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quench terrestrial fires. His own image and the brazen radii of his glory suffered in the conflagration. This catastrophe vas hard of explanation, and staggered the faithful. >ther countries, it would be accounted a judgment from hea ́en, for the mockery of deifying a monk. After finishing our offee, we walked to the scene of desolation, which last eveing was so brilliant and so gay. The front of the chapel vas entirely consumed, and other parts sustained much injury. Cinders were strewed among the wreaths, with which the rows of madonnas and saints were entwined. While other rticles of furniture were seared, it is remarkable, that the plendid picture of Guido's Archangel, denominated the Caholic Apollo, passed through the flames without detriment, lthough it was suspended over an altar near the front door. t is a noble production, perhaps the chef d'œuvres of its auhor. Copies of it have been multiplied without number. The Archangel is represented in the attitude of treading upon the Prince of Darkness.

LETTER LXXVII.

COME CONTINUED-BARBERINI PALACE-STUDIO OF CANOVATHORWALDSEN--COLONNA PALACE--MICHAEL ANGELO'S STATUE OF MOSES-STUDIO OF CAMUCCINI-SCIARRA PALACE -ANNIVERSARY OF ST. JOHN-PALAZZO FARNESINA-JEWS AT ROME-VILLA MATTEI-CHURCH OF SAINT STEPHENSTUDIO OF LANDI AND CAVALIERE.

June, 1826.-The morning of the 20th was occupied in a isit to the Barberini Palace, which possesses few external ttractions. In the vestibule is a celebrated fresco by Pietro la Cortona. The collection of statues is indifferent, with the exception of one or two pieces, ascribed to Michael Angelo. In the gallery are many good pictures, among which, are an exact copy of Guido's Archangel, mentioned above, and a duplicate of La Fornarina, by Raphael himself.

The next day Signor Trentanove was so polite as to call and accompany us to the Studio of Canova, which now belongs to a brother of the celebrated artist, and is rented to a third person. We were ushered at once into a numerous collection of models and marbles, which to unpractised eyes,

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appeared to possess extraordinary merit. But it is the prevailing opinion in Italy, that Canova made few faultless statues. To others I leave the task of criticism and censure: be it mine to admire and praise the man, who could call such light, such graceful, and animated beings from the marble. He gave his attention chiefly to the forms of beauty; and in delicacy, in tenderness of expression, in softness, and repose, he appears to me almost without a rival. Of this remark, his Sleeping Loves, his Cupid, and Psyche, furnish striking illustrations. His Venuses are numerous, presented in an endless variety of attitudes. Some of them are exquisitely beautiful. Their forms are light and symmetrical as angels. In the delicacy of hands, feet, and ankles, it appears to me, he has improved upon the ancients; but as the latter are supposed to be perfect, the former is accused of refining upon nature. May not something be ascribed to the original models, which artists have copied? The standard of female beauty is surely not the same in all countries. I am satisfied, that one of Titian's living Venuses would not be admired by a person of delicate and refined taste.

This Studio contains a copy of the Venus in the Pitti palace at Florence, which is fully equal to the original. A group of Graces touch the earth with fairy footsteps, as if they had just lighted upon our sphere. But the most inimitable of all the pieces, is a small statue of Paulina, the Princess Borghese, who might be made very beautiful, and still be true to nature, if her personal charms are not exaggerated. She is represented in the character of a Venus, very slightly draped, sleeping upon a couch. The Paphian queen herself, did not possess more beauty, lightness of form, grace, and ease, than does this statue.

On the same day, we visited the two Studii of the justly celebrated Thorwaldsen. Signor Trentanove introduced us to the great artist, whom we found in one of his shops, playing with his dog. He is now at the age of about 50; in his person, short and thick set; with a full face, grey hair, well dressed, and a profusion of Italian rings upon his fingers. He is a Dane by birth, self-educated, without a family, and has acquired a princely fortune by his profession. In his manners, he is plain and unassuming. He is the most prominent artist now in Italy, universally known, and as universally admired. In the estimation of the public, he was in advance of Canova, before the death of the latter, and splendid additions have since been made to his reputation. His forte

lies in bas-reliefs; but he excels in all the departments of his profession.

The first statue we examined in his shop, would not justify the foregoing panegyric. It was a Mars, with a contracted, Z short face, a square nose, and without dignity or grandeur. The next article, the Triumph of Alexander, a series of bassi-rilievi, corrected our first impressions, and gave us an exalted idea of the genius and skill of this artist. It is one of the greatest works of the present age; splendid both in design and execution. But his Christ and the twelve Apostles, made for a church, in his native country, may be considered as his chef d'œuvres. He is said to be better pleased with the face of the Saviour, than with any other of his works. It is indeed divine. Nothing can exceed it in majesty, dignity, and sweetness. The best judges regard it as a masterly conception, embodied with admirable skill. In most cases, Apostles look all alike; but Thorwaldsen has contrived to give to his group a wonderful variety of expression, suited to their characters.

