; ( Hi. ) 
 
 liis Goodnefs 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 ; Prilbners are brought 
 Naked, and Abj eel" before him, of whom he 
 takes no notice feeming intent upon his De- 
 motion: Nor do thzSarazens appear to have 
 been very Terrible Enemies : Thofe Diabo- 
 lical Pailions naturally arifingin the Minds of 
 Savage, and Barbarous Men in fiich a Circum- 
 'ilance as this ; That Unconquerable Malice, 
 Implacable Hatred, Innate Cruelty, and that 
 a ,Hage, and defire of Revenge which being Ex- 
 \ orels'd, would have given a Luflre to the Vi- 
 ftory, and made a fine Qontraft with the Airs 
 )f Devotion in Some, and of Triumph in the 
 3ther Chriftians; Thefe I think are not fo 
 >ronounc'd as they ought ; But Raffaele had 
 10 fuch PaiTions hiffifelf, and was better qua- 
 ify'd, and difpos'd to exprefs thofe of Ano- 
 ther kind. 
 
 As in a Hillory, or Poem, the Goodnefs of 
 
 ibe Language, and the fweet Cadency, andSo- 
 
 joroufnefs of the Verfe will not be fufficient 
 
 v the Characters be not Juil, Proper, and 
 
 nd Firmly pronoune'd, and the Story fet in 
 
 <ie mod advantageous Light; So the Great 
 
 tyie of Painting, Beautiful Colouring, True 
 
 'rawing, and a Free, Bold, or Delicate Pencil 
 
 ake a poor amends for the want of fuch an 
 
 ential, and Fundamental Quality of a Good 
 
 dure, as the. Fine, and Juft Thought. It 
 
 ay be Good in thofe LefTer Refpecls, but 
 
 R z That 
 
( M4 ) 
 
 That being wanting its true General Character 
 mult, be that 'tis Not ib. 
 
 If a Writer had {aid a fmall Company of 
 Half Starv'd, Beggarly Rovers had invaded I- 
 fialy ; and having been Oppos'd, and Con- 
 quer'd by a Strong, Well-dilciplin'd, and Nu- 
 merous Army, the Pope return'd God Thanks ; 
 Such a Story, tho' told in Language the Fined 
 one can conceive, would make little ImpreiTion 
 on the Mind of the Reader ; he would fee 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 
 Otherwife learn'd there was Other Materia 
 Circumftances in theStorv, or that the Afrai; 
 was much more Conftderable than it was Re 
 prefcnted, Such a Writer would be juftl) 
 Blam'd, how well Qualified foever he wasO 
 therwife. 
 
 I don't fay that All this is Exactly the Call 
 of the Picture of the Pope at Ofiia; How fa 
 it is fo, thofe that mall fee it hereafter ma; 
 be pleas'd to confider. 
 
 What Time Rajfaele fpent upon this lal 
 Chamber does not appear; thathefmifh'dth 
 Second in i^i.f has been laid, and he died i 
 1 5" 10 ; but he only madeDefigns for, and Jul 
 Began to paint in the Hall of Conjiantiru 
 which was perfected feveral Years after tli 
 Death ofKaffaele by Ju Ho Romano, and(?/ 
 France fco 'Tenni in the Pontificate of C/ 
 mcntWl. So that this Hall is not proper! 
 

 
 ( M7 ) 
 
 ofRaffhele: He made the Drawings indeed 
 for Some, if not for AJ1 of the Pictures here ; 
 but they were notlntirely follow'd in the Ex- 
 ecution, partly becaufe in Thofe he had not 
 defcended to many Particulars necefiary to be 
 confider'd in a FinihYd Picture, and partly 
 from a Liberty that Thofe took that Painted 
 them. 
 
 The Hall of Conftantine has That part of 
 his Hiftory one would expect to find there : 
 The four Great Pictures are the Celeftial Vifi- 
 on, the Battel, his Baptifm, and the Dona- 
 tion. 
 
 In the Firlt, Conftantine is making an Ora- 
 tion to his Soldiers ; the Crofs appearing in 
 the Clouds, with the famous Words EN TOT - 
 T£l NIKA. OfthisGroupeMonfiemF/inck 
 of 'Rotterdam has the Drawing, and which is 
 that which was Ibid for ioo/. at Sir Teter 
 Lely's Sale ; I have fpoke of it in its place, 
 diulto has added what is in the Clouds, and 
 fome lefs considerable 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 moil Exqul-fitely 
 Painted; but I had rather have feeii fuch a 
 Ludicrous Figure in a Picture whofe Subject 
 was of lefs Dignity, and Serioufnefs. 
 
 The Battel takes up the Side of the Room 
 over-againft the Windows. This Picture is 
 fomething above thirty four Foot long, and 
 fifteen Foot high, and the Bottom of it is near 
 as many from the Floor. 'Tis Black, and Hard, 
 
 R 3 and 
 
( *4<H 
 
 and without Great Maffes in the Clatr-Ob- 
 /cure, {b that the Tout-enfemble is Unplea? 
 fant, and Confuted. This Bellorl fays *PoaJJin 
 thought to be a Beauty in This Cafe ; and 'tis 
 certain that thefe Properties help to exprefs 
 the Hurry, and'Th/tamarre of a Battel, and to 
 raife a fort of Difiurbance in the Mind which 
 Ihould not be in Repofe when 'tis employ'd 
 on a like Subject. But whether that Diftur- 
 bance ihould arife from fuch want of Harmo- 
 ny, or rather Purely from the Incidents, and 
 Expreflions in the Picture, is worth confi- 
 dering. 
 
 Not to mention an Infinity of fine Attitudes 
 of Men, and Horfes, what is peculiar to This 
 Picture is admirably exprefs'd. That 'tis a Vi- . 
 dtory, by the ArTiilance of Heaven, the Con- 
 queror aChriftian, the Enemy not So, and 
 Drown'd in a River, Ail this is Wifely ihown, 
 and very Beautifully : As for theCircumftance 
 of the Bridge breaking, whether by Accident,! 
 according toSomeHi(lorians,or as Others fay 
 that'twas contri v'd by Max ent ins that it ihould 
 Break, tho' defign'd by Him for the Destruction 1 
 ofConJiattth/e, This no notice is taken of in the 
 Picture ; 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, and Fear is Admirably iliewn, not on- 
 ly by the Air of his Head, (which alfo expret 
 ies an Abfence of Piety, and Virtue,) and his 
 whole Attitude, but he endeavours to gain the 
 Shore, tho' he runs directly into the^Danger 
 he fled from, for he attempts to fave himlelf ' 
 
 on 
 

 ( M7 ) 
 
 on that fide where his Enemies are in Crowds 
 perilling, and ready to deflroy him. Thus in 
 'This fmgle Figure is finely drawn the Chara- 
 cter of a Wicked, Mean-ipirited 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 Conjiantine, and Exquiiitely 
 Expreis'd , particularly by three Angels ho- 
 ivering 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 mew 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 flain in the Battel, 
 and exprefling 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 conipicuous, and 
 finely imagin'd. , 
 
 This Picture is indifputably the Foremoft 
 m the World in its Kind ; when I am confiderr 
 ing It, all LeiTer Names pfBattel-Painters ap- 
 pear Little indeed; and I imagine my felfreadr 
 ing a Defcription of a Battel in Homer. The 
 'Drawing of it, and which is the moil Capir 
 'tal one I believe in the World,! have faid to be 
 ;in the Magnificent Collection of Mr. Crozat. 
 
 The Baptifm ofConftantine, helps to make a 
 fine Variety in thefe Works, and Contrafts ad- 
 'mirably well with that lad deicrib'd ; There we 
 iee a great Emperor encompafs'd with Viclori- 
 'ous Troops, and in the height of Worldly Glo? 
 
 R 4 rv; 
 
( *4« ) 
 
 ry: Here humbly lifting himfelfa 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 the Battel. 
 
 ThisDonationbeinga fort oiMagnaChar- 
 ta of the See of Rome, and the Story it felf 
 very Obfcure, as being rather Traditional than 
 Hi'lorical, and even at the time thefe Works 
 were done Derided, Exploded, or Sufpecled, 
 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 
 transmitted to Poflerity, a more particular 
 Care would have been taken by thofe 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 his Bread, with the Other he 
 Offers a little Image reprefenting Rome, 
 which the Pope receives, and at the fame time 
 gives his Benediction ; behind the Emperor 
 kneel two Figures which feem to be Ecclefia-. 
 flicks, behind thofe are two Lay-men Kneel- 
 ing alfo, which probably are Officers of the 
 City. The Emperor has a few Halberdiers, and 
 the Pope three or four Ecclefiafticks attending ; 
 
 the 
 
( M9 ) 
 
 the reft of the Figures are chiefly People of no 
 Diftin&ion, Men, Women, and Children, a 
 Lame Beggar, aBoyaftride 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 diveffc 
 himfelf of his Majefty in the Prefence of the 
 Vicar of Chrift, I can't fee why thofewho had 
 the Conduct of this Story fhould reprefentthis 
 great Tranfa&ion as done with fb little Dig- 
 nity, in the Pretence of few other than Mob, 
 and not without fomething Ludicrous, or Tri- 
 fling ; This debates the Story, and the Picture 
 too. 
 
 And to make it ftiil worte, 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 Conjiantine's 
 time from what it had been in the precedent 
 Ages : But Here inftead of the Roman Labels 
 we fee flafh'd Breeches, and the reft of the 
 Drefs accordingly. The Robe of Conji ant ine 
 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 prefent- 
 ed him with a Rich Diadem he refuted to wear 
 
 it, 
 
( MO ) 
 
 it, contenting himfelf with a plain Mitre on- 
 Jy, as moft iuitable 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 fiich in Hand at Rome, and 
 near Finiih'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 Expreffion, 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 LeiTer Paintings here, whether Hiltories,or 
 Ornaments, and of which I noted there are a 
 great number : To 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 Grcateft 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- 
 deed, 
 
( m ) 
 
 deed, but not So as to give a Jufl Idea of his 
 Merit ; nor do I believe That can be fully 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 Hamfi- 
 ton-Court. 
 
 The only Places befides thefeTwo now in 
 Competition, where any Quantity of hisWorks 
 are feen, or reputed to be lb, are the Gallery in 
 the Vatican, where is painted what is call'd 
 the Bible oiRaffaele-, the Longara, or Little 
 Farnefe, which has the Story of Cufiid and 
 ^PJyche, with the Picture of the Galatea-, and 
 the Church of the Tace, 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 
 ow in a manner {oft, and Ipoil'd ; and the O- 
 Lher is in a very 111 condition ; and though it 
 was as well preferv ? d as either thofe in thefe 
 odgings, or thofe at Hampton-Court, there 
 ould have been no Competition ; the Sub) eel:, 
 and especially 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 Utmofl Merit of 'Raffaele : Thefe 
 are the Holy Family, the Glory of the Royal 
 Collection of France, and the Transfiguration 
 olSan Tiero in Montorio. They are both in 
 Oil, highly Finiih'd, and of great Force; And 
 Thefe Advantages they have indeed over thofe 
 
 Othei? 
 
( 1 5* ) 
 
 Other Works of him I have mention'd : But 
 Thefe are not what are the Characterifticks 
 of Raffaele ; in Thefe he is not the Great 
 Man ; for Others have been much Superior to 
 Him in the managing of Oil Colours, in Fi- 
 nishing, and in Force : Nor are Thefe Proper- 
 ties in a Picture at all confiderable, compar'd 
 with thofe Other which Diftinguiih'd Him ; 
 and which only make Painting worthy ourE- 
 fteem, and Admiration. And as for Thofe, the 
 Thought, the ExprefTion, the Grace, and Dig- 
 nity, nothing in Thefe two Pictures, not even 
 the Bell: of them, and when it was in its Per- 
 fection, is beyond what is feen in the Apart- 
 ments I have defcrib'd, or ^Hampton-Court . 
 That there can be that Variety, and confe- 
 quently that Raffaele 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 
 mud be flrft of all confider'd, that of the fix- 
 teen Capital Pictures of the Vatican, the four 
 in the Hall of Conftantine mult not be put in- 
 to the Account, as being not of Raffaele, nor 
 fb much as conducted by him ; nor is it known 
 how much of them are even of hisDefigning. 
 The LeiTer Pictures, and Ornaments mull alio 
 be fet afide as being for the moft part Execu- 
 ted, and Ibme evenDefign'd by Other Hands. 
 Befides being in Chiaro Scuro, only they are 
 properly not Pictures, but a fort of Drawings. 
 And as for thole that are o£ Raffaele, they are 
 too few and inconfiderable to weigh much in 
 prefence of the Greater Works. 
 
 There 
 

 ( 2 53 ) 
 
 There remains then but twelve Pictures to 
 compare with the feven at Hampton-Court. 
 Four of thefe are not Hiftories, but Allegorical 
 Pictures, reprelenting as many Sciences ; which 
 admitting them to be as free from Faults as 
 you pleafe, 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 Expreflion, as in fiich 
 Hiftories as thofe 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 poflibly 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 Pictures in the 
 Vatican are not in Themfelves fo Advantagi- 
 ous to a Painter as thole Other, They are 
 moreover fuch as Raffaele was not fo well 
 Qualify 'd for as Thofe, in which Learning was 
 not.fo Neceffary, but that Fine way of Think- 
 ing, and Strong, and Lively Imagination, in 
 which he was fo Eminently diftinguifh'd. 
 
 I am now arguing upon the Suppofition of 
 an Equality as to the Painter's part, and fup- 
 Tpofmg Raffaele had been as much Raffaele in 
 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 fpread through- 
 out ; in fhort they are Better Pictures, judging 
 of them only as they are commonly judg'dorl 
 
 4 
 
( 2 J4 ) 
 and without taking the Thought and Inven- 
 tion into the Account. For this I mud appeal 
 to the Pictures themfelves Finally : But what 
 I Now advance will appear Probable, and 
 fbmethingMore than barely So, by only con- 
 fidering that Thofe We have were painted 
 Long After the Principal Ones in the Vatican, 
 that is, Thofe in the Chamber of the Signa- 
 ture-, and after Moll, if not All the reft; They 
 were painted towards the Clofe of Raffaele's 
 Short Life, which was his Bed 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 Confequence to fay that 
 Thofe which I prefer were made for Tapeftries 
 only, and that the Manner of Painting is a- 
 dapted to the Purpofe, that is, 'tis Slight, and 
 not much Finiih'd: For tho' This is True, it 
 gives them no Difad vantage, compar'd with 
 the Other which are not More Finiih'd ; Nor 
 would it if they Were ; fince the Beauty of 
 Raffaeles Painting does not confift in That; 
 as 'tis a very Inconfiderable Circumftance in it 
 ielf, and rather furniihes us with a Prefiimp- 
 tion to the Prejudice of a Picture, than in Fa- 
 vour of it. 
 
 But there is a Much more Material Circum- 
 ftance remains yet to be fpoken to in relation 
 to the prefent Competition : The Pictures at 
 Hampton-Court ', (bating fome very few Ex- 
 ceptions) are perfectly well Thought : Such 
 Ideas are convey'd to our JMinds, the Stories 
 * are 
 
( 2 J) ) 
 
 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 thofe 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 fuch Ideas 
 as Such a Pencil can. How thofe in the Vati- 
 can are in This Particular, and especially fo me 
 of the Principal ones has been obferv'd in 
 thisDifcourfe. 
 
 And to make the Difference flill 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 fuch as it appears 
 There, be it what it will in it felf ; If 'tis in- 
 feparably accompany'd with what isdifadvan- 
 tageous to it, 'tis Such as it is in That Cir- 
 cumftance 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 embaraffing the 
 Eye, and drawing it off from attending to 
 Thofe : Whereas at Hampton-Court all is jufl 
 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 
 
( *jO 
 
 If therefore in the Pictures at Hampton- 
 Court ^ the Subjects themfelves, the Turn given 
 to them by the Painter, and the other Proper- 
 ties of a good Picture are preferable to thofe 
 in the Vatican ; Raffaele is better feen There 
 than in the Vatican^ 
 
 From whence, and from what has been faid 
 concerning the Other moil Celebrated Works 
 of this Great Matter it will follow that he is 
 Better feen ztHamfiton-Courtxhim any where 
 Elfe: That is, that There is the Utmoft Per- 
 fection of the Art of Painting Now in theWorld, 
 and probably the Utmoft that ever Has been. 
 
 I know what a Disadvantage I am under in 
 giving the Preference as I do ; but I think I 
 am fupported by Reafon, 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 200 
 Years ; the Others are in England, and were 
 bury'd in Obicurity, almoft Unheard of, Un- 
 thought of till after the Revolution; Which 
 Circumftances, tho' they have not the leaft 
 weight in the Merit of the Caufe, will certainly 
 have a great deal with a Majority of thole that 
 will pretend to Judge. Let f uch only be pleas'd 
 to imagine the Cartons had remain'd always at 
 Rome, and hVd in fome of the Principal A- 
 partments of the Vatican ; would they not 
 have been then confider'd as theLaft, and Bell 
 
 Works 
 
( 2 J7 ) 
 Works of Raffaele, and Celebrated accord- 
 ingly? Certainly they would. Of which (be- 
 fides the Evidence arifing upon their Intrinllck 
 Excellence, and the Confeflion of All, even/- 
 &z//^.rThemfelves that I have difcours'd with 
 ontheSuhjecT)the great regard which is there 
 had even to the Tapeftries made from them, 
 is a fort of Demonllration. 
 
 After having faidThus much of the Works 
 
 of Raffaele, I will lay hold of the Occafion, 
 
 iand infert Some Particulars relating to that 
 
 [Great Man, which either have not been yet 
 
 made Publick, 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 Bat tiff a di Ciarla 
 in 'Drbin, and was fo much Efteem'd by the 
 Cardinal, that he faid hevalu'd it Equally with 
 thofe he receiv'd from the Greatell: Princes, 
 tf it had not been for lome Engagements Mr. 
 Howard is under, the Publick would Now 
 have had the Whole : However I am permit- 
 ted to give an Extract from it. 
 
 Befides Civilities, Excufes for his Own not 
 
 Writing, with Handfome Reproaches to his 
 
 Uncle, for his Deficiency in That Matter, the 
 
 3ufinefs of the Letter relates to his Marriage, 
 
 and theCircumltances he was inOtherwife. 
 
 He 
 
( *J8 ) 
 
 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 Sancia Maria in Tcrtico 
 had profer'd him a Relation of His, who he 
 had promis'd to take, with the Content of his 
 Uncle to whom he writes, and Another Un- 
 cle, a Pried. He {peaks alfb of Other Propo- 
 ials of This kind that were then upon theTV 
 pis. 
 
