to see him. Sometimes, however, to pass the time he drew caricatures of us all, and of the inhabitants of the villa; and when he succeeded to his perfect satisfaction, he was wont to indulge in immoderate fits of laughter; and we, who were in 'the adjoining room, would run in to know his reason, and then he showed us his spirited sketches ('spiritose galanterie.') He drew a caricature of me with a guitar, one of Cannini (the painter), and one of the Guarda Roba, who was lame with the gout; and of the Sub-guarda Roba, a most ridiculous figure. To prevent our being offended, he caricatured himself. These portraits are now preserved by Signor Giovanni Pietro Bellori in his study."

FINAL ACKNOWLEDGMENT OF SALVATOR ROSA BY HIS BROTHER ARTISTS AT ROME.

THE echo of the applauses which rose under the cupola of the Pantheon reached the painter in his remote work-room in Naples; and the entreaties of his friends Mercuri and Simonelli for his return were so warm, their accounts of his success so brilliant, that (says Passeri,) Raso "preseanimo di così grata e gradita relazione," took courage from such pleasing news, and, once more bidding adieu to Naples, arrived at Rome ere the sensation awakened by his Prometheus had subsided. Neither the merit, however, of the picture, the genius of the artist, nor the exertions of the few and uninflu

ential friends his talents had raised up for him, could procure his entrance into the accademia of St. Luke -then an indispensable distinction even for the first artists, but which even the dullest mediocrity, when backed by influence, never failed to obtain.

Salvator was struck to the soul by the injustice of his rejection; but like the statues of Brutus and Cassius in the funeral procession of Junia, he was, perhaps, only the more conspicuous for this exclusion. His bettered fortunes, however, though but comparatively good, now enabled him to indulge in the master passion of his existence,-independence. He declined the eleemosynary home, which he still could command in the uninhabited vastness of the Branciaccia palace, and for the first time became the master of a shed which he could call his own. He hired a house in the Via Babbuina, close to the fountain from which it takes its name; and near to the Strada Margutta. His first household acquisition was singular for an Italian, and one so young, he collected books, and with very small means acquired a tolerable library. "With his books," says Pascoli, "and his pencil, he now passed his time; while his poetry and the spell of his fascinating conversation drew around him some of the young literati and artists, whose taste for music and poetry, and whose habits of life, assimilated with his own.

AUTHENTIC ANTIQUITIES OF EGYPT.

M. RIGAUD, one of the French savans of the Egyptian Institute, in his report says, "that the principal monuments erected on the left bank of the Nile, and the only ones which can be reasonably supposed to have been depended on at Thebes, are the Memnonium, or palace of Memnon, MedinetAbou, another palace, and the two colossal statues so celebrated for their prodigious height. The Memnonium looks to the east; in one of its courts are seen the remains of the celebrated statue of red granite, which may be considered as that of Memnon. Its entire height was sixty-four feet, and its remains are scattered forty feet around it. The excavations are still visible where the wedges were placed which divided the monument when it was thrown down by Cambyses. At the entrance of the gate which leads from the second court to the palace, are the remains of a colossal statue of granite of lesser proportions; the head is in perfect preservation, and of rose-coloured granite, while the rest is black. It is the most valuable monument of ancient Egyptian sculpture: the execution is admirable: the Memnonium is in an unfinished state, like most of the Egyptian works, where by the side of objects roughly hewn, are often to be seen a specimen of the most exquisite workmanship."

OF ANTIQUE SCULPTURES IN ROME.

IN 1824, there were ten thousand six hundred pieces of antient sculpture in Rome; (relievos, statues and busts ;) and six thousand three hundred antient columns of marble. What multitudes of the latter sort have been sawed up for tables, or wainscotting chapels, or mixed up with walls and otherwise destroyed! And what multitudes may there yet lie undiscovered under ground! When we reflect on this, it may give us some faint idea of the vast magnificence of Rome in all its pristine, splendour!

THE PHILOSOPHER'S STONE OF ARCHITECTURE; A NEW ORDER.

THAT ignis-fatuus of philosophy, the search after the philosopher's stone, occupied the attention and bewildered the minds of the learned for ages; and some followers of architecture have also wandered out of their paths in the endeavour to discover or invent a new order, the philosopher's stone of architecture. The architects of Italy in the fifteenth or sixteenth centuries made many attempts of this kind, and in the reign of Louis XIV. the fancy extended to France. Would it had stopped there, but unfortunately the mania attacked this country too, and various futile attempts were made in this way. In France, a sixth order, absolutely new in all its parts, mouldings, and ornaments, was re

ported to have been invented by Peter de la Roche. In the reign of Edward the Third, his son, the Black Prince, in consequence of his victory over the French at Cressy, adopted the crest of ostrich feathers worn by the King of Bohemia, who was killed in that battle, which has been retained by all our Princes of Wales to the present day. With this beautiful badge, says Mons. de la Roche, I adorn the capital of my new order,* and from the beauteous and graceful delicacy of the nodding plumes, from their enlarged size, and bold projections, they must, when thus applied, rank far above the Corinthian. We are farther told that this order was absolutely new in all its parts, and that it must eventually supersede the Corinthian, as it only required the sanction of antiquity to make it generally adopted; and, says Mons. Pierre de la Roche, when my order shall be hereafter found among the ruins of palaces and of cities, the effects

* Of something of this kind was Emlyn's odd composition of a new order, which, among other absurdities, was a single column at the bottom, and two at the top, like a forked elm. This inventor published a folio upon his new order, dedicated to King George III. in whose service he was formerly at Windsor. Batty Langly too, that prince of architectural absurdities, was also an inventor of orders. He published the five orders of Gothic architecture, the Tuscan Gothic, the Doric Gothic, the Ionic Gothic, the Corinthian Gothic, and the Composite Gothic.