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worthy a passing glance, on account of the noble` air which emanates from it, and seems to magnify it to a more than mortal size. No one, on looking at it, seems to feel that it is but a few inches high. This power of producing great effects by apparently inadequate causes, is one of the surest indications of high genius.-No. 19 is a magnificent head of Hercules, full of a certain rude dignity of character, and executed with great force of style.-No. 20, another colossal head of the same hero, is worth a comparison with the foregoing, on account of the striking difference in the style-which is of a much earlier date, and almost merging in the Egyptian.-The only other work I shall notice in this room is, a whole-length statue, the size of life (No. 21), representing the Emperor Hadrian, in a Roman military dress. This may also be offered as a striking example of the mischief of "restoration." The ancient portion of the statue, consisting of the trunk, head, &c. is full of a dignified ease, when abstracted from the rest. But the wretched manner in which the right arm in particular is restored, gives a constraint and even an awkwardness to the whole figure, which altogether destroy its antique effect. The elaborate workmanship of the breast-plate, and the extraordinary state of preservation in which it remains, are worthy of remark.

The THIRD ROOM constitutes the principal portion of the Gallery. It contains no less than forty-six objects, consisting of pieces of basrelief inserted into the upper part of the walls, and sculptures ranged beneath them. The first of the reliefs that attracts particular attention is a large one on the left, representing the Indian Bacchus received as a guest at the dwelling of Icarus (No. 4). The workmanship is highly elaborate; and there is a peculiar interest arising out of the manner in which the subject is treated. Icarus is receiving his guest in an outer court of his dwelling; and the scene is thus made to offer the very rare appearance of a complete picture of the external portions of a Greek dwelling. There is the shelving tiled-roof-the upright windows-the walls wreathed with flowers-the palm-tree in the court-yard-another lofty tree rising behind the buildings, &c.-This room contains many other bas-reliefs, of much interest and curiosity. But the only one I can pause to mention in particular is a small one, at the farther end of the room on the left side-No. 15-representing the Rape of Dejanira. This little piece, though not more than twelve or fourteen inches square, produces all the spirited and animated effect of a scene the size of life. You can almost see the motion of the Centaur as he carries off his prize; and the drapery of the nymph seems to flutter in the air as she is borne along.

Of the detached sculpture in this room, that piece which I shall notice first (No. 22)-is one of the most delightful in this collection. It is a small statue of a Venus, or Nymph, about three feet in height, and breathing the most pure and delicate beauty from every part, no less than from the whole. There is nothing more worthy of admiration, in the works of the Greek sculptors, than the exquisite purity and chasteness of their female forms. Even their Venus-the goddess of mere mortal love-might have stood naked beside Eve in Paradise, and not been ashamed. And yet their beauty-as in the charming little example before us--was no less natural and unrestrained in its character, than it was chaste and severe. The Greeks were in fact a people so

wholly intellectual, that their idea of voluptuousness itself was an imagination rather than a sentiment. I am not aware that a single female statue has descended to us, which includes an expression, either of face, form, or deportment, that can be called voluptuous, in our sense of the term. All their naked female statues together, with all their resplendent beauty, do not appeal to the mere bodily passions with half the mischievous eloquence that any given "portrait of a lady" does, on the chaste walls of our Royal Academy, and from the pencil of a grave R. A. This sweet little gem of art has had both the arms restoredlike the one noticed in the first room; though in a better spirit, and with a less mischievous effect. Let the spectator (for want of a better use to make of this modern addition in the present instance) compare the handling of the one portion with that of the other. He will find, on a minute examination, that the antique parts look like flesh; but that the restorations look merely like-marble.