 As to the Other Branch of the Letter, he 
 fays his Perfonal Eftate in Rome amounts to 
 b 3000 Ducats of Gold: That he has moreover 
 c 5oCrowns of Gold per Ann. as Architect of 
 St.Teters, 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 jnft began another e Room for the f Pope, 
 for which he mould have § 1200 Ducats of 
 Gold. After all which he fays, " Si che Ca- 
 " riff"" Zio vi fb honor e a voi, & a tntti li 
 " parenti & alia pafria, ma non reft a chc 
 " fempre non ni habbia in mezzo al chore, e 
 " quando ui fento nominare, che von mi pa 
 " ra di fentir nominare un mio Tatre. 
 
 " Ordinal bibmna. 
 
 c 14I. 7 s. &d. 
 
 A 86/. $ s . 
 
 e The Room in the Vatican next to the Chamber of thf 
 the Signmori was finifh'd Anno 151.1. So th.it probably 
 Ths he here mentions is the next to it, in which is the i» 
 cendto di Borgo, &c; 
 
 f Leo X. 
 
 He 
 
( 1 59 ) 
 He fays he is in Bramante's Place ; that 
 the Church of St.Teter's would coll: more than 
 a h Million of Gold ; that the Pope had ap- 
 pointed to expend above ' 60000 Ducats a Year 
 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 Afliflant; 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. 'Peters. 
 1 He concludes with Salutations ; but firffc 
 ■lays, " Vi prego uoi no Hate andare al ^Duca^ 
 u e alia c Duchej/a, e dirle qtiefto che fb lo 
 P haueranno charo a /entire che un loro 
 m Ser re - li farei honor e, e raccomandatemi d 
 N loro Signoria. 
 
 Dated ijuly i^i^ and Sign'd 
 
 El uoftro RaffaelTittore in Roma^ 
 
 Fragmentum epiftolse Ccelii Calcagnini ad 
 Jac. Zieglerum. 
 
 Eft Fabius Rhavennas fenex Stoic & pro- 
 hit at is, quern virum non facile dixerzs, hu- 
 
 h 287500/. 
 
 » 17150/. 
 
 N.B. In reducing the Roman Motley of That time to its 
 Value in Ours, I have had the Affiftance of Mr. Hayms ; 
 2nd the Authority of Varchi in his Hiftory of Florence Print- 
 ed within thefe few Years. Everyone knows how Confi- 
 derable Thefe Sums were in Thofe Days, how Little foe- 
 ircr they may feem at Prefer t 
 
 § % maniorne 
 
 
( 160 ) 
 
 man'torne Jit-, an dofiior Hunc alit^ £f> 
 
 quafi educat vir pradives & c Pontifici gra- 
 tijflmus Raphael Urbinas, juvenis fumma 
 bonitatisf fed admirabilis ingenii. Hie mag- 
 nis excellit virtu fibus, facile Ticforum om- 
 nium princeps, feu in theoricen, feupraxin 
 infpicias. Architcclns verb tanta inauftria, 
 ut ea inveniat ac perficiat-, qua folertifjlma 
 ingenia fieri pojfe defperarunt. Pretermit- 
 to Vitruvium^ quern ille non enarrat folum y 
 fed certijfimis r at ion i bus aut defendit, aut 
 accufat ; tarn lepide^ ut omnis livor abfit ab 
 accufatione. Nunc verb opus admirabile ac 
 pofteritati incredibile exequitur (nee mihi 
 nunc deBafilicd Vatic and cujus architecture 
 prefeflus eft verba facienda puto) fed ipfam 
 plane urbem in antiquam faciem & amplitu- 
 dinern ac fymmetriam inftauratam magna 
 parte oftendit. Nam & montibus altijjimis 
 & fundamentis profundi ffimis excavatis, 
 reque ad fcriptorum veterum defiriptionem 
 ac rationem revocatd, it a Leonem Pont, 
 zta omnes Quirites in admirationem erexit, 
 ut quafi ccelitiis derniffum numen ad ater- 
 nam ^Orbem in priftiuam Majeftatem repa- 
 randam omnes homines fnfpiciant. Qiiare 
 tantum abeft ut criftas erigat, ut multb 
 magis fe omnibus obvium & familiar em ul- 
 tra reddat, nullius admonitionem ant collo- 
 quium refugiens. Hie Fabium quafi pre- 
 ceptor em & patrem colit ac fovet, ad hunc 
 omnia refert, hujus confilio acquiefcit. 
 
 I will 
 
 
( i** ) 
 
 I will add an Epitaph, in which tho' (as in 
 that well-known one by Cardinal BemboJ the 
 Thought is not Right, there are Beauties that 
 will make it acceptable to the Publick. Had 
 Raffaeles Chief Character been as thefe Wri- 
 ters fuppos'd, and the mere Imitation of Na- 
 ture had been the great Buflnefs of a Painter, 
 Other Names had fiil'd our Lifts of Great Men : 
 Some other who Now is little regarded would 
 ; have flood in the place of Rajfaele, and He 
 ! loft in the Crowd. 
 
 ; ; RaphaelisUrbinatisPictoris eximii tumulus, 
 Iple loquitur. 
 
 Sic meanaturammanus eft imitata? videri 
 
 Tojfet ut ipfa me as ejfe imitata manus. 
 Sape meis tabulis ipfa eft delufa, fuumque 
 
 Credidit ejfe, me£ quodfuit art is opus. 
 'Miraris, dubitafque audito nomine credes. 
 
 Sum Raphaeljjei mi^quidloquor? immofui, 
 'Et (amen his dic~iis,quidopusfuit adder e no-, 
 men ? 
 
 Alterutrum poterat cuilibet ejfe fat is. 
 • Nam me a & audito eft notijfima nomine virtus, 
 
 Et pr aft are vie em nominis ip fa pot eft. 
 
 M.Ant.Muretus. 
 
 i As the Principal Thoughts in this Epitaph 
 :rnay lie in a Narrower Compals 3 I have at- 
 tempted it in Englijb. 
 
 My Hand has imitated Nature fo 
 As Hers from MineHerfelfcan hardly know. 
 Tou T)oubt : Know then /Raflaele am — Alas. 
 Raffoele is now no more, /Raffaele was. 
 
 S 3 The 
 
( *6i ) 
 
 The Prolixity of this Latin Epitaph puts 
 me in mind of One I law in fbme Church at 
 Rome as remarkable for its Concifenefs, as 
 well as its Beaiity . Befides the Name, and Date 
 is only 
 
 Vir Probus. 
 
 I will only add one more now I am upon 
 Epitaphs ; 'twas made by a Friend of mine 
 for Himfelf. 
 
 Quiet, fee where the Bufy Man is laid; 
 No Tears,no Sighs, the T^ebt of Nature's paid; 
 'Remember me, and let your Thoughts be Kind, 
 I leave no Spot of Infamy behind. 
 
 In an Open Gallery in the Vatican 
 
 najfads. Are the Pictures fo well known by the 
 
 Name of Raffdele's Bible; they are painted in 
 Frefco on the Ceiling ; the Figures are about 
 two Foot long; the Length of the Picture?, 
 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 Pleafanr, 
 having an Advantage which (as I have laid) 
 thofe in the Lodgings have not, they have 
 Light enough. TheDefigns were undoubted- 
 ly given by Raffaele, but they are all Execu- 
 ted by his Diiciples , unlefs as 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 Bell: oi 
 
 any 
 / 
 
( i6 3 ) 
 
 any painted Figure in Rome. My Father has 
 two of the Cartons for this Work; that of the 
 Death ofGoliah, and the Fall of the Walls of 
 Jericho, they are by 'Pi'erwo, who probably 
 made them from Slight Drawings given him 
 by his greatMailer. 
 
 In the fide of this Gallery all along are ma- 
 ny Doors into the Lodgings, oyer which Doors 
 are the Names of Popes ; feveral have thole 
 of Julius 'II. LeoX. Clement VII. Between 
 i every Door areGrotefques, and little Figures, sio.daudine. 
 exceeding pretty, and as fine as any of that 
 kind in the Vatican, or Elfewhere. 
 
 /// the Velvet Chamber where the 7 ope us'd 
 to give Audience is 
 
 A Madonna painted mFrefco. Admirable! Rafaele. 
 i No other Picture. 
 
 In another Cha?nber. 
 
 The Cartonof the Lower part of theTracf- Dim. 
 figuration; 'tis in Black Chalk, exactly the 
 lame manner as a Carton my Father has of a 
 Boy, &c. It has been trac'd o(F, the Marks 
 I of it are very evident. 
 
 In the lame Chamber are two other C^r-^minkhin. 
 , tons much in the fame manner, one ofDomi- 
 nichin, and the other of Carlo Maratti. Carl ° Marat. 
 
 The Cupola of the Church of San cliApo- 
 \ fiolim the? "iazza of that Name was painted 
 : by Melozzo da Forli, in which was a Hea- Mehzzo da 
 ven, and God the Father iurrounded by An- Fo ' !i - 
 gels, and the Apoflles underneath . In refitting 
 this Church This Work was demoIihYd, but fo 
 
 S 4 ' that 
 
( »*4 j 
 
 that much of it was fav'd. Thar part where is 
 the God, and Angels, is plac'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 the Vatican in the Rooms beyond 
 thofe ofRaffaele,(ofpiYt of which Pictures my 
 Father has the Drawing.) Cav.Lutti, who fa\y 
 the Cupola before it was deftroy'd, afTur'd me 
 there were feveral of the Attitudes of the A- 
 poftles the fame as thofe of the Cupola of 
 'Parma, and the Work was Fore-fhorten'd ; 
 Certainly thc'Tadre Eterno is fo. 
 
 In the Vatican Library. 
 
 incerto. j^ n Officio, with feveral Hiftories of the 
 
 Madonna in Miniature, done before the time 
 of Rajfaele, the Name is not known. Carlo \ 
 Marat particularly admir'd the Airs of the Vir- 
 gin throughout ; andftudy'd much after them, 
 having a certain Simplicity, and Divine Beau- 
 ty Superior to any other, even Raffaele him- 
 felf. The Work in other refpe&s is Well, 
 only Hard, and Stiff 
 
 Virgil. In the Story of Orpheus and Eu- 
 rydice the Crowd of Figures in the Cave is 
 Retouch'd with a Pen much more Modern. 
 
 Scylla lying in the Sea under a Grotto is 
 but a Fragment, above Half is torn off! In 
 that where Afcanius is afleep before the Tem- 
 ple, Venus fitting, and a Cupid, the Names, 
 are written over ; Cytherea, Cupido, 8cc. 
 
 c P.San£taBartoli has taken greater Liber- 
 ties Here than in his Other Things. One would 
 imagine the Pictures to be of the Beft Antique 
 
 by 
 
265 
 
 by feeing his Prints of this Book, whereas they 
 are altogether Gothic; and in feveral places fb 
 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 Grois, andCarelefs. 
 
 The Title is, Virgtlii Fragment a qua i°. 
 Jo.Joviani c Pontani fuerantpoftea "Tet.Bem- 
 
 I bi Card, deinde Fulvii c OrJini. Vid. ejufd. 
 
 ,'Fulvii lib. invent arum fel.z$ . 
 
 This Manufcript is laid to be about 1400 
 
 ' Years old, and has feveral Errors. As in the 
 third Eclogue, FORMONSVM for For- 
 
 ;■; mo fum. 'Tis writ in the Character and Size of 
 this Word. 
 
 There are two Books in this part of the Li- Banjul, cki 
 brary that were of the Dukes oi c l)rbin\ One vl0 ' 
 of the Life of Franc. Maria di Montr efeltro 
 
 '.delta Rouere IIII. T>. d ,c Vrbino. The other 
 of Gironimo Mutio Giuftinopolitano de fatti 
 
 : diFed. di Monti feltro ¥).d ,c Vrbino. Each of 
 Thefe has three Hiftories in Miniature of T)on 
 
 ; Giulio Clovio finely Drawn , and of a moil 
 Beautiful Colouring , but upon aTincl: pretty 
 Gaudy, and wanting Simplicity. They are 
 all faid to have been Retouch'd by Tadre p a dre RameU 
 
 , Ramelli. Certainly they are of a quite diffe- & 
 
 .rent Colouring, and Manner from thofe(with 
 
 ; Frames, andGlaffes) it Florence in theCabi- 
 
 jnet of Madama, and in the Studio lo ; and one 
 in 'Parma, in the Cabinet by the Gallery, all 
 which have never been Retouch'd. But the 
 IMifTallof the fame Cabinet is infinitely above 
 : them all for Drawing, Colouring, and Orna- 
 ments, 
 
( 166 ) 
 
 ments, and was made by him for the Cardi- 
 nal Farnefe, as appears by the Infcription at 
 the end of his Own Writing, and has continu'd 
 in the Family ever fince. 
 
 In theie two Books of the D. D. of Vrbin 
 there are their Portraits often repeated, and 
 always exaclly the fame Likenefs, and Fine 
 Airs. 
 
 The 'Dante of the D. of Urbin (which is 
 the mod Beautiful Manufcript I ever faw, up- 
 on Vellum, large Folio) has an Infinite Num- 
 ber of Miniatures, by different Hands, and 
 All Fine: There are many of 'Don GiulioClo- 
 vto, or at lead of the fame as did thole in the 
 two Lives. But there are others that pleas'd 
 p. pirugno. me better, particularly thofe by Tietro ^Peru- 
 gino, as they fay, and very Probably if he e- 
 ver did in Miniature: They are of a Fine i?^ 
 fae/e-likcTaflLC,- and perfectly agree with the 
 Bell: things of Terugmo. 
 p. G'mUo do- In this Library are two or three Mi/Tails, 
 v ' 9 ' faid to be of Don Giulio Clovlo, but apparent- 
 
 ly very Different from any of him that I have 
 met withal elfevvhere. 
 
 Capel/a 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 theCardinals, 
 and Court of Rome, appear there in great Mag- 
 nificence. The Ceiling is flat in the Middle, 
 
 but 
 
( ^7 ) 
 
 but turns off as an Arch toward the Sides : On 
 this Ceiling at the upper end, for about Half 
 the length of the Chapel (as I remember) are 
 painted feveral Hiflories, and on the Turnings 
 ofFare the Prophets, and Sibyls, &c. oiM'tch. 
 AngelOy fo well known by the Prints, and fo 
 much celebrated by the Writers of that time. 
 But what is the moil So of all this greatMan's 
 Works of Painting, is the Laft Judgment. This 
 is over the Altar, and confequently at the up- 
 per end of the Chapel, andjuft oppofite to the 
 great Door, fo that it flrikes your Eye as foon 
 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 vaflly 
 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 Circumllances, as will ap- 
 pear prefently. 
 
 The Vault was painted by order of Ju- Mkh - ^rigek. 
 litis II. about the Year i5ix. The Pope had 
 refolv'd that Mich. Angela inould make his 
 Tomb, which as it was projected would have 
 been one of the moil Magnificent ones in the 
 World, but Bramante artfully diverted him 
 from That, and perfaaded him to have This 
 
 Vault 
 
( ^8 ) 
 
 Vault painted, for ieveral Reafbns I will not 
 ftay to mention. This Work was finifh'd in 
 twenty Months without any manner of Afli- 
 ftance, even for the Grinding, and preparing 
 the Colours, all was by Mich. Angela himfelf 
 He had 3000 Duckets for his Pains, about 20, 
 or 25 of which his Colours cod: him. But as 
 he went unwillingly into this Affair, he was 
 forc'd to leave it lefs perfect 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 moil Impatient Creature in 
 the World, and withal very Furious, oblig'd 
 him to ftrike the Scaffolds, leaving it as it is. 
 He was 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 Years after. 
 ClementYll. caus'd it to be begun, but he dy- 
 ing foon after, 'twas fmilh'd under Taul III. a- 
 bout the * Year 1 541 . eight Years 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) atfuch Intervals 
 as he could find. There are Prints of This, as 
 well as of the Prophets, and Sibyls, which to- 
 gether with theDefcriptionsat large by Vafa- 
 rz, andCondivi, give a tolerable Idea of them, 
 abating for the great Partiality of thefe Writers, 
 
 * Some Accounts fay 'twas open'd in the Year 1541. on 
 tfie Pope's Birth day. 
 
 and 
 
( i&9 ) 
 
 and the Circumilances of That Time ; toge- 
 ther with the ufual Defects of Prints ; which 
 Idea I am endeavouring to improve as far as I 
 am able. 
 
 Whether Aretine fiiipe&ed MichAngelo's 
 way of Thinking, or had a mind to introduce 
 fomething of his Own , or only to iliew his 
 Wit he wrote him a long Letter, with moft 
 Extravagant Complements in theltalian Man- 
 ner, but ingeniouily 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 20 Nov. 1537. the Other is 
 from Venice 1 5 Sept. before. Both are in Are- 
 
 ■ tine's Letters, Ijib.l.pag.1.79. 513. Edit.x. 
 The Thought of This Work after all is not 
 Intirely Mich. Angela's Own if it be true as 
 
 ; Malvafia lays (in FelfinaTittrice, Part IV. 
 p. 3 3 8.) that 'tis flolen from a Judgment paint- 
 ed by Luca Signorella daCortona 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 acquired a thorough Knowledge in a Hu- 
 man Body as to its Proportions, Contours, A- 
 natomy, and Ofleologv, had thefe Qualities 
 been rightly conducted, he might have been 
 
 as 
 
( 27 ° ) 
 
 as great a Painter as ever he was thought to 
 be; But being withal Relerv'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 Tin&ed 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. 'Dante was a Poet much of the lame 
 make, frim Mich. Angelo perpetually read, 
 which T believe contributed much to the form- 
 ing thole Ideas we find he had in all he did: 
 What kind of Oddnefs that was is only to be 
 feen 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 iucceeded better in Thefe 
 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 Thefe have been 
 Corrected fince by other Hands, by covering 
 with Draperies what was mod OfFenfive ; but 
 the wrong manner of Thinking; in other re- 
 fpecls could not be fo eafily alter 'd, unlefs by 
 demoliihing 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 fay : This would have been 
 
 a good 
 
( *7i ) 
 a good Character for a Drawing-Book, but is a 
 very Improper one for fuoh a Subject as the 
 Laft Judgment. 
 
