was the cause of their bad taste, some parts out of nature and some in. Thirdly, As everything is apt to degenerate and grow worse and worse, when once fallen; they at last, in many of their figures, deserted nature entirely; and made every part monstrous and out of all proportion.—F.

Dominico Guido was the last of our very good statuaries; he died about fifteen years ago. [We were looking at the Dead Saviour and Virgin by him, at the Monte di Pietà at Rome.-F.

The Monte di Pietà is a bank for charity, established by Gregory the Thirteenth, and improved by his successors. They lend money out of it to the indigent, on pawns of all sorts, without interest, if the sum be under thirty crowns; and but two per cent. if it exceed it. Two years are allowed for payment; if the debtor then fails, this pawn sold, and the overplus is given to the proprietors.—F.

is

You may know that Hercules to be Roman, by its being so much overwrought: the muscles look like lumps of flesh upon it. The Greek artists were more expressive, without taking so much pains to express.-F. (At the Palazzo Lancilotti.)

This groupe of Arria and Pætus is evidently by a Greek artist. Though the place he has chosen to stab himself in* be very uncommon, it was not ill chosen; for the blow could not but be mortal, most of the blood running down among his vitals.-F.

The most promising of Carlo Maratti's scholars was one Berettoni. He died when he was but two-and-thirty, and not without suspicion of foul play from his master, who

It is a very bold stroke, and takes away the false idea one might have got of him, from the well known epigram in Martial. --Spence.

could not bear to have one of his scholars excel himself. That he evidently did so may be seen by comparing both their works in the Palazzo Altieri.*-F.

Dominichino is in as high esteem now as almost any of the modern painters, at Rome. When you see any works of his and Guido's together, how much superior does he appear! Guido is often more showy; but Dominichino has more spirit, as well as more correctness. (Più spiritoso was his word.-F.

This Leda (at the Palazzo Colonna) is said to be by Correggio; but there is not one undoubted picture of that great master in all Rome.-F. or Mr. Knapton.

When M. Aurelius's triumphal arch was taken down, to give more space to the Corso, the relievos on it were carried to the capitol. These are the six compartments of M. Aurelius pardoning the vanquished in his triumphal car ;-sacrificing ;-receiving the globe from the genius of Rome;-Lucius Varus haranguing;-and Faustina ascending to heaven.-F.

The brass wolf suckling Romulus and Remus (now in the capitol), was found in the temple of Romulus; and the marks are visible upon it where it has been struck with lightning. Cicero speaks of the same accident happening to such a figure in his time (in his third Oration against Catiline); and this must have been made before his time by the badness of the workmanship.-F.

I measured the Tarpeian Rock, when the Duke of Beau

There are two altar-pieces in one of the churches called the Gemelli (just as you enter Rome), one by Carlo Maratti, and the other by this Berettoni; the latter of which is of a darker, graver, and better manner, than that of his master.-Spence.

fort was here, and found it to be eighty palms high, which just answers to sixty feet English. It goes down perpendicular as you see; and so was easily measured. I took only the height of the rock itself, exclusive of the building that has been added upon it.-F.

Mr. Addison did not go any depth in the study of medals: all the knowledge he had of that kind, I believe, he had from me; and I did not give him above twenty lessons upon that subject.-F.

The fine statue of Jonas, in the church of Santa Maria del Popolo, was made by Lorenzetto, after a design of Raphael's: and it is remarkable that Jonas, who seems to have been by much the most hot-headed of all the prophets, is represented as much the youngest of them too. His likeness to Antinous, both in his make and youth, is visible to everybody.-F.

Caracalla's baths are the most perfect remains of the kind at Rome, and the most capable of giving us an idea of the ancient Therma. The roofs, where left, consist half of pumice-stone, for the sake of lightness, in such large arches. The niches are very perfect in some squares of it; but in the most perfect parts there is nothing to be seen of windows. The Jesuits begged it for their boys to play in; and have since sold a good deal of the stone; and often dig for statues in it.-F. [They had been digging the very week before we saw it, and had brought up several broken pieces of statues, &c.]

The front pillars of the Temple of Concord, those of Antonine and Faustina, and those of the Rotunda, are the most perfect of any in Rome; and in each of them, the opening between the two middle pillars is larger than the

The difference is not

openings between the side ones. enough to be observed by a common eye; and in some of them not to be sure of it till you measure them. By this means the entrance had a freer and nobler air, without breaking the regularity and harmony of the building.— Mr. Philips.

It was Sixtus the Fifth that began the palace on Monte Cavallo, and placed the two large equestrian statues there, from whence it has its name. They were found in Constantine's baths, and were brought originally to Rome from Alexandria. The names of Phidias and Praxiteles on the bases are certainly fictitious, and some of the antiquarians say, that they were put there by the people of Alexandria. -Ficoroni.

The chief ornaments of Constantine's triumphal arch are spoils from one of Trajan; as it was despoiled itself afterwards, (of the heads of the statues,) by Lorenzo de' Medici. There is at least seven feet of it hid, by the rising of the ground.-F. [They began refitting it afterwards, while we were there, and the relievos on the lowest part were very mean: bad victories, &c.]

Trajan's column is composed of twenty-four stones only; cut within, for the staircase. It is one hundred and twentyeight Roman feet high, just the height of what was taken from the hill, to make room for Trajan's forum; which was one of the most magnificent things in Rome. This column stood in the midst of it, and on that was his statue, and, they say, his ashes in an urn.-F.

The four most celebrated works of the modern sculptors in Rome are Michael Angelo's Moses; Algardi's Story of Attila; Fiamingo's Susanna; and Bernini's Bibbiana.-F.

What they point out as the four most celebrated pictures, are, Raphael's Transfiguration; Volterra's Descent from the Cross; Dominichino's Saint Jerome; and Andrea Sacchi's Romualdo.-F.

There are ten thousand six hundred pieces of ancient sculpture of one sort or other now in Rome; (relievos, statues, and busts.) And six thousand three hundred ancient columns of marble. What multitudes of the latter sort have been sawed up for tables, or wainscoating chapels, or mixed up with walls, and otherwise destroyed! And what multitudes may there yet lie undiscovered under ground! When we think of this altogether, it may give us some faint idea of the vast magnificence of Rome in all its glory.-F.

END OF SECTION II.