He has just finished a colossal horse for Poland. So far as we could judge of such a work in its present position, it is unequalled in attitude, spirit, and the justness of its proportions. The head of the steed is fourteen feet from the pedestal, and his body is about twenty feet in length. "His neck is clothed with thunder ;" er or more fiery charger never trod the earth. of Copernicus is another work of great merit. than life. The astronomer is represented in a sitting con. templative posture, holding in his hand his own planetary system.

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In his conception and expression of the beautiful, Thorwaldsen is equally successful as in his productions of a loftier and more masculine character. Of this remark, his Shepherd furnishes a striking illustration. It is a faultless statue, personifying all the gentleness, innocence and quiet of a pastoral life. A small Mercury is another playful effort, evincing the versatility of his talent and his admirable skill.

In the afternoon, we went to the Colonna palace, which is among the largest and most splendid at Rome. The Prince, who is proprietor, resides at Naples. He is a descendant of the illustrious family, renowned in the history of Italy, and celebrated among other things, for their friendship to Petrach. The principal gallery is two hundred feet in length,

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supported by beautiful columns, with a lofty arched ceiling. It is filled with the works of art. On opposite sides are two curious cabinets; one of mosaic, made at Florence; and the other of wood, manufactured by a German. Among the most interesting pictures, are portraits of Luther and Calvin, by Titian. Two of the Colonna family were painted by Vandyck. The gallery contains some fine productions of the Flemish School. There are few statues, and none of great excellence. The marble tables are extremely elegant. Towards evening I rambled to the church of San Pietro in Vincolo, situated on a hill, near the Roman Forum. old monk, belonging to a neighbouring convent, conducted me to the Moses of Michael Angelo, the principal object of my visit. It has been the fortune of this work to call forth extravagant panegyrics, as well as severe criticisms-one proof among others, that it is not of an ordinary stamp. is of white marble, exquisitely wrought, whatever may be the defects in the design. The Jewish lawgiver is seated in his robes, expressing great dignity in his attitude, as well as in his face. Two rays, emanating from his brow, certainly give him an awkward appearance, and have led certain connoiseurs to take the statue by the horns. There are several good pictures in this church, which is also rich in marbles.

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The next day we visited the Studio of Camuccini, the greatest living painter in Italy, whose two historical pictures in the Palazzo Reale at Naples, and two others in the Royal Palace at Capo di Monte, had raised expectations, not destined to disappointment in an examination of the artist's own gallery. His Departure of Regulus is in my opinion a production of the very first order-chaste, classical, and Roman in its character. It is perhaps twenty feet in length, and ten in breadth, comprising twenty-one figures as large as life. The principal personages in the group are Regulus, his wife, two daughters, and the Roman Consul. The scene is laid upon the sea-shore near the mouth of the Tiber; and the ship which is to bear the stern Republican Consul back to Carthage, is seen with her canvass spread. In attitude, costume, and expression, the pencil has been true to nature; and the anguish of the parting moment-the firmness of Regulus and the tenderness of his family-could not be more forcibly depicted. The colouring is somewhat in the French style, and is a little too glaring. This picture has been purchased by a Russian, and is destined to St. Petersburgh. It

is much the finest in the Studio, though some others possess great merit.

From the Studio we continued our walk to the Sciarra Palace, situated upon the Corso. A comparatively small but select gallery of paintings occupies four apartments. There is scarcely a mean picture in the collection. Vanity and Modesty, by Leonardo da Vinci, is a rare production, and more admired than any piece in the collection. Its dimensions do not exceed three or four feet square; and yet an Englishman offered for it the enormous sum of $10,000.

On the 24th, we paid another visit to St. John Lateran, to witness the ceremonies on the birthday of the Apostle, to whom the church is dedicated. The Pope, his cardinals, the nobility, and the whole city were assembled to celebrate this great festival. At an early hour, the Corso and the other principal streets were thronged with splendid equipages. The display of Roman beauty was never more brilliant, than on this bright day. Their fine symmetrical forms were arrayed in the richest robes, and their liquid hazel eyes beamed in impassioned softness. The exercises in the church were little more than a repetition of the ceremonies, which took place on Ascension-day, described in a former letter. His Holiness was again borne about the aisles, pale as a ghost, wrapped in his pontifical robes, waving his skeleton hand sparkling with diamonds, bending the tiara upon his brow, and muttering a benediction upon his abased subjects. Hundreds of the plebeian throng were observed bearing in their hands stalks of the seed onion and garlic, which on this festival receive the blessing of the Pope! It is supposed the fruits of the earth will not succeed without his benediction—a strange article of faith in a region, which the stewards of St. Peter have rendered sterile and unproductive.

After the show at St. John Lateran was over, we visited the Palazzo Farnesina beyond the Tiber, to examine some rare frescos, by Raphael and his scholars. They cover the ceiling of a lofty and splendid hall. The principal work is the Feast of the gods, comprising a full assemblage of the heathen divinities, engaged in the convivial rites of the symposium, and each wearing the emblems of his power. An adjoining room contains his celebrated Galatea. The chariot is drawn by dolphins, and above it are seen Cupids volant, shooting their arrows, Parthian like, as they fly.

In the afternoon we visited a district of the city between

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