 The Writers upon Painting feldom concern 
 themfelves much with the moft Confiderable 
 Circumftance in a Picture, which is the 
 Thought, but Thofe juft now mention'd tell us 
 of Two olMich.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 
 Bleffed Virgin, (even She!) clings clofe to her 
 Son : Enter not into 'Judgment with thy 
 Servant, for in thy Sight Jh all po Man liv- 
 ing be juft iff d. But as the other Saints do not 
 expreis 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 Mafler 
 of the Ceremonies to a Devil, (and this with 
 an additional one not very Modeft, becaufe he 
 faid this Picture w T as more proper for a 
 Bawdy-houfe than a Chapel;) the Ludicrous 
 Thoughts in many parts of it, and Others too 
 many to be ipoken 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 Picture is no bet- 
 ter than the Manner of Thinking, an abiolute 
 want of Harmony; and the Colouring of This, 
 
 3 " and 
 
( 2 ?1 ) 
 
 and the reft o£ Mich.Ange It? sVfoxks in this 
 Chapel is Black, and Harm, fo that xhzTout- 
 enfemble is very Difagreeable : Nor is there 
 that Bold, Noble Pencil, as one that don't re- 
 member that Painting was not this Mailer'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 Father 
 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 fbme 
 few other Drawings for part of both thefe 
 Works which my Father alfo has : As he has 
 feveral 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 feen to greater Advan- 
 tage as a Painter than in the Cafiella Sifiina y 
 or any where elfe. 
 
 The old Matters of the Rowan,znd Floren- 
 tine Schools were in general defective in Co- 
 louring, and Compofition, and wanted that Fa- 
 cility in working their Colours, which thole 
 o^Venice^indBologJiah^ns alfomoft of the 
 Painters of the Latter Times : whence it hap- 
 pens that the Idea one is apt to have of their 
 Pictures, from what one fees in their Draw- 
 ings, and reads in Authors, will never be an- 
 fwer'd in any degree, when one comes to fee 
 their moft Celebrated Works. The Bad, or if 
 you pleaie only the Indifferent Colouring, and 
 want of Harmony, and proper Contrafis, takes 
 
 off 
 
( 173 ) 
 brFfrom the Beauty of Deflgn, fiippoflng it to 
 be never fo perfect ; But even That is in a great 
 meafuredeftroy'd by the Perplexity which the 
 Management of Colours will neceffarily gi r ve 
 to thofe that are hot very expert in the Ule 
 of them ; fo that what the Mailer is really ex- 
 cellent in is loft^ and what he is not, is fub- 
 ftituted in its place. A Picture therefore of 
 fiich a Mailer as Mich. Angelo (for Example) 
 is not the Work of a great Mailer, though a 
 ' Drawing of him Is ; becaufe he was not Such 
 ia one in That in which a Picture is diilinguim- 
 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'dto get out of theStiff, c P^/> Style of 
 Paintings the Remnant of Gothicifm: Mich. 
 Angelo Broke through furioully, and like a 
 Flam of Lightning dazzled the World with his 
 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 
 'Vaftnefs 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 Correction of Defign, and 
 'Noblenefs of Contour^ of which he was truly 
 a great Mafter, is a great part of the Excel- 
 lency of a Single Statue ; but there are other 
 
 T Confi- 
 
( *74 ) 
 Gonfiderations in a Picture, efpecially a Large 
 one, for which he was nor Equally qualify'd. 
 The great Fame thefe Works oftheCaflella 
 Siftina had at firft, and for many Years was 
 much owing to what Mich. Augelo had ac- 
 quired by Other Arts ; to which the Extrava- 
 gant Praifes of them by thole that wrote his 
 Life, which were his Friends, and of his Fa- 
 ction in Painting, has much contributed. But 
 tho' thefe Writers were manifeftiy Partial, and 
 in another Inter eft, Raffaele's great Merit fup- 
 ported him Then, made him Superior to all 
 his Opponents, rais'd a Noble, and a Nume- 
 rous School, and Pofterity has clearly decided 
 in his Favour as a Painter : 'tho' as a Sculptor 
 Mich. Angelo is Supreme amongft the Mo- 
 derns. 
 Ptntgino. On the Sides of this Chapel near the Door 
 
 are feveral Sacred Hiftories painted by P.Te- 
 rt/gino, but not his beft Works. 
 
 Capella 'Paulina. 
 
 Mich. Ang. On One fide is the Converfion of St. Tatil; 
 on the Other the Martyrdom of St. Teter. 
 My Father has Drawings of part of both thefe, 
 but one of them is not of Mich. Angelo him- 
 felf. Thefe were his laft Works in Painting, 
 done when he was 75 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 Tafte one fees in 
 this Mailer. The Copy of the Martyrdom 
 (the Duke otChandois has it) is much better 
 Colour'd than this Original. I knownot whe- 
 ther 
 
( *7J ) 
 ther there is a Print of it, there is one of the 
 Converfion of St, TauL 
 
 The Garden of the Belvedere, 
 
 Or rather the Cortile, for 'tis not a Garden, 
 tho' fb call'd : 'Tis a imall Square, not quite 
 fb large (I believe) as that of Lincoln' s-Inn. 
 Round it are Statues ihut up with Doors as in 
 Clofets ; thofe of the2jy^r, 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. Angela, 
 fefs I did not obferve them, thofe Boys being 
 very Indifferent. 
 
 The Nile was brought to Rome from JE- 
 gypt long ago. Tliny fays it was in the Tem- 
 ple of Peace in Vefpafiarts time, but was af- 
 terwards remov'd ; he defcribes it as being 
 of a very ha.rdjEgyptianMa.vble, of an Iron 
 Colour,^. Lib. 36. c.y. 
 
 Thefe 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 EtTecl:, and were never other than thofe 
 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 F^^x, the 
 Animals in the Toro, &c. 
 
 The Apollo . The Face is intire, and the 
 Head was never broken ofT. (My Father has 
 a Cafl of theBuft, and a Drawing of the Head 
 by Guido.J The Right-leg has been broken 
 in pieces, and not having All 'tis ill fet toge- 
 
 T 2, ther 
 
ther again, and what was wanting iupply'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 BifcofSy Rqffi's, &c. He has juft difcharg'd 
 his Arrow at the ^Python, and has an Air, par- 
 ticularly in the Head, Exquifitely Great, and 
 Awful, as well as Beautiful. 
 
 Sandrant fays 'twas the Opinion of moft 
 Virtuojly that This was the Apollo ofT)el- 
 phos that gave the Oracular Anfwers ; and 
 that when it ceas'd to do fo, Auguftus caus'd 
 it to be brought to Rome. 
 
 Abundance of fine things have been found 
 in the Gardens of Saluft ; theMonaftry ofVit- 
 toria ftands on part of that Ground : as I was 
 walking with lbme of thofe Monks, they 
 fliow'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 Pedeflal 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 the Work, which is the moll: Ex- 
 quifite that can be imagin'd, and highly Fi- 
 nifh'd, the Fore part, 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 
 
 * a Groupe, 
 
( ^77. ) 
 a Groupe, Laocoon^ and his two Sons, with 
 the Serpents twifting themfelves about their 
 Limbs) is loft, and one of Terra Cotta fubfii- 
 tuted in its place. This being Rough, Unfi- 
 nim'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 Finiih'd, as it Is it lies down 
 by the Figures, All which are Damag'd in fe- 
 veral other parts. My Father has aCaftof 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 3x4 of the Building of 
 Rome , about 400 Years before Chrift, is the 
 Work of Agefinder, *Polydore, and At heno- 
 dorus, Rhodians, and cut out of one Block of 
 Marble, according to Tliny, But 'tis faid Mi- 
 chael Angelo difcover'd where two Pieces had 
 been join'd. 'Twas found in Dirt, and Rub- 
 bifli, in the Therms of Titus, by Fcelix 2.R0- 
 man Citizen, about the Year i^otf. Othersfay 
 'twas in the Pontificate of LeoX. 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- 
 ferring, which all fignify the lame thing. 
 
 There were Fragments, that is, Pieces of 
 the Serpent of fiich another Groupe found in 
 Ruins, which were always fufpecl:ed to be 
 thofe of the Houfe of Titus mention'd by 'Pli- 
 ny as the place where this Groupe flood, and 
 which were imagin'd therefore to be parts of 
 
 T 3 the 
 
(278 ) 
 
 the True Laocoon, 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 pollibie Intrinfick 
 Marks of Originality, the Objection that may 
 arile from the finding of Thole pieces of the 
 Serpent can have very little Weight: Be- 
 sides, admitting the Place where Thofe were 
 found was That mention'd by Tliny, it will 
 not follow they are parts of the Groupe he 
 Ipeaks of, That may have been remov'dtothe 
 place where Ours was found, and a Copy put 
 inflead of it; or perhaps the place where thofe 
 Fragments were is not That Tlivy ipeaks of. 
 That there mould be Two fiich as This we 
 have, and but One only Known, or Heard of, 
 is very flrange: But 'tis altogether Inconcei- 
 vable that there mould have been Another, a 
 Better than This, which is in the Utmoll: Per- 
 fection of Antique Greek Sculpture. Thole 
 that have a mind to fee upon what Authority 
 fome Particulars I have men^on'd is founded, 
 and to know more concerning this Groupe, 
 may conlult i P/hiy, Lib. 36. Cap. 5*. Mocoph. 
 ^Polyhidor.JSlartianus, and Nardil! i on the 
 Antiquities of Rome, Maffei's Notes on Rof- 
 yTsS tames, Admiranda, p.83,£f>. 
 
 Whatever was the Story from whence thcfe 
 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 h\$/E?ieid, Lib. 2. Maffei 
 in his Notes on this Groupe fays that Virgil's 
 
 Account 
 
( 2 ^9 ) 
 
 Account of it is fo exa&ly like This as if he 
 had feen, and intended to delcribe This very 
 thing; but furely this Writer never confider- 
 ed, and compared thefe two Works ; for be- 
 sides 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 Pried, 
 and his Sons ; but he makes Laocoon roar out 
 hideouily 
 
 Clamor e$ Jimul horrendos adfldera tollit. 
 
 The Sculptors on the contrary have fix'd Their 
 point of Time to That when his Strength was 
 in a great meaiure exhaufled, 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 Expreilion* and one 
 more Noble, and more Suitable to his Sacerdo- 
 tal Character, than that Violent Emotion that 
 muft have appear 'd had the Sculptors taken 
 him in the lame View as Virgil did. And This 
 Opportunity thefe great Artifts have improved 
 to theUtmoft; as they have alio done in That 
 which the Story afrords, of a great Variety of 
 Attitudes, and a Fine Contraft from the feve- 
 ral Ages of the Figures, and the Mixture of the 
 Serpents with the Human Bodies; All which 
 were doubtlefs the Occafion of the Choice of 
 This Story for thefe greatMen to exert theniT 
 ielves upon. 
 
 T 4 I will 
 
( *8o ) 
 I will finilli my Obfervations on the Lao- 
 coon with That of the Neceffity there is Some- 
 times of venturing on Obvious Improprieties. 
 If the People of Thefe Times thought as Thole 
 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 
 mud: have had a very Indifferent One, or None 
 at all? 
 
 Venus and Cupid found buried in the Ruins 
 of their Own Temple, which is now call'd the 
 Church of SanflaCroce inGerufalemme . All 
 the Pillars of that Church are the fame as of 
 the ancient Temple , and (land as they did 
 -then : They are of Parian Marble. 
 
 Antinomy the Right-arm, and Left-hand 
 of£ 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^ 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 isCrown'd 
 with Victory) and another Slave is on his 
 Knees. 'Twas found in the Septizonium of 
 Sept. Sever us, and Hands in the Corner of the 
 Cor tile, 
 
( zSi ) 
 
 v Under it, is 
 
 The Brazen Statue of the Nile, in aNich 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, andMolTy. My Father has a Drawing 
 of this Mezzo Relievo , done by Battifta 
 Franco ; and 'tis in the Admiranda, N°. 20. 
 
 In the Apartments of ^Innocent VIII. 
 
 Over the Chimney are two Boys as big as naffaeu: 
 ;the Life mFreJco, and feveral things ox Tie- pemgimt, 
 troTerugino over another Chimney, the An- 
 :gel founding a Trumpet (of which my Father 
 jfias the Drawing) is here. Several of the 
 IRooms are painted with Land fkips, laid to be 
 of the fame Mailer. 
 
 The Chapel is painted by Andrea Man- a. Mame i n$: 
 tegn'a. 
 
 In an unfurninVdDefart Room going out of 
 the Cortile is the famous Tor Jo of Mich. An- 
 \gelo as 'tis call'd, becaufe he was fo fond of it, 
 land ftudy'd fo much after it; and indeed 'tis 
 Exquilkely line: of White Marble, a Hercu- 
 les made by Apollonius an Athenian ; Juli- 
 as II. put it in the Cortile, 'twas brought where 
 it is by order of Innocent -XI. and encompafs'd 
 with Iron Rails. 
 
 The 'Palace oftheAmbaffador 0/Tngland. 
 
 Several fine Frejcoes like thofe in the Va- J* 1 ' PerM 
 tic an ; they are in prizes round the Hall. 
 
 c/c 
 
 ChieCa 
 
Ciro Tern. 
 
 ( z8x ) 
 
 Chiefa di Sapienza. 
 
 pht. da cor- St. Ivone Avocato de Toner e ; the bottom 
 tona.^ part isfinifh'd by Ciro Ferri. The Saint is di- 
 
 flributing Alms ; Angels hold up a Canopy, 
 over which is a Heaven where Chrift is, fiip- 
 ported by Angels; under him a Pope reading; 
 another Figure prefents a Book to the Chrift. 
 This Picture coft $000 Scudi ; the Figures all 
 as big as the Life. 'Tis the mofl famous Altar- 
 piece of this Mailer in Rome. 
 
 The Palace Chigi. 
 
 ci. Lorrain. Is full of Pictures of Claude Lorrain, the 
 Borgognone, Borgognone^ and Salvator Ro/a, and very 
 fine of them. 
 
 In the Apartments below. 
 
 Antiques. A fmall Bufl of Caracalla, the Drapery of 
 
 Oriental Alablafter, and the Head as fine as 
 that of that Emperor at the Palace Famefe. 
 
 A Small Bacchante Handing with 2, F minus 
 that fits ; 'tis exceeding Gentile. 
 
 A Fine Figure of T)iana, (I bought a Draw- 
 ing at Rome which'Dominichin made after it) 
 flie is taking Arrows out of her Quiver. 5 Tis I 
 the fame as that in the Garden Mattei, only 
 That is as big as the Life, which This is not: 
 They are equally fine. 
 
 On a Table by it is another T)iana Exa&ly 
 the fame, the fame Size, 1 Foot 4 high. 
 
 Leda with the Swan; Small; Grav'd by 
 Bifcop ; Very Fine ; as indeed all in this Pa- 
 lace generally are. 
 
 The 
 
 
( *»3 ) 
 
 The Famous Head in Porphyry o£ Caligu- 
 la, Intire. It flands upon a Pillar, very high, of 
 one piece of Oriental Agate. 'Tis as Famous 
 •as that of the Car ac alia 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 fay) 
 jin the burning of Rome by the Goths : 'Twas 
 dug up with leveral Others in the fame Cir- 
 tumftance. 
 
 A Venus, the lame as that of Medicis .* 
 'Though there are many of thefe, none is e- 
 :|qual to That that I have f een ; Unlets it be that 
 of the Duke of Bracciano, which however I 
 lldon't fay Is. 
 
 A moll Beautiful Bacchus-, the fame Atti- 
 tude as a Drawing of a Bacchus by Tarmeg- 
 giano which my Father has, only That has a 
 •Xhyrfiis which This has not. 'Ti> fo well pre- 
 ferv'd that the Vine Leaves that are on his 
 iHead, which are thin, and bor'd through are 
 Intire. 'Tis probable it had aThyrJus former- 
 ily, which in the Times of Tagani/m might 
 ihavebeen adorn'd with true Vine Branches on 
 'Teftival Days. 
 
 A Minerva with a Belt that hangs down to 
 ithe Ground from the Girdle; and upon the 
 Belt is carv'd a Number of Gladiators, Two, 
 and Two. The Whole of an Excellent Tafte. 
 
 Another Venus of Medici j*; very good. 
 ! An Excellent Silenus lying on a Bag of 
 Wine, Drunk; a fine Expreflion of Drunken- 
 nefs! 
 
 z Four 
 
( zU ) 
 
 Four Fauns, all in the fame 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 (landing before, and going to cha- 
 ftife Marjyas. They look one another in the 
 Face with a furprizingExpreiTion. The Apol- 
 lo the mod: Gentile Figure that can be, and the 
 Air of the Head altogether Divine : He has 
 one Hand on the Shou'der of Marjyas, and 
 the Knife in t'other. This Apollo is in all re- 
 fpecls Equal to the Venus of Medic is, and the 
 Head perhaps Finer. 
 
 TheTalace of theMarchefe CafFerelli. 
 
 Rafaek. 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 
 ofDevonfkire has the Drawing of the Head, i 
 The Picture is at Half-length, fitting in a 
 Chair. 
 
 The Villa 0/Cav. CafTali in Monte Coelio. 
 
 Antinotis, as a Bacchus, of Tarian 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 theGoths to build aWall, 
 at the demolilhing of which, and the taking 
 out of thefe Pieces Ficaroni told me he was 
 prefent. All the Statues of this Houfe had been 
 
 in 
 
( *8J ) 
 
 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 Ma fa j the Wife of Alexander Seve- 
 rus, and Mother of Julia Socemias, a Half 
 Figure. 'Tis a perfect. Madonna, only no Bam- 
 bino ; Ihe is wrapt up in a Veil, 'Twas made 
 for the Goddefs Pudicitia ; about her Head 
 are the Holes in which the Brafs Rays were 
 put. Her Air is Thoughtful, and Divine. It 
 was done in the time of the Car acalla of Far- 
 nefe, and of the Severus 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 Mafa of a goodTalle. 
 
 A fmall Venus in the Attitude of that of 
 Medicis, only 'tis cloath'd from the Wafte 
 downwards, and has the Head drels'd as the 
 Apollo. (Of the Belvedere is always under- 
 stood.) 
 
 A Mercury, bigger than the Life; of Pari- 
 an Marble. Perfectly fine ; 'tis Handing. 
 
 In the Church of the Trinita. di Monte, 
 
 Is nothing confiderable but two Pictures. 
 