The next object to be noticed is an exceedingly curious and interesting slab of marble, cut into an allegorical picture in low relief, representing the Apotheosis of Homer. This, if not invested with much to give it a mere popular interest, will be regarded by scholars and antiquaries as among the most valuable single objects in the Museum. And in fact, during the time of its occupying a distinguished place in the gallery of the Colonna Palace, it was always one of the principal points of attraction to the learned of all countries, who visited Rome; and it has been written upon by some of the most distinguished of them --among others by Kircher, Heinsius, Gronovius, Fabricius, Winckelmann, Montfauçon, &c. &c.; and indeed it can scarcely fail to be interesting even to the most superficial of scholars, as well as to all the lovers and practisers of fine art, on various accounts. In the first place, it shews at one view the figures and attributes of Apollo, and all the nine Muses, depicted by a Greek hand, and at a period when their divinity was an object of as unequivocal belief and worship, as that of any other deity has been since. In the next place, it demonstrates, in the most clear and satisfactory manner, not only the sublime honours which were paid to the father of all poetry, but the exact manner in which the highest of those honours were paid. And further, it is perhaps the most complicated and complete example we possess of the ancient mode of treating a subject of this kind, which required a regular and elaborate composition, like a great historical picture. In fact, it is an epic picture in marble, and has a beginning, a middle, and an end. The scene is Mount Parnassus. In the upper department the Muses are obtaining permission of Jupiter (who is seated on the summit) to pay divine honours to the bard. In the second department their object is gained, and sanctioned by Apollo, their head and leader. And in the third department, at bottom, the design is put into execution. In regard to the workmanship of this curious piece of sculpture, its characteristic seems to be ease and spirit, without any thing elaborate, still less finical or affected. Another source of interest attached to it is that it bears the name of the sculptor, Archelaus, of Briene, &c. :

ΑΡΧΕΛΑΟΣ ΑΠΟΛΛΩΝΙΟΥ ΕΠΟΙΗΣΕ ΠΡΙΗΝΕΤΣ. This marble was found about the middle of the seventeenth century, in the Appian road, ten miles from Rome.

No. 24 is a highly characteristic and spirited statue of a Faun. The

limbs of this figure are all modern. They are executed, however, in a much better spirit than most of the restorations we meet with here. But the chief interest of this statue depends on the face-which is admirably rich and true. It is redolent of wine and the woods, without having any thing about it in the slightest degree conventional. It has an ideal grossness and sensuality belonging to it, unmixed with any thing that can be called low or vulgar. The restorer of this statue has put a Pan's pipe in its hand, which he has made it hold with all the air of a French petit-maître playing to his mistress.-Close to the above stands an exceedingly fine head, which is usually considered as representing Homer. (25.) Its great merit is that it preserves a high and noble expression, in the midst of the marks of extreme old age.-Nos. 27 and 29 are two curious and interesting pieces, each representing the Bearded Bacchus; one of them being executed in a very beautiful but highly antique style, approaching to the Egyptian; and the other forming the upper portion of an entire Terminus.-We must now prepare to quit this room-merely glancing at two or three objects as we pass out. No. 31 is a very curious remnant of a group, which appears to have consisted of two boys who have quarrelled while playing at tali, (Anglicè et vulgaricè dibbs,) and one is seizing the arm of the other to bite it. The whole is executed with extraordinary spirit.-No. 32 is a terminal head, bearing the name of Pericles. There is a fine serenity about the face, not unmixed with an expression of mild melancholy. -No. 40 is a most exquisite little fragment, a torso, apparently of Hercules. This little piece, which is only three or four inches long, is sufficient to demonstrate the absence of any necessity to restore. What is left suffers not the slightest injury from the want of what is lost. The last piece claiming particular attention in this room, is a group of Acteon attacked by his dogs. It is executed with great spirit and truth. The face of the hunter is covered with a fine air of mingled astonishment and terror-neither of them overstepping the bounds of grace. The dogs have exactly the character of wolves.

The FOURTH ROOM is a circular domed vestibule, seeming to form the centre of the gallery. It contains but few objects; but two or three of them are of a splendid character. No. 5 is a complete statue, the size of life, and remarkably perfect as to preservation, and said to represent Thalia; but it seems to be of Roman, not of Greek workmanship. It is however of great value and beauty. No. 11 is another statue, of about the same degree of merit, representing Diana. The third object of first-rate excellence in this room is a group, which is of a still higher character than the two preceding, and evidently from a Greek hand. It represents Bacchus and Ampelos. The whole air, attitude, and expression of the Bacchus are rich and poetical in the highest degree; and every part breathes forth a voluptuous grace, uncontaminated by the slightest tinge of grossness. The figure of Ampelos, on which Bacchus is leaning, represents a vine-tree half emerging into a human form. (The word signifies a vine.) This latter is not executed in so high a style as the Bacchus, and seems purposely kept in subservience to it, in order to increase the effect.-The other noticeable objects in this room are several splendid busts, of Roman workmanship;-for the Romans probably equalled the Greeks in their

No. 6, of

busts. No. 1, a bust of Trajan, is highly natural and fine. Marcus Aurelius, is full of a calm and dignified repose. No. 7, of Lucius Verus, is a splendid head-blending together the coxcomb and the patrician in a very edifying manner.