 \Xhe^tfcinaMirabilisoi r 0.daCarpi-,t\oi ugo da carfu 
 is That So but as 'tis of a Hand whole Pictures 
 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 
 
( i%6 ) 
 
 Some of the Canons here told me this Picture 
 was of c Pier ino> which neverthelefs I mould 
 not have believ'd, it not being his Manner ; 
 but 'tis very probable 'tis of TJgo 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. 
 Dan. da vol- i. The Defcent from the Crofs, a Picture 
 una. extremely applauded ; I cannot tell why ; 'tis 
 
 in my Apprehenflon a Vile one. Not to infill: 
 on the Colouring, which is very Black, and Dif- 
 agreeable ; nor the Compofition, in which 
 there is an Abfolute want of Harmony ; there 
 are grievous Improprieties in what is princi- 
 pally EfTential to the Goodnefs of a Hiftory- 
 Picture, and efpecially one of Devotion, that 
 is, in the Thought and ExpreiTion. The BleiTed 
 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 not at her 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 
 Pictures of this Subject in General, that there 
 wants that Unity of Action that is of fb great 
 Importance in a Picture, and This is occafion- 
 ed by the introducing the Holy Virgin Mother 
 Here,as well as in the Crucifixion, (Where by 
 the way me hardly ever Swoons, and Here al- 
 moft always ) This Diftrefs of Hers divides 
 the Attention of the other Perfons in the Scene, 
 
 and 
 
(28/ ) 
 
 and confequently of him that looks upon the 
 Picture. 
 
 If thisDiftrefs was £o managed 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 Picture 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. The Clair- 
 Objcure, and Harmony isPerfecl:. 
 
 The Church of St. Lorenzo without the 
 Walls. 
 
 A fine Urn ; upon the Front of it feveral 
 Figures on Horfeback reprefenting Human 
 Life. The firft is Apollo Afcending in a Cha- 
 riot ; the laflis Ceres going Down, cover'd with 
 a Veil by a little Genius; of This my Father 
 has a Drawing by^olydore. There are a pret- 
 ty many Figures ; they Rife, andPefcend gra- 
 dually. 
 
 A large Urn, Bas-Relief almofl 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 V'tbia. 
 
 The Columns here are fine, and all Antique, 
 and almofl 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 
 
( z88 ) 
 
 ger coming out of a Foliage of Giulio (another 
 Drawing which my Father has) is there. There 
 are a vaft many Boys to the Middle, and fo 
 ending in Leaves, as in other Drawings of the 
 lame Matter in my Father's Collection. 
 
 Ovid'j- Tomb. 
 
 Is near the Banks of thcTy&er, about three 
 Quarters of a Mile out of die Town ; but that 
 Noble Treafury of Antique Painting (fb well 
 known by the Prints ofTeterSanffaBarto- 
 li y to whom we are greatly beholden for This, 
 and many other of his Works) is now in a 
 manner utterly loft ; whether for want of Care, 
 or Otherwife I will not lay, but 'twas left o- 
 pen, and People were allow'd to do what they 
 pleas'd there. Tramontanes would have been 
 reproach'd forThis as mere Gtf/Ar. Nor isThis 
 the only Inftance of This kind of Carelefnefs 
 by a great many ; the like is frequently ieen 
 in Italy. 
 
 "Drawings ofCav. Benedetto Lutti. 
 
 This Collection is very Numerous, I believe 
 he may have near 3000 of almoft All theMa^ 
 Iters, except the Old ones, Thole Anterior to 
 the Rajfaele-age ; of thefe I don't remember 
 that he has Any, Except oiLionardodaVinci. 
 
 Amongft the reft he has leveral that my Fa- 
 ther alio has ; Not that Either has Copies, but 
 they are Repetitions of the fame thing lbme- 
 thing vary'd, as is not Unulual with the Belt 
 Mailers of the Beft Age ; Lefs fo than with 
 Thofe of Later Times. 
 
 A Head 
 
And. del Sdr- 
 
 (289) 
 
 A Head ofArtus. My Father has another* Leonardo. 
 I have feen feveral Originals. 
 
 Hoj?e painted in the Scalzo, Bl.Ch. Bad" 
 Air* 
 
 Jofephm. the Salutation, Bl.Ch. Lelsthan 
 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 
 zo Years ago he bought oi Carlo Marat his 
 Collection of Drawings 5 Part of the Money 
 was paid, the Reft was to be remitted, and the 
 Drawings Then deliver'd. In the Interim the 
 Pope hearing of it,Secur'd the Drawings; Or- 
 der'd Mr. Clojlerman his Money again, with 
 Intereft, and AnnuFd the Bargain. This Col- 
 lection is Now that of 2)^ Albania 
 
 Nuncio at Vienna when I was at Rome : which 
 Abfence of His prevented my feeing thefe 
 Drawings, for they wereLock'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 lay ; 
 But befides This, Cav.Lutti's is the Only Col- 
 lection of Drawings I could hear of in Rome. 
 And as for Prints of filar c Antonio, or the O- 
 ther good Gravers dfThat time; or Of rW*- 
 meggiano, the Car^accz, or Guido, (Thole of^ 
 This Collection Excepted) They are Gone as 
 well as the Drawings. The late Lord Sommers 
 fliew'd my Father feveral Years fince a Peft, 
 as the Beft he laid could be gotten for him 
 
 U There 
 
C 2 9° ) 
 
 There feveral Years before that, and 'twas a 
 very Indifferent one, which my Lord knew 
 very well. After I have faid Thus much, it 
 will not be expected I mould fay there are ma- 
 ny Connoiffeurs 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 fort of Love to what they call the Virtu, 
 and Know Something of it; and Here almoft 
 Any of Them that did but Pretend to be a Con- 
 noiffeur would pafs for a very Great One with 
 Thofe who are not Really fb; 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 areLefs expe&ed to 
 be. 
 
 The Temple 0/ Sibylla Tibertinaya/? by the 
 Cafcade of 'Tivoli. 
 
 Over the Capital of the ftrft Pillar of the 
 Arch are thefe 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 theMonafiry built upon the Ruins of the 
 Villa of Cicero at Grotta Ferrata, a few 
 Miles from Rome. 
 
 itommhh'im. Here are c Dominichirf$ bed Works; One 
 ©f which, where St. Nik meets the Emperor 
 
 Otho, 
 
( *$n ) 
 
 Otho, confuting of a great many Figures my 
 Father has the Drawing of. 
 
 The Caprarola near Rome. 
 
 This Palace is thus call'd from the Suck- 
 ling of Jupiter by a Goat, which they fay was 
 in the Mountains Unrounding this Place, as al- 
 io that he was Born here. 'Twas built by Vig* 
 nolo, for the Cardinal Farnefe, and is anlntire 
 Study of Architecture, recommended as fiich 
 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 
 
 Freder'lCO. Taddeo Zucc. 
 
 The Defign for one Room, That intended Fred - ZliCC - 
 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 firf great Hall, aud the other four 
 Rooms contiguous are 
 
 Various Reprefentations of the Seafons of 
 the Year. In that of Autumn is the Baccha- 
 nale, of which my Father has the Drawing. 
 The Whole is enrich'd with Ornaments, and" 
 Grotefques, aW 'Antic a, as beautiful asthofe 
 of Tierino, and altogether as fine as any in 
 the Vatican, and in the fame manner. 
 
 * De le Lettere Tamilian del Commendatore Annibale Ca- 
 ro t Vol, x. i$6. 
 
 U z Here 
 
( *9> ) 
 
 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 'Door. 
 Ofiavianus Farnefius Camerini 'Dux 
 Margaritam Caroli V. Imperator. Filiam 
 'Paulo III. Pont. Max. Aujpice fibi defpou- 
 dit An. Sal. 1539. the Pope joins them. 
 
 On the other fde. 
 HenricusW. Valefius Gallia Rex Horatio 
 Farnefo Cantii 'Duct 'Diatiam fil. in Mat. 
 Co Hoc at. An. 1551. My Father has the Draw- 
 ing. 
 
 On the fde Wall. 
 Francisl. receives Ch. V. and Card. Alex. 
 Farnefr Legate inParis. My Father has the 
 Drawing. 
 
 Over-againf this 
 Cardinal on Horfeback, fix Youths on Foot 
 by him. Infcrip: Meeting of Card. Alex. Far- 
 nefe with the Emperor Charles V. and Fer- 
 dinand King of the Romans. My Father has 
 the Drawing. 
 
 Anti-Chamber. 
 
 CharlesV. and Franc. I. join Hands ; Pope 
 Paul III. (Farnefe) between them ; Several 
 others. The fineftGroupe of Portraits I have 
 feen of the Zuccari. 
 
 8 Stanza 
 
. ( *9$ ) 
 
 Stanza delP Opificio di Lana fragl't Antichi. 
 
 InaLozenge,'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 Pictures, I did not in- 
 form my felf what the Stories were. 
 
 Hall of Maps. 
 
 Americus Vejpujlus, and Ferdinand. Ma- 
 gellanicMSy the fame as the Drawings my Fa- 
 ther has. 
 
 St.T eters. 
 
 The Bark of Giotto in Mofaick is over the 
 Pillars, and in the infide of the Portico , fb 
 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 Filherman is the Befl Figure, 
 and is really fine. My Father has the Drawing, 
 but without that Fifherman. My Lord *? *em- 
 broke has one more Perfect. 
 
 There have not been many Pictures in this 
 Church, and of Thofe there are few remaining, 
 theDampnefs of the place (occafion'd by the 
 Thicknefs of the Walls, which So keep out the 
 Heat of the Sun, that when you enter it you 
 ; always feem to have chang'd the Climate , 
 This) havingbeen found Mifchievous to them, 
 Care has at lafl been taken of Some, by re- 
 moving them, and putting Copies in their 
 places. 
 
 U 3 The 
 
 Giotto, 
 
( *S>4 ) 
 
 cuenino. The S. ^Petronella of Guercino is flill here. 
 
 'Tis a vaftly great Picture with many Figures. 
 The Story is the putting the Saint into her 
 Grave ; Chrift is in the Clouds, with Angels 
 and Cherubims receiving her, where me is a 
 Lovely Figure. The Italians at prefent are on^ 
 ly fond of the Black, Strong manner ofGuer- 
 c'tno ; 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 Dilmal can be lb ; to Me 
 
 I mull own 'tis Difagreeable. but I have 
 
 taken the Liberty to give my Thoughts on this 
 Matter heretofore, pag. 99. 
 Lanfranco. Chrift walking on the Water, and laving 
 
 St. Teter who attempted to do the like ; the 
 Figures much bigger than the Life ; the Co- 
 lours chang'd fb that the MafTes are feen in- 
 deed, but little of theTin&s. 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 £0- 
 nani a Jeluit has given in a Latin Folio, a De- 
 fcription only of this Church. It has alio been 
 deicrib'd by Prints which are well known. I 
 will therefore only mention two, or three Par- 
 ticulars. 
 Bemhi. The Monument ofVrbanVIII. ( Barber ini) 
 
 the Bees (the Arms of that Family) wandring 
 about the Tomb ; one of the Virtues there re- 
 prefented is Charity, but 'tis very Un- Antique. 
 In endeavouring to make the Marble appear 
 Soft, and Flefhy, the Sculptor has fallen into 
 
 the 
 
( 2 9J ) 
 
 the Fault olRubens^ particularly in the Hands, 
 which are too Fat, andClumfy, tho'otherwife 
 Gentile. 
 
 A worfe Fault is in the Monument of Alex- DUte. 
 ander VII. fChigiJ the Charity There has 
 Breafls which hang down, and are much too 
 large. 
 
 In the Church ofSt.Vkxxo inVineoli. 
 
 The Statue ofMo/es Sitting: as it is very Mich. Angelo 
 Famous, 'tis doubtlefs 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 mull: ne- 
 ceflarily make it fb ; 'tis feen in lome meafure 
 even in the Prints which are well known. But 
 I cannot forbear fanfy ing it has a Fault which 
 has not been taken notice of by any body that 
 I know of, and yet it flruck me immediately ; 
 and upon my mentioning it to fbme 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 
 fbme fort of Animal, fbme more, fbme lefs; 
 and when this Refemblance is very remarka- 
 ble, it mufl needs be proportionably a Defor- 
 mity. Now xhisMofes has fo 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 Miflook his Air, and inflead 
 of railing it to the top of Human Nature as he 
 ought, has funk it towards Brutality. The Airs 
 one fees in Prints are hardly ever to be de- 
 li 4 pended 
 
( *j>0 
 
 pended on, they feldom Reach the Character 
 in any Degree, and very often never fo much 
 as Enter into it. My Father has a Drawing of 
 this Celebrated Figure, which feems to be of 
 the Hand oiSebaflian del Tiombo ; This will 
 in fome meafure juftify my Thought, but nei- 
 ther does This by any means reach that Vio- 
 lent ExprefTion which one finds in the Statue 
 it felf; To which I appeal. 
 
 Villa Borghefe. 
 
 This Villa takes in a Circuit of three Miles, 
 the Garden is very Large, and cut into Viftoe s> 
 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^vidi fronted with Antique Sta- 
 tues; the Palace is full of fuch, and of Fine 
 Pictures. 'Tis juft out of the Torta del To- 
 folo. 
 Antique. Gains Martius, and his Mother Veturia^ 
 
 an Excellent Groupe. My Father has a fine 
 Drawing of it by Giro I. da Carpi. 
 Ditto, Seneca in the Bath ; Prodigious ExprefTion 
 
 of a Weak Old Man! He has loft fo much 
 Blood that he can hardly liipport himfelf up- 
 on his Legs, which bend, and give way under 
 him. His Air is Savage, and very Disagreea- 
 ble; fo that if this Scatue has any Fault, I 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 neglected, and na- 
 tty, an4 his Face, and the whole Figure has an 
 apparent want of Dignity ; tho' perhaps fome- 
 
 thing 
 
Ditto. 
 
 ( 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 T>yck 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 finifh'd by that Matter, and 
 another, (a Slight one only) by Rubens. 
 
 *David going to fight with Goliah. This umini, 
 Statue is Extremely Light, as well as the 
 
 ALneas carrying Anchifes, but I think much 
 lefs agreeable than the 
 
 Apollo and T>aphne. In comparing the 
 Beauties of feveral Statues when I was giving 
 an account of thofe in the Palace Farnefe, (fee 
 p. 134.) I fell into 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, Ail humours the fame Thought. 
 There are two other Particulars which I will 
 not omit ; one is, that when this Groupe is 
 ihewn they ilrike 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 Years old when he did it. 
 
 Gladiator 
 
( *9% ) 
 
 Antique. Gladiator going to ftrike his Adveriary. For 
 
 this purpofe he fprings forward, and gives him- 
 felf the utmoft Force that a Body io Robuft, 
 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 
 crufh any thing that refills him ; and one is 
 fure by only feeing That Figure, that whoever 
 comes againfl him will be immediately Finifh- 
 ed ; But the Gladiator who is much Lighter 
 built gives Himfelf fuch Activity, and Elafti- 
 city, that all hisMufcles feem to tremble with 
 Eagernefs : And tho' they would Equally be 
 Victorious, Hercules would be fb by the mere 
 Lourd Weight of his Blow, but the Gladiator 
 by that Vigorous Spring of His. 
 
 This Statue is the Work of Agatius anis- 
 fhefian, 'tis thought to have been in the Gar- 
 dens of Nero in Ant ium, amongft the Ruins 
 of which it had been bury'd 'till the time of 
 c PaulV. who came to the Chair A. 1566. 
 
 Church 0/~jy.Romualdo. 
 And, sacchi. At the Great Altar is theTitular Saint of this 
 Church, Dying ; a Celebrated Work of An- 
 drea Sacchi ; and remarkable not only for its 
 Excellence, but becaufe 'twas in a great mea- 
 , fure Stolen from a fmall Groupe in the Corner 
 of a Picture of * Cavedone in St. Michael in 
 
 * He was of the Scaool ot the Carracci, and a very, 
 confiderable Mailer ; 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 
 Street of Age, and Penury. 
 
 Bofco. 
 
( *99 ) 
 
 Bofio. '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. 
 
 ^Palazzo Tamfilia. 
 
 Two Ritrattoes, Barto/us, and Baldus^fa- RafaeU. 
 mojf. Giurifconfulti. Prodigious Nature ! e- 
 ipecially in the Looks and Spirit of the Eyes ; 
 pretty much Finiih'd ; Hands, and Drapery 
 Natural, and not Ricercato ; All fiibfervient 
 to the Faces: which are Colour 'd like Titian, 
 (as are thofe ofMachiavel, and Cardinal Bor- 
 giam.Tal.Borghefe.) One has a Beard which 
 is only flung in, in a Broad manner, whereas 
 Raffaele 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 fame 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. 
 
 Innocent 11. (Tamfilio) Infinite Force, and Dm Diego ve- 
 great Variety of Tincts, Unmingled. A Good la h ues - 
 Picture, but lefs Judgment than Fire. Enrage. 
 He has not obferv'd what Guido in the Picture 
 of CardinaLS^^*, and V.'Dyck in hisBenti- 
 voglio has, that is, to make the Linen Trans- 
 parent, which not only is more Natural, but 
 • 'tis 
 
( 3°° ) 
 'tis thereby united with the reft : Here 'tis a 
 Terrible Spot, and unavoidably draws offthe 
 Eye from the Face. My Father has this Head 
 finely done in Crayons by Ant. Criccolini at 
 Rome ; as many others by the fame Hand, 
 chiefly after Guido ; and thofe Chofen, and 
 from his raoft Celebrated Pictures. 
 
 Rembrandt. There is by it a Ritratto o? Rembrandt, 
 much of the fame Character as to the Diftincl: 
 manner of Colouring, and Bold Pencil ; but 
 Excels it even in Force, and incomparably in 
 Harmony, and the Beauty of the feveral 
 Tineas. 
 
 parmesgiano. Saint Beheading, as in the Prints ; Well Co- 
 lour'd for This Mailer ; in other refpedts his 
 Drawings are preferable. 
 
 In the Garden. 
 
 Is a B as- Re lief 'of a Terfeus and Andro- 
 meda in a very particular manner : theMon- 
 fter is kilPd,and lies at their Feet, and he helps 
 her down from the Rock to which ihe had 
 beenty'd. She is clad, and He naked. Admi- 
 randa,N°.34. 
 
 5Pal. Lodouifio. 
 
 mmlnich. Cardinal Lodoui/io coming to the Pope his 
 Unkle ; an Admirable "Picture ! but ( as His 
 very often does) it wants the fine Union of 
 the Figure with the Ground, which is the Fault 
 too ofAlbani; otherwife the Expreflion as 
 Fine, and Touching, as Ufiial. This, as almofl 
 all of this Mailer, is extremely Finifh'd, but 
 the Labour Appears, and wants that happy 
 
 Difguile 
 
( 3°* ) 
 
 Difguife of Guido, Lodouico Carats^ and Cor- 
 reggio. 
 
 AfyrmzlloDymg, has the Strongeft Expref- Antique. 
 fion of any Statue I have feen : 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 pref- 
 iing his Legs to the Ground, but thefe Flag, 
 and are flipping from under him, as appears 
 by their being in a Pofition they can't hold, 
 his other Hand is juft Hiding off his Thigh : 
 His Mouth is a little open, and his Under Lip 
 hangs : His Eyes are half clos'd, but incline 
 faintly on one fide towards the part where his 
 Body goes to fall : His Hair is fliort, and clot- 
 ted, and he has a Rope about his Neck, which 
 adds extremely to the Pity we conceive for 
 him : Under his Bread is a large Gafh. See 
 the Print in Terrier. 
 
 Tal. Talavicini. 
 
 Here is the fined Collection of Landfkips clurrm*. 
 "Rome. 2J*g£* 
 
 In the Gallery. 
 
 Glbier kili'd, a Dog fleeping by them, &c, snyders. 
 extremely fine in the kind. 
 
 Our Lord lying Dead ; the BlefTed Virgin is Guide. 
 flung upon the Ground by his fide ; her Face 
 is prefs'd upon his Head, and almofl Hid. An 
 Angel has juft taken a long crooked Nail out 
 of one of his Feet, and fhews it to another 
 who burfts into Tears. Admirable! 
 
 Qapucini 
 
( 3°> ) 
 
 Capucini Roma. 
 Guido. 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 ; fb the Report ran ; 
 and he was well known to hate him fuffici- 
 ently upon a particular Account, having faid 
 feveral 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 leaft Thought of fuch a thing when 
 he painted that Devil, and that he had not the 
 extreme Rafhnefs to affront fo Great a Man 
 in a Picture that was to remain in Rome-. 
 That be only defign'd to make the Devil as 
 Hateful, and Difagreeable as he had made the 
 Angel Amiable ; but that if the Picture hap- 
 pen'd to refemble 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 faw the Author he Ac- 
 cus'd, and Menac'd him upon it. My Lord 
 (fays Butler) I did not mean your Lord (hip 
 when I drew that Character, but if 'tis found 
 to be Yours, 'tis no Fault of Mine. 
 
 WeToets Sales-men are of J Fit > 
 IVe 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 
 Confequence, but he's Infipid here. The An- 
 gel is in the utmoft Perfection, and has that 
 
 marvellous 
 
( 3°3 ) 
 
 marvellous Lightnefs that is in the Apollo of 
 Bernini in theGroupe of the Villa Borghefe, 
 and the utmoft Beauty, and Propriety of 
 Tincts. The Air is Heavenly, but I think not 
 altogether Proper in This place : He has an 
 Ardent Zeal, but 'tis with fuch a Mixture of 
 Effeminacy as agrees not well with his pre- 
 ient Action : Here he mould 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 Dommkhm*. 
 than the Life ; the Saint finks down, and dies 
 all over : His Mouth jufl opens, and his pale 
 Chin falls upon his Macerated bread : 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,and killing his Hand with great 
 Fervency, andRefpect. 
 
 Church of St. Maria Traflevere. 
 
 Aflumption of the Virgin ; 'tis I think the d*"». 
 Beft of thisMafler in Rome, not excepting the 
 St. Jerome jufl now mention'd; tho' indeed 
 one can't decide pofitively upon two Pictures 
 of fuch Different Subj e&s : 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 ) 
 gin, and the Officious Duty of the Angels, and 
 her own Awful Majefty, and Modeft Joy 
 (hikes 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 whilft no- 
 thing takes off your Attention, ihefeemsin- 
 fenfibly to glide up, and lofe her felf in the 
 Heaven of Glory that furrounds her. This is 
 Brightnefs ; St. Jerome is the Reverfe ; all is 
 Melancholy ; and while everyone about him 
 is iblicitous, and attentive on his Crifis, he 
 feems to be juft lofing all Sentiment, and ex- 
 piring. My Father has the Drawing of this 
 AiTumption. 
 
 LanfranCi and the other Enemies oCDo- 
 minichwy reproach'd him as having in this 
 Picture of the Communion of St. Jerome fto- 
 len from 1 Auflm Carrats, which however is 
 not True ; the Stories being the Same, there 
 mult be fbme Refemblance in the Pictures, 
 but there is great Difference ; not one Atti- 
 tude, or ExprefTion is the fame befides what 
 was Unavoidably fo. The Principal Figure is 
 greatly different; Agofims Saint is a Man 
 that one would believe might have liv'd lon- 
 ger ; This cannot poiTibly, which is therefore 
 not only more Juftly Thought, but much more 
 Touching, and confequentlyhas more the Ef- 
 fect a Picture of Devotion is intended to have. 
 
 But what if 'Dominichin had taken ibme- 
 thing from Agoftin ? what if a Man finding 
 his Talent was not Invention, but Improving 
 upon that of Others? he is finely in the right 
 
 to 
 
^ ( 305 ) 
 
 to apply himfeif to what he finds himfeif qud- 
 lify'd for ; 'tis what the Greateft Men in Ci- 
 ther Arts as well as This have done. Not is 
 One Talent lefs Excellent than the Other. Nei- 
 ther of the Artifts indeed are to be Commend- 
 ed for what they have Not* let them however 
 fee fo for what they Have. 
 
 ItiFelfinaTittrice, Part 4. p. 318. is a far- 
 ther Parallel of thefe two Communions of A- 
 goftino, 2n&T)dfftinich$no, and very Severely 
 ort the Latter ; TrW at the fame time he fays 
 that ^ouffin, and Andrea Sacchi us'd to Equal 
 ft to the Transfiguration of ^jf^^, and the* 
 tatter even to Prefer This: and both Parties 
 may be fn the Right ; The Picture may have 
 thole Hardnefles, and improprieties as Mat- 
 *Uafia fays it has i and that Fine Expireffioity 
 and Other Beauties, as gave occafion to the 
 favourable Judgment given upon it on theO- 
 ther fide. 
 
 Villa Aldobrandini, of the Tr. Pamrtlia. 
 
 The Marriage of Aldobrandini is an An- 
 tienie Frefio, well known by the Print of 
 *Piefro SanBo Bar to HiThzt in the" Admiran- 
 da, Sec. 'tis inferted in the Wall in the infide 
 of a Summer-houfe in the Garden; the Figures 
 are about a Foot long. I have feen aihortMa- 
 tiufcript DkTertatioti by Father Reft a a late 
 Virtuofo at Rome, where he endeavoured 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 fays) was ax Rome. Mis Proofs are, 
 
 %. that. 
 
( io6 ) 
 
 that when 'twas found in the Pontificate of 
 Clem.Vlll. about the Year 1600, 'twas Then 
 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 aGreek; andv^- 
 
 pelles having been There, and the Work wor- 
 thy of his Name; Ergo. — 'Twas found mMon- 
 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 JVorminefs 
 difagreeable enough. As for the Colouring, 
 whatever it Has been, 'tis Now fo decay 'd that 
 no Beauty remains. The Women playing on 
 Mufical Inuruments at one end are almoft 
 gone, and look Dirty. Near, the Airs of the 
 Heads are not Fine ; nor are the Lights, and 
 Shadows diftincl:, but confus'd : At a Diftance 
 the C lair-Ob fair e is Improved, and the Airs 
 are Fine, as are moft of the Attitudes. There 
 are feveral Copies of This to be feen here. 
 
 Madonna del Popolo. 
 Capella delta Cafa Rouere, 
 
 pmturkchh, ^irft Altar on the Right-hand is the Tra- 
 fcpe, of which my Father has the Drawing: In 
 a very good Manner. 'Twas before he paint- 
 ed the Library of Sienna upon the Dcflgns of 
 6 Raffaeky 
 
( 3°7 ) 
 Raffaete, and which (befides the other Ad- 
 vantages) is the bell Colour'd of any thing he 
 has done, and is moreover in perfect Preier- 
 Vation. 
 
 In the Picture of the Council he is faid tQ 
 have been arTifted by Raffaele himfelf 
 
 The next Chapel (that of Cardinal Cibo) ijj 
 alio painted by Him in the fame manner 
 
 Capella Chigu 
 
 All theHifrories and Ornaments are of the R*fadei 
 Defigns of Raffaele', the Altar-piece is oiBa- Baft, del PH 
 ft tan delT'tombo, but not Agreeable ; and the ombo * m * 
 Other Pictures, and Mofaicks, are Executed 
 Indifferently. 
 
 Sir Nicholas < Dorlgny has given us Prints Of 
 the Planets which are on the Ceiling, and 
 which are done as feen di /otto in Ju. By 
 Thefe Prints theNoblenefs of the Defign evU 
 dently appears. 
 
 There are four Statues, One at Each Cor- 
 ner of this Chapel. ThcElias, and Jonas, from 
 the Defigns of Raffaele, are Executed by Zfl~ urtnzett$* 
 renzetto a Florentine very finely : The other 
 two are of Qav.Berniniy not his Beft. 'Bernini. 
 
 The Church of St. Ifidore, thelrifti Church. 
 
 The Death-bed of St. Jofeph, one of the carlo Marat) 
 moft Celebrated Pictures of Carlo in Romei 
 though done when he was aYoungMan:'my 
 Father has the Drawing of this. 
 
 Monte Cavallo, or Monte Palatino. 
 
 Before the Pope's Palace where he now eom- 
 X % monly 
 
( 3°8 ) 
 
 monly refutes (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 faid in Modern Inicriptions 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 Thofe 
 were Genuine, or no, the Work is Believ'd 
 to be Theirs; but if 'tis, thefe Statues cannot 
 poflibly ht Alexander, and Bucephalus, ac- 
 cording to Nardini, pag. 186. They are ve- 
 ry much alike, and vaftly large: Of a Great 
 Tafte, Extremely Great! but not Delicate; 
 and have been much repaired, for they are now 
 Complete ; whereas it appears by old Prints, 
 that (ince they were fet up there by Sixtus V. 
 (in whofe Time they were found) they were 
 very Imperfect. Of the Horfe faid to be the 
 Work of Praxiteles, the Fore Leggs were 
 wanting, and half the Hinder ones ; almoft 
 the whole Neck, and the Tail, 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, andalfo want- 
 ed the Tail. 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 midft of his Baths which were 
 on this Hill. See Rqfinus's Antiq. pag. 13. 
 Nardini, pag. 186, &c. 
 
 6 The 
 
( 3°P ) 
 
 The Thermes of Titus. 
 
 We were in about 15 Chambers, in Some of 
 which probably no Antiquary has been for 
 lome Ages ; Little is remaining in any of 
 Thefe but Scatter'd Pieces of Grotefque. 
 
 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 areDefac'd but This, which is ve- 
 ry Dirty, and Faint. TheHiftory ofClelia is 
 juft difcernible. My Father has the fine Draw- 
 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 the Admz- 
 randa is taken from this Drawing which was 
 then in the Hands ofBeHori,{mce Father Re- 
 fia had it, who fold it to my Lord Somers^ 
 from w r hofe Sale it came where 'tis now hap- 
 pily Fix'd. The Author of a Book of Painting 
 and Poetry, Printed 2X c Paris 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 of Themfelves pretended to it; but 
 the latter remember'd it with Father Refta; 
 and a Virtuofo that I knew at Rome who had 
 been very intimate withBellori knew it in his 
 Hands, and was prefent at his changing it 
 with £ P. Refia for other Drawings. 
 
 In this Room the Laocoon of the Belvedere 
 flood in aNichlikeaHalf C^^chanerd,and 
 painted between with little Flouriihes of Foil-. 
 age. • X 3 The 
 
( 3*° ) 
 
 The Trajan Tillar. 
 
 It (lands in a Small Square, and the Ground 
 all about having been Rais'd as Ufiial 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 fome Pittance the 
 Pillar feems to be without any Pedeftal. 'Tis 
 pity all the Filth and Naflinefs which is con^ 
 tinually about it were not Prevented, or Re- 
 mo v'd. The Pillar it felf has a Noble Look ; 
 and not lefs fo by being pretty much injur'd 
 by Time, and Otherwife; 'tis of a Darkifh, 
 Grey Colour ; the Work is extremely Good ; 
 not highly Finiih'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 Marnier feen 
 throughout, and fo much the Same as if One 
 Hand had done the Whole. TheExprciTions 
 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 Hiilorians, re- 
 lating only the Main Incidents, whereas in ma- 
 ny of the Single Statues they have like Poets 
 wrought up, and finiih'd their Matter with 
 all the Particularities, and Beauties they could 
 imagine. The Figures here are a little more 
 large at the Top than at the Bottom, but feen 
 Almoft, or Altogether Equally well; the Re- 
 iiefxho* every where pretty High} being more 
 
 fo 
 
(3" ) 
 
 fo in proportion as 'tis to be feen at a Greater 
 diflance. 
 
 That calf d the 
 
 Antonine Pillar, 
 
 Stands in a Larger Square than the Other, 
 and is more Neatly kept. It looks not lb 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 fb 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 Handing in 
 a Hole as the Other, but upon a High Pede- 
 ftal, whole Bafis is upon a Level with him that 
 Views it; 'Tis feen however very well ; E- 
 fpecially by thofe whofe Eyes difcern Things 
 at a Diflance ; and very Accurately with Glaf 
 fes from fome of theHoufes adjacent, as I fa w 
 both the Pillars. I alfb went up to the top of 
 them, from whence one has fine Views of 
 Rome. The Stairs are remarkably well pre- 
 ferv'd, and un-worn. 
 
 The Statues of St. 'Peter and St. Paul of 
 Brafs Gilt are on the tops of thefe Pillars, one 
 «n thzTrajaw, the other on the Antonine^m- 
 flead of thofe of the Emperors which were 
 there Anciently i Thefe New Statues were fet 
 up by Sixtus V. 
 
 I confefs I did not obferve it my felf ; but I 
 have been aflur'd by others that thefe Pillars 
 are compos'dof flngle Stones pil'd one upon 
 another likeCheefes, being hollow'd, and the 
 Stairs, Windows, and Bas- Reliefs, wrought 
 
 X 4 in 
 
( 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 Meafures 
 of thefe Pillars agree that the Antonine is the 
 Largeft , but they differ as to the particular 
 Dimensions, fietro Sanffa Bartoli, who I 
 think is mod: to be rely'd on, makes theTra- 
 jan Pillar from the bottom of the Pedeftal to 
 the top of the Statue of St. Teter, to be fome- 
 thing lefs than 14$ Roman Foot, whereas the 
 other is above 200; (the Monument at Lon- 
 don is rather higher.) But tho' zhtTrajanV'A- 
 lar is fo much Lefs than the other, I have hard- 
 ly met with anyone who judging only by the 
 £ye has not beenMiftaken, as I was, who did 
 not doubt but that what is really the Leaft is 
 the Greated ; the Reafon of which muff, needs 
 be that the Trajan Pillar is feen vaftly Nearer 
 than the Other, the bottom of it being but a 
 little above the Eye, for the Pedeftal (as has 
 been faid) is almoft hid, and befides the Houfes 
 fland all round it pretty near ; whereas the o- 
 fher is in a Wide, Open place; and the bot- 
 tom of the Pedeftal is not only feen, but 'tis a 
 very Tall one, and perhaps more fb than it 
 ought to have been 3 for 'tis almoft 50 Foot 
 high, (that of the Monument is 40.) This 
 Pillar therefore being feen at Such a Diftance, 
 no wonder the Eye is deceived; Especially 
 when 'tis farther confider'd, that tho' there is 
 about ^o Foot difference in the Whole, there 
 js not ih much by a great deal proportiona- 
 lly 
 
( Ml ) 
 
 bly between the Pillars themfelves, the one 
 being about 1 06 Foot, the other a little above 
 90 4, For the fame Reafons 'tis alio probable 
 that the Antonine Pillar does not look Co Old, 
 nor fo Anguft, as the other, as well as that its 
 Bas-Relieftezvos not lb deep cut, as has been 
 obfery'd already. 
 
 San Tietro in Montorio. 
 
 This is a fmall Church a little way out of 
 Rome, and from whence one has a fine Pro- 
 fpecl: of the City ; but 'tis very Dark, the belt 
 Light coming in at the Door, very Difadvan- 
 tageous to the Pictures ; however 'tis Beauti- 
 ful, and Magnificent Within, by theGoodnefs 
 of Work, andRichnefs of the Materials of the 
 Chapels, Altar-Pieces, &c. 
 
 Over the High Altar is the Famous Transfi- Ra f ae u, 
 guration ; 'tis Painted on Board, or rather on 
 Timber, being as I remember at leaf! a Fool 
 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 io, or 12 Foot from the Floor. I have 
 confider'd it very Attentively, Near, and at a 
 Pittance. The Totit-Enfemble is not extreme- 
 ty Agreeable ; the Two Principal Actions, and 
 Lights, are really Choqubig, much more than 
 in any Prints of it that I have (ten . The Sha- 
 dows are all Alike, and in the lame Degree 
 turn'd Black ; and in fine, the Picture gives no 
 Plearare 'till one comes to look into the Parts 
 Nearly,Then one fees what 'tis that has made 
 it io Univerfally adrjuYd; for befides that at 
 
 Firft, 
 
( 3*4) 
 
 Firft, and before the Shadows were Chang'd 
 there was a greater Variety of Tincls 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- 
 stead of proper MalTes, and Repofes are Spots, 
 and thofe not in Beautiful Shapes neither ; I 
 lay befides all This, the Contours are more 
 Open, and Elegant, and the Airs of the Heads 
 are more Sublime, and ExprefTive, than in any 
 other of his Works Here. 'Tis painted in Oil 
 in the manner of that timeThroughly wrought, 
 and (tho' not to the Degree as in fome fmal- 
 ler Pictures) the Hair, and other Particulars 
 are done with the Point of the Pencil. My 
 Father has)two Drawings; Firft. Thoughts for 
 the lower part of this Picture ; and the Print 
 is fb well known, that there needs no farther 
 Defcription. 
 
 The Principal Subject, and from whence the 
 Picture is denominated (tho' the Epifodc has 
 in a manner as good a Pretence to be So, as 
 Raffaelehzs manag'd it) is truly Sublime ; and 
 this great Mailer has inewn how he was di- 
 ffcinguiih'd from all others for liich a one. If 
 inftead of being Finifh'd as it Is, This Picture 
 were wrought up to the utmofl height like 
 Miniature; if the Colouring were more Beau- 
 tiful than that ofCorreggio; if the Draperies, 
 and other Ornaments ; nay if the Heads were 
 perfectly Natural, what a mean Work would 
 this be if the Subject was treated without Dig- 
 nity! and fo Sublimely Noble as it Is, what 
 
 Compa* 
 
( p* ) 
 
 Companion is there between thofe Inferior 
 Excellencies, and This ! A Man that reads this 
 Story with Reflection will find his Imagina- 
 tion fiil'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 Pi&ure ; or e- 
 ven to what the Sight of this may raife it in 
 Minds leis fufceptible of fuch Impreflions. 
 
 On the fir ft Altar on the Right-hand. 
 