The FIFTH ROOM, which is a small square one, to the right of the last, may be passed over without pointing out any particular objects for notice; but not without mentioning that nearly all its contents will repay a careful examination, to those who would improve their general taste and knowledge in regard to objects of this nature. It contains nearly fifty different objects, all connected with the Roman rites of sepulture-many of which are extremely beautiful as works of art.

It is instinct

The SIXTH ROOM is a continuation of the long gallery, and contains a vast number of admirable works, in nearly all the different departments of sculpture. Our glance at them must be very hasty; for we are approaching the end of our limits. From 1 to 14 consist of a series of reliefs, chiefly taken from the fronts of sarcophagi, and in many of which, the figures are nearly detached from the back ground. No. 12 may be pointed out as perhaps the most rich, spirited, and full of life. It represents a bacchanalian procession. No. 24 is a statue of a satyr, highly animated and characteristic. No. 31 is a magnificent head, probably representing one of the Homeric heroes. with spirit and fire, and displays the hand of high genius in every touch of it. No. 52 is a charming statue of Libera-very perfect in its preservation. No. 57,-a small statue of a fisherman, was no doubt employed as a votive offering, by one of the common people;-its exquisite workmanship becomes, therefore, doubly interesting, when viewed as an illustration of the state in which art must then have been. Nos. 61 and 65 are two admirable busts—one of Augustus, and the other of Caracalla. No. 64 is an object of great interest and curiosity, supposing the conjecture concerning it be true. It represents part of a votive altar, on which is an inscription, praying for the safe return of Septimius Severus and his family from some expedition. There is, however, a part of the inscription erased; and it is supposed that this was the part which contained the name of Geta-which name the Emperor Caracalla had, by an express edict, ordered to be erased from every inscription throughout the Roman Empire. No. 68 is a group of two greyhounds, which is worthy of notice, on account of the extraordinary air of nature which it displays. No. 72 is the small statue of Cupid, which was alluded to in connexion with the larger, noticed in the commencement of this paper. It is not executed in the very first style; but is still very charming and natural. Nos. 71 and 74 are two very small statues, one representing a Muse, and the other Hercules-each seated on a rock. They are pointed out for the purpose of shewing, that mere size has essentially very little to do with either increasing or diminishing grandeur and dignity of effect. In looking at these noble figures, we are never for a moment reminded, except by actual comparison, that they are but a few inches high. The same remarks apply to No. 95-a small statue of Jupiter.

The SEVENTH ROOм is a small square one, containing little or nothing that demands particular mention; and the eighth and ninth are filled with the noble and unrivalled collection of Egyptian antiquities. The

latter, together with the marbles from the Parthenon, and the Phigalian marbles, must be reserved for a future notice.

It only remains to speak of the TENTH ROOм, and the last. The principal object contained in this room was, I believe, generally considered as the chief boast of this collection before the acquisition of the Elgin Gallery. I allude to the celebrated Discobolus. It is, undoubtedly, a noble production, full of the true air of antiquity in every part of it; and the anatomical details are made out with infinite truth, skill, and knowledge. But I cannot think that it quite deserves the great comparative fame which it enjoys. The general attitude of the figure is not only deficient in a graceful and natural arrangement, but it is scarcely answerable to the action in which it is engaged; and the left foot, with the toes bent under it, would certainly not contribute its due degree of support to the body under its present action. I repeat, however, the details are peculiarly fine, and true.

The other most remarkable objects in this department of the gallery are No. 5-an exquisitely beautiful torso of a female statue; No. 18an admirably spirited head of a laughing faun; and finally, a bust of a youthful female, which rises out of, and is terminated by the leaves of the lotus flower. This bust is one of the most charming works in the whole collection. Nothing can surpass the natural grace, sweetness, and intellectual beauty of its expression; and it has the rare advantage of being as perfect as when it came from the sculptor's hand, or rather it is more so, since it has received those softening and heightening touches which no hand but that of Time can give.



"Quanto più m' avvicino al giorno estremo."

THE nearer I approach that final day
Which brings our mortal sorrows to a close,
More clearly I perceive how swiftly flows
The tide of Time, and human hopes decay-
And to myself in musing thoughts I say,
Now all my earthly ills, my love, and woes,
From my freed soul shall pass, as fallen snows
Melt in the sun-beam from the hills away;
And every fruitless wish shall fly, with life,
Which I so long and rashly have pursued:
Nor smiles, nor tears, nor care, nor worldly strife
Shall on my sweet and perfect peace intrude-
And I by brighter lights shall see more plain
For what fallacious joys we sigh in vain.

A. S.

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