 The Scourging of our Lord, by Sebaftiano SehMtfrn* 
 Venetiano Frate del Tiombo. 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 ailifted him by ma- 
 king Defigns for him ; and 'twas believ'd he 
 Corrected his Pictures, by making the Con- 
 tours as he judg'd neceiTary. He made (as 
 Vafari alfo (kys^art 3 • Vol.i .p.?> 41 .) a fmall 
 Drawing for This Chrift, from which Sebaftian 
 made a larger. Theie Drawings my Father 
 has, together With a Finiih'd one for the 
 whole Work. But the Picture can by no means 
 (land in Competition with Raffaele : 'Tis true 
 'tis muchlnjnr'd by Time, orOtherwife; but 
 by what remains 'tis mauifeft Raffaele Was 
 vaftly Superior to this Confederacy. The Co- 
 louring has a Bricky Dirtynefs like Red Clay ; 
 it wants Grace, and Spirit; Everything. Tho* 
 Vafari fays had he never made any other 
 Work, by This alone he ihould have merited 
 
 Eternal 
 
Gidda- 
 
 ( 3i<* ) 
 
 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 
 
 Rofpigliofi. 
 
 On the Ceiling is the Aurora of Guido, 
 which being pretty high, the Figures are big- 
 ger than the Life : a Gay Subject, and that En- 
 chanting Painter the fitteftof any to excufeit; 
 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 
 parts ; the Dawn ; the Time when the Sky 
 brightens with the Sun Beams, it being yet be- 
 low the Horizon ; and all that from the Sun 
 rifing till Noon. Milton defcribes all thefe 
 finely. 
 
 e'er the high Lavms appear* d 
 
 Under the opening Eye- lids of the Mom. 
 
 The Grey 
 
 <Dawn, and the Pleiades before him danc y d 
 
 Shedding fweet Influence 
 
 Thus fang the uncouth Swain to ttiOaks 
 and Rills 
 While the fti 11 Morn went out with Sandals 
 grey. 
 
 The Morn 
 
 Wall d by the Circling Hours with Rofy Hand 
 f l)nbarr'd the Gates of Light, 
 
 Now 
 
( M? ) 
 
 Now Morn her Rojy Steps in tti Eafiem 
 
 Clime 
 Advancing fow'd the Earth with Orient 
 
 "Pearl. 
 
 ~- r- the Sun who fcarce up risn 
 
 WithWheelsyet hov'ring o'er the Ocean brim 
 Shot parallel to th' Earth his "Dewy Ray 
 ^Di/cov'ring in wide Landfkip alltheEaJl 
 OfTaradife, and Eden's happy T laws. 
 
 So Jinks the'Day-Star in the Ocean bed, 
 And yet anon repairs his drooping Head? 
 And tricks his Beams, and wit F new fpan* 
 
 gled Ore 
 Flames in the Forehead of the Morning Sky, 
 
 ForThefe three Parts of the Morning the Ita- 
 lians have as many Names, Albe, Aurora, 
 and Mattina ; and all thefe 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, pufhing away 
 the Clouds, and fubftituting 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*8 ) 
 
 How many Fine Pictures, and Beautiful 
 Pieces of Poetry are owing to the Invention 
 of c Perfinzzmg Things! The Defcription of 
 the Forms, Habits, Arms, &c. of theie Feign'd 
 Beings, and their Difcourfes, and Actions lay 
 as Much, or More than plain Narration, but in 
 a manner vaftly more Entertaining : And in 
 Painting, and Sculpture iiich Figures exprefs 
 That mofl Delightfully which ThofeArtscan^ 
 not Otherwiie exprefs at all. There are in- 
 numerable Inftances of This kind; a Colle- 
 ction of Some of them, with proper Refle- 
 ctions, might be a ufeful Work. If I had Lei- 
 lure, and was Qualify '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 Lujladoi Canto ens ^m Tortnguefe) as 
 fine as any I remember in its kind. The Sto- 
 ry is the Expedition for the Difcovery of the 
 Weft'-Indies \ they found a dangerous Pro- 
 montory in their way, and 'tis delcrib'd Can- 
 to 5-. Stanza 37, SEa 'Tis introduced by fay- 
 ing there firft appear 'd over their Heads a vail 
 great Black Cloud, then comes the Figure, a 
 Human Form ofaColoffal 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 Hoarfe Voice, as 
 from the Abyfs, what Mifchiefs fhould bcfal 
 future Fleets failing that way. Raffaele, to 
 
 fry 
 
( 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 Leffer Works in the 
 Vatican. And to exprefs the Rain that fell 
 (as 'tis laid) in anfwer to the Prayers of the 
 ThebanLegion, the Sculptors of the Antonine 
 Pillar have made thzJupiterTluvius 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 i8 ch Pfalm, 
 where amongfl other things 'tis faid, He flew 
 upon the Wings oftheTVind. I wonder the 
 Painters have not made ufe of This ; 'tis finer 
 than Jupiter on his Eagle, an Old Man on 
 Clouds fupported by Boy- Angels, or any other 
 that I remember to have feen in Painting, or 
 Sculpture. 
 
 Thefe are but Hints, for I find I am gotten 
 into a fort of Digrefiion. 
 
 In the Church o/S. Andrea della Valle. 
 
 This Church is a very Noble one, and very 
 Light; the Grand Cupola of Lan } franc ', and LanfraM. 
 the Tribunal, or Mezzo Cupola of ^Domini- 
 chin, with the Angels, and Ornaments, appear Vommkkm, 
 at one View as one enters the Church ; and 
 being very Bright, and Gaily Painted, ftrike 
 the Eye, and give a vaft Pleafure from the 
 mere Beauty of the Colours. Both thefe Ma- 
 tters have here fhewn how Great they were; 
 particularly Lanfranc for This kind of Paint- 
 ing, which is Frefco, and at a vaft Diftance ; 
 
 Certain ly 
 
( v-° ) 
 
 Certainly no Man ever carry '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 placed, 'tis amazing to fee what 
 Art has been us'd in making every thing fo 
 Grofs, and Hard, foRude, and even Difa- 
 greeable, when one comes where he was when 
 he painted it. Thefe Works need not be par- 
 ticularly defcrib'd, That being done for the 
 moft part by Prints, or in the Lives of thefe 
 Matters by Bellorz, &c. 
 
 The Cupola of Tarma by Corregglo is Ex- 
 quisitely fine, as to the Invention, Painting, 
 and Colouring, confider'd as a Picture, not as 
 a Cupola to be feen at a great Diftance ; for in 
 truth it has not a good Effect Below; info- 
 much that if you came into the Church with- 
 out knowing any thing of the matter, you 
 might poflibly not obierve it ; whereas This 
 €>£ Lanfranc by its vail: Strength, ainffurpri- 
 zing Fulgore^ commands your Attention ; and 
 is indisputably 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 moft Perfect for 
 a Nearer View. 
 
 S. Andrea a S. Gregorio In Monte Cello. 
 
 One goes to this Church through an Unfre- 
 quented 111 way, and finds it Deferted, and in 
 a Bad Condition : On the two Sides of it are 
 Guide. the Pictures ofGuzdo, zxi&Dominichini done 
 
 vommtchm. at t ^ Q Same timC) anc j CO nfequently in Con- 
 currence: They are both of them Dirty, and 
 
 Injur'df 
 
( 3" ) 
 
 Injur'd, particularly by the Rain Water corn* 
 ing through the Ceiling, and running down, 
 The Subject of that of Guido is St. Andrew 
 falling on his Knees upon fight of theCrcfson 
 which he was going to be Martyr'd^ (my Fa- 
 ther has the Drawing of the Head of the 
 Saint) the other is his Flagellation, Prints 
 there are of Both, by which fome Judgment 
 may be made of their Merit. 
 
 < \Dominich'm was in Some refped:s under a 
 great Disadvantage in this Competition ; He 
 was then but about xj Years old, whereas Gin- 
 do was above 40 ; and what was {till much 
 more, He was a Mild, Devout, Modeft Man, 
 very fubjecl therefore to be born down, and 
 Opprefs'd by Guido, who was of a Temper 
 more fit to make its way in the World, Be- 
 sides, he was perfecuted by a more Terrible 
 Adverfary than Gut do , that was Lanfranc ; 
 who was indeed of the fame Age with him- 
 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 Subjecl:, 
 which was more apt to ftir the Parlions, efpe- 
 cially of the Multitude, who were to be the 
 Judges. Which of the two was the better 
 Painter I am not about to fay ; in Seme Views 
 Guido was, in Others < Dominichin : Both had 
 their Excellencies, Both ought to beEfteern'd. 
 5 Tis certain neverthelefs that in the prefent 
 Cafe the Preference was Generally given to 
 Guido, fo that poor c Dominich'm defpairing of 
 Employment ini&w, had refolv'd to try his 
 Fortune Elfewhere ; but That was deferred up- 
 
 Y on 
 
( 3-W ) 
 
 on his Undertaking the Communion of S.j^- 
 rome in the Church of San Geronimo delta 
 Car itd by the means of a Prieft of his Ac- 
 quaintance, which rais'd his Reputation ; and 
 'tis indeed an Admirable Picture. I fhall give 
 ibme Account of it hereafter. 
 
 Annibale Carracci however declar'd him- 
 felf in his Favour, 
 
 Vittrix Qaufa T>iis placuitjfedVifla Catoni. 
 
 And 'tis * faid that he acknowledg'd an Old 
 Woman had taught him to judge in This Cafe: 
 She feeing This Flagellation, ihew'd it her 
 Child with much Emotion ; but calling her 
 Eyes on that of Guido, went away Uncon- 
 cern'd. 
 
 Algardl On the other hand (in a Letter to 
 Count Malvajia, fee FelJina'Pittrice, Part 4. 
 
 t.318.) prefers the principal Figure with the 
 andfkip of Guido to the Whole Pi&ure of i 
 'Dominichin, and flatly denies the Story of 
 the Old Woman, without giving any Reafon 
 for fo doing ; but he fays he had been feveral 
 times at the Feafls of that Church, and had 
 only feen old Women endeavour to quiet their 
 peevifh Children, by the Example of that Boy 
 in Guido 's Picture who did not Cry as they 
 did. 
 
 If Annibale only meant that That Piclure 
 wasBefl which mofl touch'd the PafTions,and. 
 that Common Senfe was a good Judge of That 
 he was certainly in the Right ; and thus an 
 
 * Bellori in the Life of Dominkbin. 
 
 Old 
 
( 3 2 3 ) 
 Old Woman, or the Multitude, might teach 
 us to decide upon the Merit of two Pictures 
 of the Same Subj eel; But iiirely in the prefent 
 Cafe he ought not to have rely'd abiblutely 
 upon his Old Woman, who might eafily be 
 fuppos'd to be more afFecled with the Whip- 
 ping of the Saint, than with his Tender Senti- 
 ments of Devotion: She would in her Imagi- 
 nation bring home to her felf the One, more 
 probably than that me would be livelily affe- 
 cted with the Other ; Hie might kel the 
 Scourge on her Back, Sooner than the Piety 
 and Resignation in her Heart. Annibale there- 
 fore mould have allow'd for the Difference of 
 the Subjects, and then judg'd for himfelf, and 
 not have let Such an Important Decifion turn 
 upon the Accidental Flutterings of Nature in 
 any one whatsoever. 
 
 Algardi indeed trails not to Another, but 
 expects Others Should do lb with refpect to 
 Him, for he decides pofitively, without of- 
 fering at any Argument to fupport his Judg- 
 ment; and he manifestly builds upon a Falie 
 Foundation, becaufe he takes not In the moil 
 coniiderable Circumftance of the Queition : 
 He regards not the manner of Thinking, but 
 fy ^Jie Execution only. The Drawing, Colour- 
 ing, and Pencil, are undoubtedly very mate- 
 rial Parts of Painting, but not So material as 
 the Thought, and ExpreiTion; in Thefe the 
 Painter applies himfelf to the Heart, and Un- 
 derstanding ; the Other are addrefs'd chiefly 
 to the Eye. To judge Thus of aPiclure is like 
 judging of Mufick by the mere Sounds only, 
 
 Y z without 
 
( ?H ) 
 
 without con fidering what Paflion,orSentiment 
 they are intended to Expreis, or Excite. 
 
 As for the particular Difpute concerning the 
 Merit of thefe two Pictures, as That has Slept 
 long ago I lliall not Revive it: But without 
 that what I am going to fay is to be under- 
 flood as giving any Ad vantage to 'Dominichin, 
 I don't doubt but that the General Decifion at 
 that time in favour of Guido was (as it almofl 
 always happens) more occafion'd by Confl- 
 derations intirely Foreign, than thofe 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 (Ceteris paribus.) 
 But what is worfe, the Firft often crufh the 
 other, even when fupported with a Superio- 
 rity upon the main Queltion. Pofterity in- 
 deed often does Juflice, 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 he was upon, and had the Prejudices of 
 the Multitude on his Side, after fcveral Oth^r 
 Faults found, and which c Dominichin heard 
 with great Patience, and SubmiiTion, he faid 
 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 thefe Re- 
 marks , to fhew by Examples the feveral 
 o wrong 
 
( 3*5 ) 
 
 , wrong ways of Judging : Not enough tiling onr 
 Own Reafon ; the Mifapplykig Good Prin- 
 ciples ; the rejecting Thofe for Others lefs 
 i Conflderable, or Falfe ; the not taking In the 
 : Whole of the Cafe ; and *being influenc'd by 
 what is Foreign to the Subject. 
 
 'Palazzo deW ' Acade?nla. 
 
 i 
 
 Here is the French Academy ; One of the 
 
 Many Inflances of the Noblenefs of Mind of 
 
 : LewzsXIV. 'Tis free to All Nations; but at 
 
 ; the time of the Year when I was there no- 
 
 thing was done. 
 
 There is One Circumftance that makes this 
 place as well worth vifiting as almoil Any ia 
 Rome : Here are Cads of all the principal 
 Statues ; Many of which are Thus feen much 
 better than by the Statues Themfelves; I 
 meanThofe that are in Difadvantagious Lis;hts, 
 orPoutions. 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 Corn- 
 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 mull: be Seen 
 to be Conceiv'd; particularly the Churches ; 
 fiich Profufion of Gold, Silver, Marble, &c. 
 and fo Artfully difpos'd ! Many Chapels as it 
 were Wainlcotted with Marble ; Pavements 
 of the fame, and Thefe in the moll Beautiful 
 
 Y 3 Figures 
 
( 3^ ) 
 
 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. Gandle- 
 fticks there are of vail Dimenfions, Some of 
 Gold, Others of Silver, fupported by Angels 
 as 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 ihort, to fee Rome in fome 
 Views, 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 
 neither Has been, nor ever Would be. 
 
 'PISA 
 
( 3*7 ) 
 
 y / s a. 
 
 rH E Urn in which the Tribute was 
 brought which the 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 Trimakbio, fupported by a Faun. 
 
 In the Wall of the T)ome are feveral An- 
 tique Inlcriptions, put Carelefly as Ordinary 
 Stones, fome Upfide down, fbme Sideways,^. 
 
 On the fide of the Dome going in is the 
 Tomb of the Counters Mat? /da; upon it is a 
 Boar-Hunting, a Fine Tafte ; Antique : the 
 Tomb it felf is So. 
 
 In the Dome is the Difpute of the Doctors : **»»**• g°z- 
 My Father has above thirty Figures of this in ^ ' 
 three Several Drawings. 'Tis painted in Oil, 
 and hung upon one of the Pijafiers. 
 
 In the Campo Santo are Paintings of feve- Dtm . 
 ral of the Old Mailers: the Beft of which are 
 of Eenozzo Gozzoli. Thefe Pictures are De- 
 fcrib'd by Vafari\ and there are little Prints of 
 them in the Book that theMt/anfs have pub- 
 liuYd of this Place ; fo that I need not en- 
 large. 
 
 Here are about Fifty,orThreefcore Antique 
 Tombs full ofFmeBas-Re/iefs,moft of them 
 Greek. 
 
 Y 4 SIENNA. 
 
j&Iectaririe] 
 
 ( 3** ) 
 
 S I E N N A. 
 
 The Dome Hands upon a Hill ;-~ a Noble, 
 Large, Old Church ; the Pavement is chiefly 
 of Meccarino, but fome parts of it are by his 
 Difciples ; 'tis a Work very famous, and de- 
 fervedly lb. The Out-lines of the Figures are 
 cut into the Marble, which being White, and 
 thole Lines fill'd with a Dark Colour, as are 
 the Gravings which make the Shadows; the 
 Whole is a Clair-Obfeure like a Silver Plate 
 for Printing fill'd with its Ink, and wip'd rea- 
 dy for the Prefs : Thefe Out-lines having been 
 cut by common Workmen, are not fo Elegant 
 as they ought 1 The Figures are as big as the 
 Life, and the Stories are from the Scripture. 
 That of Abraham Offering is moll efteem'd, 
 and 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. Vajari fays they are of 
 fintwtfhit- ^PinUiricchio-, the Cartons however he owns 
 were made by Raffae/e, who was hisCotem- 
 porary under Tietro e Pemgino^ and r hen very 
 Young: They fay here that he Painted, at 
 leaf! AiTifled in the painting of the firft Story 
 on the Right-hand coming in. What the Style 
 is will be eafily conceiv'd by thole acquaint- 
 ed with that oi'Perugino, and 'tis indeed ve- 
 ry Good ; The Colouring is extreme Beauti- 
 ful? 
 
 pifaele. 
 
( 3*9 ) 
 
 fill, and the Work in general fo preferv'd, as 
 if juft come from the Pencil. 
 
 L V C ' C A. 
 
 ■Church of S. Giovanni. 
 
 A Fine Madonna of the Frate, (Fra. Bar- *>*• Bartoh- 
 tolomeo is always fo call'd.) She is Sitting, meo% 
 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 ipoil'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 QarolusAlberttis fee. 'canto au 
 
 bertus. 
 
 Santa Maria Corto Landini. N 
 
 The Aflumption ; a Great Altar-piece : Guido. 
 Lightfome 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 ofS. Romano of the Dominicans. 
 
 A Madonna di Mifericordia ; many Fi- // Fra/e, 
 gures : A moil Excellent Picture. 
 
 There are few good Pictures in this City, 
 and thofe that are, have been generally fiif- 
 fer'd to go to Decay by the Carelefiiefs, and 
 extreme Ignorance of the Religious to whom 
 fhey belong. 
 
 TAR MA, 
 
( 33°) 
 
 *P A R MA, continu'd from pag.30. 
 
 The Church of St. John. Large and Beau- 
 tiful. 
 
 correggio. The Cupola is painted ; God the Father, 
 
 and Chrijt 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 Feflons, 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 : 
 'My'Lord'PtmSroke has Drawings of lome 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 Subj eel: 
 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 Ieffer, where the Virgin is. 
 'Tis upon the Authority ofTadreReJia that 
 I 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* ) 
 
 Rare in Italy ; and the Reafon here given is, 
 that 'twas thought none fince Qorregglo was 
 Worthy to paint one. 
 
 Chiefadi San? Antonio Abbate. 
 
 The Madonna, with the SS. Mary Magda- coneggb. 
 /en, 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 
 Agoftino Caracci. The Figures in the Picture 
 are as big as the Life. There is I believe ten 
 Copies of this Picture in Parma, Altar-pieces. 
 'Tis Exquifite, 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 'Duke of Parma. 
 
 This Gallery has Plaifter'd White Walls, 
 the Pictures are hung on them. Over the Door 
 coming in, turning back, and looking up, one 
 fees Pope?W/IIL (Farnefe) and the Cardi- 
 nal Far ne fe, aMefTenger coming to the Pope. 
 Figures at Whole Length; Exquifitely fine! Titian. 
 The Pope is Sitting; the Air of his Head, Wife, 
 and with great Dignity, and is very Strongly 
 painted. The MelTenger has not that Force, 
 and appears to have great Awe. The Cardi- 
 nal looks upon the MelTenger, but is lels 
 Strong dill, as being farther from the Eye. 
 The Whole well Preferv'd, and very Beauti- 
 ful ; much in the Style of that Noble one the 
 D. of Somerfet has of the Family Qprnjaro. 
 
 A Madonna fitting, the Chrtft lies afleep Parmegg i A 
 by her; ilie chucks the St. John under the 
 
 Chin 
 
( 33* ) 
 
 Chin 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 
 Rawifh, as this Matters commonly is, but (as 
 it muft needs be ) his Pictures have not the 
 Lightnefs, and Delicacy as his Drawings. 
 
 AnnihaU. A Pieta ; the Chrifl is exactly the Same, 
 
 the fame Air of the Head, the fame Attitude, 
 the fame Tincl of Colour as one in Small (a 
 finely fmifh'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 mowing it, which other Angel 
 points to the Wounds in the Feet, and appears 
 Griev'd. 'Tis as big as the Life, and highly Fi- 
 nifh'd. A Celebrated Picture, as is the Par- 
 meggiano juft now defcrib'd. 
 
 Raf*ek. The fame Madonna as that in the Little Ca- 
 
 binet of the Duke de Bracciano. Both are 
 contended for as the Right ; and both are ex- 
 actly in the manner in all refpects as another 
 Madonna my Father has (not quite fo large.) 
 I confider'dThefe in that particular View, and 
 can be fb pofitive, that if either of Thefe are 
 Right, I lee no reafon to doubt of That being 
 fo too. 
 
 And. del sar- The famous Copy after Raffaele of Leo X. 
 
 u>. &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 fame Copy Vafari lpeaks 
 
 of, 
 
( 333 ) 
 
 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 fb Good by a great deal ; 'tis not fo 
 Touching, it has not that Sublimity, that Dig- 
 nity, that Force, but is Raw, and Tame : In 
 fhort, 'tis a Picture in no degree Equal to what 
 one would ExpecT:, fuppofmg it to be That of 
 which Vafari tells the Story. 
 
 Her own Picture ; the fame with that of my sofin. Ang»> 
 LordCadogan,butHere the Mufical Inftrument f" o!a - 
 is Damag'd, and gone, and the other Head is not 
 here ; nor is This fo Good a Picture, 
 
 Bacchus; a Single Figure. Annibah, 
 
 A Madonna, very Qoregefca, a Imall Pi- schidone. 
 clure, 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 MiiTal, bound in Silver Plate, a lit- a G \ul\och 
 tie above the Size of a French ix°. At the m 
 end of it on an Altar is written, Julius Clo- 
 vius Monument a hac Alexandro Farnefio 
 T)omino Juo faciehat M. D. XL. VI. This 
 MiiTal 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 2). Jul.) and now alive : 
 but This is perfectly well preferv'd,'and is ad- 
 mirably well Drawn, and Colour'd, equal to 
 Any Mailer: TheTafte in General is Chafte, 
 and Gentile ; in feme of the Figures more e- 
 ipecially there is an Inclination toward the 
 
 Style 
 
( 334 ) 
 Style ofMich. Angelo, but without his Extra- 
 vagance. All the Pictures have Grotefque Or- 
 naments about them ; the Colouring of which 
 humours the general Tinct of the Picture, 
 with much Beauty, and Harmony. 
 Ditto. A Single Picture in Miniature , with a 
 
 Frame, and Glafs ; 'tis a St. John ; but in a 
 Style different from that of the Alijfal, and 
 like thofe of this Mafler in Florence. 
 
 The Gallery again. 
 
 cornggio. The Marriage of St. Katharine, the Virgin 
 
 is a Profile, and the Chrift, and St.Katharine 
 look up in her Face: A fmall Picture; Fine 
 Bright Colouring; his Befl Manner; well Pre- 
 terv'd. 
 
 RaffaeU. The Madonna della Gatta, calPd fo be- 
 
 caufe of aCat upon the Ground at the Foot of 
 the Virgin ; the Qhrift is on the Lap of his 
 Mother holding out both his Hands to St. 
 John. The Picture is not of the Belt of Raf- 
 faele. 
 
 Parmeggiano. Lucretia, Half Figure, big as the Life, Face 
 in Profile. Very fine. 
 
 Anmbak. A Dead Chrift, the lame as that at 'Poggio 
 
 a Caiano. This alfo appears to be Right. 
 
 correigio. An Exquifite Madonna, a Half Figure on- 
 
 ly, the fame Attitude as the Zingana. 
 
 Titian. A Fine Copy of the Magdalen of Corrcggio 
 
 by Titian, the lame Size. The Blue, and the 
 whole Picture well Preferv'd. 
 
 correggio. The famous Zingana, the fame Size, and 
 
 the fame faulty Drawing of the Hand (I for- 
 got to obferve the Foot) as the Copy my Fa- 
 ther 
 
( 33 J ) 
 
 ther has of it by Annibale Carrdcci. As for 
 the Browniih Tincl: 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 Picture being hor- 
 ribly SpoiPd ; the Colours feem to have been 
 Broird, and are Re-painted, but not fb as to 
 unite with the Old, lb that all is in Spots ; the 
 Boy a- top is jult gone. This Picture was made 
 for a Cardinal of the Houfe of Farnefe. My 
 Fathers Copy is Exactly of the lame Style 
 with many others I have feen of Annibale, 
 and is Undoubtedly of Him. The Pope has a 
 Copy of this Picture; and there are feveral 
 Others in Italy, and England, fome Large, 
 and fome of the lame Size with This, but I 
 law none Good. 'Tis a Ripofo, the Virgin 
 refting her felf in her Journey to JEgypt, 
 She (Its on the Ground, the Child afleep in 
 her Lap, Both in moil Lovely Attitudes, and 
 the Expreflion of Sweetnefs, and Innocence 
 in Him, and of a Motherly Tendernefs in Her 
 is fb fine, that one may fairly fay 'tis now In- 
 conceivable, the Original Picture being fpoil- 
 ed, and there being none but Copies or Prints 
 that we know of left, but Thefe juflify us in 
 carrying our Imaginations as high as poflible. 
 The Poetry of this Picture 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 protect them from the Heat; and Birds 
 in the Glade, and a White Rabbet (daring up 
 at her) prettily enrich the Pi&ure, and at the 
 ^ fame 
 
( 33* ) 
 fame time help to exprefs the Solitarinefs of 
 the Place. 
 
 The Church of the Madonna della Steccata. 
 
 parmeggtano. Here are four Half Cupolas painted in Co- 
 lours, the Pilafters are in Clair-Obfcure, and 
 all the Ornaments throughout are oi'Parmeg- 
 giano. The Cariatides and fiich like Figures 
 are painted on thofe Pilafters (whether the 
 Square Pillars, or thofe which are Flat againft 
 the Walls) four or five Figures one over ano- 
 ther are on all thofe Flats, with Ornaments 
 for the fpace of a Yard or two interpos'd. 
 TheCuJ>olas are fo 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 Parmeggiano as Vafari intimates ; 
 at lead I don't oblerve it. My Father has fe- 
 veral Drawings of thefe Ornaments, Figures, 
 and Grotefques. 
 
 The 'Palace of the T)uke ; which is diftant 
 from the Gallery •> and in another part of 
 the Town. 
 
 AnmbaU af- The firft Apartment is All otAnnibale Car- 
 t« correggio. 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 fame Size as the Origi- 
 nals, perhaps three times bigger than the Life. 
 The reft are Copies of feveral of his Other 
 Works ; Some of which are deftroy'd. In all 
 thefe Annibale has admirably well imitated 
 
 the 
 
( 337 ) 
 
 the manner of Correggzo, to that degree that 
 one may almoft fay 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 fhe has a Vir- Ra f uls °- 
 gin-Modefty as finely exprefs'd as Any this 
 Mailer has done. 
 
 Virtue fhewing a General (who is before Gml " Rcm ° 
 her on his Knees) the Temple of Fame; there 
 are feveral Soldiers ; all is highly Finiili'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 Finifh'd, only there is a t0 - 
 difference in the Back Ground; the Piclure 
 has a Landfkip, and in the Sky are two An- 
 gels holding a Curtain : the Drawing places 
 the Figures Within-Doors, and a Landfkip is 
 feen through a Window in one Corner. 
 
 Here are feveral other Apartments, but no- 
 thing in them Confiderable. 
 
 Z ■ 'MOVE- 
 
(338) 
 
 M 07) E N A, continu'd from pag.29. 
 
 Tdlazzo T)ucale. 
 
 ccrrsgiio. Notte : Pcrfe&ly well preferv'd, and has 
 
 that admirable Splendor that 'tis always re- 
 marked for; and indeed 'tis perhaps the firfl: 
 Picture in the World for the Clair-Obfcnre . 
 The greated Mailers in this part of Painting 
 nvcCorregpo, Rubens, andRewbrandt. The 
 Firfl, and Lad of theie generally kept their 
 Lights more Contracted ; or (as one may lay) 
 their Principal Lights are more Principal ; 
 whereas Rubens is moreDifrus'd, fo that the 
 Subordinate Lights approach nearer to a Com- 
 petition with the Principal one, and fprcad 
 thcmfelves 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 
 icveral tones lower than the Grand Light. 
 The fame may be laid of the Magdalen, Io, 
 
 The Piclure is the fame with the Print of 
 Mete Hi (only as to the Clair-Obfcnre) but the 
 Drawing my Father has, which neverrhelefs 
 was undoubtedly made for it, is pretty Diffe- 
 rent from it both as to the Figures, and their 
 Difpofition, and alio the Clair-Obfcnre, the 
 Light beingmore DifTiis'd. The Figures are as 
 big as the Life ; 'tis Prodigioufly Sweet, the 
 Colouring Inimitably fine: The Drawing as 
 uiiial, particularly the Old Shepherd at the 
 
 fide 
 
( 339 ) 
 
 fide of the Picture (a Whole Figure) is the Ex- 
 travagance of Correggio : In fhort, the Excel- 
 lence of this Picture is in the Clair -Ob fcure, 
 and Colouring. Thefe Correggio feerns 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 Incorrect is 
 certain ; as it alio is that he had a tnoit An- 
 gelical Grace: How thefe feeming Inconfi- 
 ftencies are Reconcil'd I will in iliort explain. 
 
 It muft be obferv'd that Drawing is to give 
 the Appearances of Things as they prelent 
 themfelves to our Eyes, whether as to their 
 Proportions, or Forms, in which 'tis inconte- 
 flable 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 Diftinction between the Grace that 
 relults from the Beauty, and Correction 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 
 Pictures themfelves, but with Notorious In- 
 correctness in the Other. Now 'tis in this 
 Latter kind that Correggio excell'd ; and that 
 in Such a degree as perhaps no Modern ever 
 did more, not even Raffaele-, Tarmeggiano^ 
 or Guido. 
 
 When Both thefe kinds of Grace are feen 
 together, the Picture is no doubt more Per- 
 fect; and Correggio would ha ve^ been more 
 Excellent than he is if hisWorks hadCorrect- 
 
 Z X nefe 
 
( 34° ) 
 
 nefs, and Beauty of Drawing, as well as Fine 
 Ideas. But what he Has, join'd to his Lovely 
 Colouring, and Delicate manner of Painting, 
 ilifHciently juftifies the vaft Efteem we have 
 for him. 
 
 This ought not however by any means to 
 be extended to Excufe a Negled: of Drawing. 
 3 Tis a very confiderable Circumflance in a Pi- 
 cture, whether aHiftory, or Portrait, chiefly 
 in the Latter, for feveral Realbns 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 Bufmefs 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 Neglect. That : nay, 
 if we could be fecure of all thofe that Correg- 
 gio had, He that has not Ambition, and In- 
 duftry 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 Reft a (heretofore mention'd) in a 
 Manufeript t have feen of him, which Mr. 
 Kent has favour'd me with thelife of, tells us 
 feveral Particulars relating to this Picture 
 worth remembring : He fays it was made for 
 an Altar in S. ^Projpero in Reggzo, and gives a 
 Copy of the Contract, the Original of which 
 he affirms to be then in the Hands of Szg. 
 Cav. Donzi Gallery-keeper of the Duke of 
 3 Mcdeuc 
 
( 34i ) 
 
 Modena, which becaufe 'tis Curious I will 
 tranfcribe. 
 
 Per quefta nota di mano rnio io Alberto 
 Pratonero faccio fede d ciafcuno come io 
 prometto di dare d Maftro Antonio da Cor- 
 reggio Pittore Lire c Ducento otto di moneta 
 vecchia Reggiana e quefto per pagam t0 d'una 
 Tavola che mi promette di fare in tutta ec- 
 cellenza douefla dipinto la Nativita del Sig e 
 noftro con le figure attinenti fecondo le mi- 
 fur e e grandezza che capeno nel difegno che 
 r/ihd porta effo Maftro Antonio di manfka 
 
 Alii XIIII. di Ott. MDXXII. 
 
 A I fodo giomo gli contaipar parte di pa- 
 gam' lire §)uaranta di Moneta vecchia. 
 
 Et io Antonio Lieta da Correggia mi chi- 
 amo haver riceuuto il di e millefimo fopra- 
 fcritto quant o e foprafcritto, & infegno di 
 cid ' quefto ho fcritto di mi a mano. 
 
 Fuori — Scritto della Tavola di S. 
 
 Profpero fatto dal Correggia. 
 
 St d fcritto in un foglio di Carta che hd 
 per merco w$ Aquila coronata. 
 
 Lire 208 di moneta necchia di Reggio Jo- 
 no circa * doppie otto di moneta noftrana 
 1713. 
 
 Thus far Father Reft a 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 
 Virgin to one Giberto of Auftria ; but he 
 
 I 61 16 s. 
 
 2 3 takes 
 
( 34* ) 
 
 takes no notice of Correggid's writing his 
 Name /,/>£# inftead of Allegro. 
 
 It was upon occafion of a Sketch made for 
 this Picture, and then in the Hands of Sig. 
 Ghezzi 2. Painter 21 Rome? that Father Refia 
 wrote the Difcourfe where this is inierted ; 
 This he fays differs from the Picture, and ju- 
 dicioufly remarks that the latter would have 
 been Better had he follow'd his Firfr. Thought 
 in the Sketch ; for There the Action is in a 
 place Inclos'd, with only a little Window, as 
 being a better Shelter from the Rigour of the 
 Seafon ; and the Night is more exprefs'd, as 
 being Darker, and a Moon appearing amongft 
 Clouds : in all which Circumstances the Sketch 
 agrees with my Father's Drawing abovemcn- 
 tion'd. 
 
 Father Re ft a fays he had feen in the Hands 
 of Sig. ^Pinotti at Correggio? another Origi- 
 nal Sketch for this Picture upon a larger Cloth 
 than that 6f 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? and S.George? with Boy$?&c. 
 (a Drawing of one of which Boys my Father 
 has, and of the St, George-?) This is in fome 
 Iveipects the Reverie of the Notte ; the Light 
 fpreads as in Pictures of Rubens-? and the Out- 
 lines of the Figures cut againfl the Ground ; 
 fo that this is in a Manner between the Laft, 
 and moil Delicate, and the S.Cecilia of Borg- 
 hefe? which is his Firft Andrea Mautegna-likc 
 Manner hi 
 
( 343 ) 
 
 In a Back Chamber. 
 
 The Madonna above, and Bp. in his Rich D ' tt0 ' 
 Cope below, &c. of the lame Character with 
 the lad mentioned. My Father has a Ricalco 
 of a Fine Drawing of this : as he has Copies 
 of feveral Other Drawings, as of the Madonna 
 and S. George, Sec. of which I take no notice. 
 
 In another Room. 
 
 A Madonna fitting;, with four Saints (land- 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 Thofe two he was got fomething 
 farther towards that Sublimity to which he at 
 length arriv'd. 
 
 The Madonna of 'the Go-Cart, becaufethe p. Per:<»ino, 
 Chrift is in fuch a Machine. Mr.F/inck of 
 Rotterdam has the Drawing which is afcrib'd 
 to Raffaele, but not judg'd to be Certainly of 
 him by Mr.F/inck ; however 'tis certainly 
 not of 'Tietro 'Perugino, of whom this Picture 
 is laid to be. 
 
 In another Room. 
 
 Over againfl the Window is the St. Roch of Annlbde, 
 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 Afiumption, of which Lo j m c^acci 
 th^jy.oilDevoii/hire has the Drawing. 
 
 Z 4 On 
 
( 344 ) 
 r>lti0 - On the other fide of the Room is the Ma- 
 
 donna with feveral 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 LodouicG feem to have been intend- 
 ed for Altar-pieces; the Figures are confide- 
 i ably bigger than the Life ; Both are Exqui- 
 fitely Good, the very Utmoft of this Mafter ; 
 Intirely in the Style oiCorreggio, and per- 
 haps Equal to- him: Even the Drawing has 
 Something, but the Bed of him. The Air of 
 the Virgin in the AfTumption is particularly 
 Excellent, but not in the Sofr, rather in the 
 Haughty, Majeftick Character. She, and the 
 Angels accompanying her, feem to Aide away 
 as if they were fuckd up into Heaven, and 
 juft going to leave us. Neither of theie Pi- 
 ctures have any BIackncfs,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- 
 ccftor of my Lord Pembroke-, which he part- 
 ed withal to King Charles!, and which Now 
 Dojfo da vcr- Monfieur Crozat has. This is afcrib'd to T>of 
 rdra - fo da Ferrara,and is bigger than that ofRaf- 
 
 faefe,1bt;tis of aSize between a Three Quar- 
 ter, and a Half Length. 
 
 In the Gold Bed-Chamber, fo caWd from the 
 much Gilding of it. 
 
 Here are the Ritrattoes of the Family ; a- 
 
 mongft 
 
( 345 ) 
 mongft others fomeby Titian^ Giorgion* Sec. Thiano. 
 nothing particularly Remarkable. «'"*««, &c 
 
 In a Clofet in this Room is kept in a Box 
 the Famous Magdalen-, Small, the lame Size coneggio, 
 as the Copy my Father has : the Blue is turn'd 
 quite Black, but the Flefh is mighty Bright, 
 and which (the Ground being alio Dark) is 
 therefore a perfect Spot ; but that Spot is moll: 
 exceflively Beautiful : the Flefh the lame kind 
 of Colouring as the Chriji 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. 
 
 MANTUA 
 
( -34* ) 
 
 M A NT 'V A. 
 
 The Talace of T. 
 
 £ 
 
 o 
 
 8 
 
 l r 
 
 b 
 
 i i 
 a 
 
 The Plan of the Palace is of this kind, [a] 
 is the Entrance, [£]a large Court, [r] thePaf- 
 {age with Lodgings on each fide, \_gg~] lead- 
 ing to a Portico \_d] which looks into the Gar- 
 den If], and which Portico has three Rooms 
 on each fide of it, [>i, ez,&c.~] 
 
 In 
 
( 347 ) 
 
 In the firfl Room \_ei~\ on the Left-fide is & Romans. 
 the Fall oiThaeton, painted in the Middle of 
 the Ceiling; ray Father has a Colour'd Draw- 
 ing (not the Original) of this : 'Tis the Same, 
 and that Particular, but very Proper, and No- 
 ble Tinci 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 Pvight 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 Beafts. 
 
 e %. Divers Stories of Ovid, in Medallions ; 
 amongft the reft the Horatii, and Curiatii, of 
 which my Father has a Drawing by Gio.Batti- 
 Jla Bert am Montovano, a Dilciple of Giulio. 
 
 e 3 . is the Hiilory of Tfyche ; the Banquet 
 of the Gods is Etch'd by Battifta Franco : 
 My Father has a Drawing of a fmall part of 
 it. Over the Chimney is Hercules fitting : He 
 appears vaftly Large, tho' he takes up but lit- 
 tle room, but 'tis fili'd Intireiy. 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 'David, and Goliah. My Lord 
 'Pembroke has the Drawing. 'Tis in a half 
 Round as That. 
 
 In the Room e^, on the Right-hand of the 
 Portico, are the Marches, and Battels, Etch'd 
 by Teter Sancta Bartoli. My Father has fe- 
 veral 
 
( 348 ) 
 veral Drawings of thefe, by Giulio himfelf, 
 Girolamo da Carpi, &c. 
 
 e$. In the Middle of the Ceiling is Julius 
 Cafar with his Lienors, and all round the Pi- 
 cture are Grotefques. 
 
 Over the Doors are two Medallions, one of 
 which is the Continence of Scipio. Under 
 thefe Medallions is aFrize of Boys, and which 
 is continued all round the Room, a great part 
 of which my Father has in feveral Drawings 
 of Giulio. 
 
 The laft Room \_e6~\ is a Noble one indeed! 
 here is the Fall of the Giants (Etch'd by S P. 
 Sanffia ;J 'tis Painted on the Ceiling, and all 
 round the Walls quite to the Ground. At the 
 firft Entrance every thing feems 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 fo painted, that everybo- 
 dy muft needs be deceiv'd by it. TheDeicri- 
 ption given by thefe Authors is not however 
 to be Intirely rely'd on ; They fay the Room 
 is round, which 'tis not. 'Tis thus : 
 
 The Plan. 
 
 The 'Profile. 
 
 Filibien 
 
( 349 ) 
 
 Filihien fays, that the Stories on the Trajan 
 Column are here reprefented. I don't doubt 
 but he means thofel call Battels, and Marches; 
 whether they are what are on that Pillar may 
 be leen 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 Tincls 
 (Stone Colour) by Rubens. 
 
 The Six Rooms, but more efpecially This 
 laft, are well preferv'd. 
 
 The Aparrments on both Sides, [gg, &c.^ 
 which make the Perpendicular of the T are 
 Chambers, all of them Dark, and Almofl all 
 of them painted with Grotefques, and Foliage. 
 
 In one of thele 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 finging to 
 Tluto ; but the Place is fo dark that they are 
 hardly Vifible. 
 
 All thefe 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 thofe already noted ; as a Foli- 
 age, in the Middle of which is a Dog afleep, 
 a Grotefque Head, &c. 
 
 VERONA. 
 
 The Church of St. George. 
 At the Great Altar; the Famous Martyrdom Paoh ven- 
 
 £»efi. 
 
( 3)0 ) 
 
 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. 
 Ditto. Two other Good Pictures of this Mailer ; 
 
 one over the Door, the Baptifm ofChrifi; the 
 other at an Altar on the Right-hand 
 St. Barnabas curing the Blind. 
 paoh Tan- Next to the Great Altar is the Feeding the 
 natt. 5-000. 'Tis much Admir'd, and is indeed a ve- 
 
 ry Good Piclure, tho' the Colouring is lome- 
 thing Heavy, and Dirty. My Father has the 
 Drawing very Large. 
 
 Here are the three Tombs of the Scal/gers, 
 mil of Ornaments and Statues: Gothick. 
 
 The Theatre. 
 
 Before it is a large Square full of Infcri- 
 ptions, and Bas- Reliefs in the Walls. There 
 are two ofThefe, Small, of an Excellent Taile, 
 and very much alike. In One Mercury Hands, 
 and holds fomething in his Hand to the Earth, 
 reprefented by a Woman which fits : under 
 thefe Figures is written EPMHS and TH. In 
 the Other is the Same Woman, only Here one 
 Foot is rais'd on a round Ball. This Figure is 
 Q.nlutaglia,(as I think) in the Kingof France's 
 Collection. My Father has a Pad of it, as he 
 has a Drawing by ^Parmeggiano of the fame 
 Woman; together with a Figure, Clad, in 
 the fame Attitude as the Mercury in the o- 
 ther Bas- Re lief There is a Wood- Print of 
 This. 
 
 T>VSSEL- 
 
Cm.) 
 
 T)VS$ELT)OR c P. 
 
 Here is fuch a Collection of Cajts 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 
 T)utch?2iud. Flemmijb . Rubens is Here feenin Rukm 
 . Perfection : I believe there is about 40 Pictures 
 of him, many veryCapital ; as the Battel of the 
 Amazons ; the Fall of the Angels (of which my 
 Father has the firft Thoughts, and Sir James 
 Thornhill the Finifh'd Drawings in leveral 
 Large Pictures, as they may almoft be call'd) 
 The moil Capital Picture of all here is the A£ 
 fumption. Whoever fees this Collection mult 
 have a Greater Idea of Rubens than 'tis poffi- 
 ble to have without feeing it ; and fuch a One 
 as will give him a place amongft the mofl Ex- 
 cellent Painters. 
 
 Raffaele's Figures are Fine Actors, and 
 Graceful, and Noble Perfons, but examine 
 them as to Particular Parts, they are not by 
 much fo 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 Bed; 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 a.sRaffaele's ; But they perform their 
 Parts well, with great Propriety, and Energy ; 
 (generally fpeaking) and Theie Pictures have 
 Harmony, and Magnificence, together with 
 
 a valt 
 
( sn ) 
 
 a vafl Force of Painting, and Colouring : tbo' 
 (to lay the Truth) This laft Article, and for 
 which This Mailer is lb much Celebrated, is 
 not Intirely to my Gout ; It has Vigour, but 
 not the true Delicacy withal, as is feen in Ti- 
 tza;t,a.nd ibmeOthers; 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 EfTecl: Together 
 than if any One of them had been in Another 
 Talte. They produce Pictures, Excellent in 
 their Kind ; tho' That Kind is not the Same 
 with Thofe of Raffaele^ nor lb Good ! Thus 
 Mich. Angelo was an Excellent Sculptor as 
 well as the Bell of the Ancients; But their 
 Styles are DifFerenf , as are the Degrees of That 
 Excellence. And Thus tooT* aoloVeronefe is 
 jultly Efteem'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- 
 moll every Mailer exhibits a leveral fort of 
 People ; Better, or Worle, as they approach 
 the Model left us by the Ancients, (for the 
 Naked efpecially) and as they fit the Stories 
 they reprefenf, and the Parts tRey adfr. 
 
 FINIS, 
 
( 353 ) 
 
 EN DA. 
 
 Tage 2.9, after Line 3. 
 Egarelli Modell'd all the Confiderable 
 Figures for Correggio in the Dome of 
 VParma and Church of St. John, asMonfieur 
 Crozat told me. 
 
 ft. 56. l.iz. 
 
 Bianchi ( Cabinet-keeper of the Great 
 Duke) told me, that before 'twas remov'd 
 from Rome, (which according to Maffei was 
 in the Time of Julius II.) 'twas in perfect 
 Prefervation , and that thefe Fractures hap- 
 pen'd in the Carriage of it to Florence. 
 
 'Tis the Work of Cleomenes the Son of 
 Aftollodorus an Athenian, as appears by the 
 Infcription on the Bafe. The Venus which 
 Julius Cafar dedicated, and fet in the Pan- 
 theon had the Ears bor'd, and the Remains 
 of the Pearl (UndifTolv'd) which Cleopatra 
 drank, and was afterwards cut in two, were 
 hung to th^m . Marti anus ft . 1 3 2 . 
 
 f.syj.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 Maffei fays,) 
 by Ercole Ferrata, who he alio fays has 
 found this Body to be probably of Phidias ; 
 'tis in his Note on the Venus of Medicis, 
 his Words are, " Nel luogo dove ft conferva 
 " preftentamente que ft a Statua ft vede an- 
 " cor a il nobilijftmo Tor ft) delta Venere che 
 " gia ftette in Belvedere, e era creduta 
 " per quello di Fidia, ftccome reconobbe di- 
 " ligcntamente Ercole Ferrata che lo re- 
 " ftaurb di Tefta, Braccia, a Gambe da un 
 " Gejfto antico del torfto che ft conferva di 
 lc quella ftejfta di Belvedere. 
 
 I don't remember to have feen this Caff, 
 but my Father has one of this Torfto , and 
 two Drawings of it, one of Andrea del Sar- 
 to, the other of Parmeggiano, at leafl they 
 are judg'd to be of thofe Hands. 
 
 p.&l. /.19. 
 My Lord Pembroke has an OriginalDraw- 
 ingofThis; very Capital. 
 
 p. 115". /. ro. 
 According to Ficaroni. 
 
 p. iiS- a t the bottom. 
 Pliny (L.36. c. $.J fays, the Niobe was 
 judg'd to be of 'Praxiteles, ox Scop as. When, 
 and Where 'twas found is not known, at 
 lead I don't remember to have heard ; but 
 'tis very probable all thefe Figures did not 
 belong r : it Anciently; and that thofe that 
 did wcic Otherwife plac'd. 
 
 p. 131. 
 
( 355 ) 
 
 j&. 131. /.XjT. 
 
 They have taken up an Opinion z.tRome^ 
 that both thefe Statues of Hercules were 
 made by the Same Hand, and that the Firfl 
 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 
 pofllbly be OfFer'd for that Opinion, 'tis 
 much more probable that One is a Copy of 
 the Other, and by lome Inferior Hand. 
 
 p. IS 1 - l* 1 - 
 The Garden is not Contiguous to the Pa- 
 lace, but belongs to the Family Farnefi, and 
 is in another part of the City. 
 
 p. 15 3. 1. 11. 
 Cicero in his fourth Letter to Atticus 
 Ipeaks of the Marble Statues of Mercury ', 
 with Brazen Heads; upon which his French 
 Tranflator (the Abbe St. Real) fays it was 
 uflial with the Ancients to make the Heads 
 of Statues of different Matter from the red, 
 that changing Thofe they might ferve for O- 
 ther Perfons, without making new Intire 
 Statues: for this he quotes Sueton. in Calig. 
 c. 22. This however could not be the Rea- 
 fbn for the Brazen Heads of thefe Mercu- 
 ries. 
 
 p. 176. /. 20. 
 Ficaroni told me it had been a Temple of 
 A a 2 Bacchus \ 
 
( 35* ) 
 
 Bacchus-, 'tis Certain 'twas not a Chriftian 
 Church Originally, They never building their 
 Sacred Edifices in the Form This is ; 'tis Oc- 
 tangular, and at every Corner a Pillar. 
 
 £.280. /. 13. 
 In this Stupendious Piece of Sculpture is 
 another Inflance of this Maflcrly 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- 
 moli Perfection ; This then mull: be between 
 the two Extremes, it mud 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 
 Purpofe : And this Story furnifh'd an Occa- 
 fion of a fine ExpreiTion, that it might not 
 be an Indolent, Unaclive Figure, but have 
 fomething befides its Maiculine Beauty to 
 Awaken the Attention of the Beholders : 
 and this moreover puts the Mufcles in Mo- 
 tion, and makes them more Apparent. Thefe 
 undoubtedly were farther Inducements to the 
 Choice of this Subject. And the two Sons 
 of the Pried, together with the Serpent be- 
 ing very iuhfervient, as Con trailing, and En- 
 riching: the Figure, makes it the Bell that 
 can poffibly be lmagin'd for the Defign of 
 the Sculptors. They have then not only 
 made the Priefl 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, 
 
 (Youths) 
 
( 357 ) 
 
 (Youths) as well as a Priefl Officiating, here 
 is Abiurdity upon Abiurdity. But as 'twas 
 not the Defign to Tell, or Reprefent This 
 Story , luch Objections are Impertinent : 
 Theie Great Mailers had another View,, and 
 their Conduit has been the Wifeft that could 
 porTibly 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, inftead of 
 Auxiliaries ; Thefe w^ould have Hid, or Em- 
 barafs'd their Laocoon, and Divided, and 
 Perplex'd the Attention, and fo in a great 
 meafure fruftrated their Defign. 
 
 The Confideration of what is the Inten- 
 tion and Main Bufinefs of an Artift would 
 flrike off a great deal of what Injudicious 
 People take to be unqueflionable Faults, or 
 Neglecis at leafl, 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 ou2:ht to be Subordinate, and 
 Subfervient. 
 
 ERRATA. 
 
ERRATA 
 
 PReface, ii. 16. often written 
 xii. f. are more 
 xvi. n. in the Vatican 
 xxi. 20. he was then pajing 
 4. 24. Colveniers 
 7. 13. Lovino 
 11. 11. the fame care 
 
 30. Jncendio 
 IJ. 24. and there are Angels with Mufick ; All are 
 
 over her Head 
 20. 5 1 . however 
 
 13. Ariadne, and Thefeus 
 28. 2. PanMles 
 33. 6. Baccha»te 
 35". 23. -Caiano 
 
 40. 28. choqaing 
 
 41. $. Santa 
 ig. are held 
 
 44. I5\ are four 
 
 SO. The Article of the Unfinifh'd Statue of Mi- 
 
 chael Angela in the Yard of the Houfe by 
 the Dome is Mifplac'd ; it fhould have 
 been inferted after the Gallery, which goes 
 on to the Tribunal, p. 5?. 
 
 5T. 8. a la Romairx? 
 
 58. 27. \Jhall mention 
 
 $q. 30. del Monte 
 
 60. 18. Guido Rew's 
 
 77. 14. Guided 
 
 78. 22. Cavrf/lini 
 83. 7. thefe are 
 
 16. there are 
 89. 5". Letters and Signatures 
 91. 28. the Idear 
 104. 33. isno 
 
 in. 31. Sparta ,-/ : 
 
 116. 15". is as probable 
 129. 27. Triumpha/ 
 
 131. 
 
1 3 l - I 3> 1 4- the Hercules the Same, but the Others Dif- 
 ferent 
 
 148. 22,23. Sorrow of Dine 
 
 iji. 13. Temple of Peace 
 
 15-2. if. that gave fuch 
 
 1 5-7. 22. dixeriz 
 
 15*8. 30. [in the Margin] Guido 
 
 160. 28. Prejudices 
 
 176. ult. Mezz« 
 
 177. 19. 6i 
 
 20. Over the 
 
 182. 2,3. Riformat<? 
 20. are There too 
 
 183. 24. (not Original/) 
 187. 4. «.r is feen 
 189. 4. Aldobrandi#/ 
 
 191. 16. /a 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. 2f. for having faid 
 278. 23. are founded 
 281. I. Over it 
 
 302. 29. they fit 
 304. 32. Agoftin? If a 
 34. Others, he is 
 30?. 21, Pamrllio 
 
 306. 12. 13. ftrike out the Figures are about a Foot 
 long. 
 
POSTSCRIPT. 
 
 INa Work of This nature one cannot hope 
 there will be No Miftakes, Eipecially when, 
 as in the Preient cafe, there was nothing 
 More, Originally intended than Private Me- 
 morandums. When I made my Notes upon 
 the Places I had not the lead 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 poilible, we laid hold 
 of an Opportunity which came very feafona- 
 bly of fubmitting the Whole to the Exami- 
 nation of a Gentleman jufl return' d from 
 Italy ) who we knew had been a very Ju- 
 dicious, and Exadfc 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 had already noted. 
 
 p. 10. /. 2. & 3. the words in the ^Palace 
 Titti iliould have been left out. 
 
 j>. 46. I. 4. I believe that Antinotts is not 
 without a Nofe, but That it Has is not 
 Antique. 
 
 ^.130. /. 5 That Second Gate I Now very 
 well remember delivers you into a large 
 wafle 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 Torticoes 
 encompafs a Square Court. 
 
 />. 164. at the Bottom. 
 
 Tlato a Boy, afleep with ieveral Bees &c. 
 Our Friend iayes this iubjedt is Painted on 
 the Ceiling in another Room of this Palace, 
 and very finely by Guifeppe Cbiari (with 
 AUufion doubtlels to the Arms of the Bar- 
 ber ini Family, which are Bees) but does 
 not remember the Picture here Defcrib'd, 
 as neither do I That He fpeaks of. PoHi- N 
 bly here may be fome Miftake; but whe- 
 ther there Is, or No, or if there Is, What 
 it is, or How it happen'd, not having a 
 DiftincT:, Pofitive Remembrance of this 
 Particular, and my Notes being Now flung 
 Afide as of no farther ule I cannot take 
 upon me to fay ; but raiift leave the whole 
 to be farther enquir'd into by thofe who 
 fliall think it worth their while. 
 
 /. SS° I- 6. I Believe the Baptifm of Chrift 
 is of Tintoret as our Friend afTerts it to 
 be. 
 
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