Part 5 (1/2)

[Greek: ATaeNIOSE]

[Greek: POIaeSEN.]

Whence we learn that it is the production of CLEOMENES, an Athenian artist, mentioned by Pliny, and who flourished towards the end of the Roman republic, about 500 years before Christ. This statue was taken from the Gallery of Versailles, where it had been placed in the reign of Lewis XIV. It formerly belonged to the garden of Sixtus V. at _Villa-Montalto_, in Rome.

97. ANTINOuS, _called the_ ANTINOuS OF THE CAPITOL.

In this monument, Adrian's favourite is represented as having scarcely attained the age of p.u.b.erty. He is naked, and his att.i.tude has some affinity to that of Mercury. However, his countenance seems to be impressed with that cast of melancholy, by which all his portraits are distinguished: Hence has been applied to him that verse of Virgil on Marcellus;

_”Sed frons laeta parum, et dejecto lumina vultu”_

This beautiful figure, of Carrara marble, is sculptured in a masterly manner. It comes from the Museum of the Capitol, and previously belonged to the collection of Cardinal Alessandro Albani. The fore-arm and left leg are modern.

200. ANTINOuS.

In this colossal bust of the Bithynian youth, are some peculiarities which call to mind the images of the Egyptian G.o.d _Harpocrates_. It is finely executed in hard Greek marble, and comes from the Museum of the Vatican. As recently as the year 1790, it was dug from the ruins of the _Villa-Fede_ at Tivoli.

But enough for to-day--to-morrow I will resume my pen, and we will complete our survey of the GALLERY OF ANTIQUES.

LETTER VIII.

_Paris, October 29, 1801._

If the culture of the arts, by promoting industry and increasing commerce, improves civilization, and refines manners, what modern people can boast of such advantages as are now enjoyed by the French nation? While the sciences keep pace with the arts, good taste bids fair to spread, in time, from the capital throughout the country, and to become universal among them. In antiquity, Athens attests the truth of this proposition, by rising, through the same means, above all the cities of Greece; and, in modern times, have we not seen in Florence, become opulent, the darkness of ignorance vanish, like a fog, before the bright rays of knowledge, diffused by the flouris.h.i.+ng progress of the arts and sciences?

When I closed my letter yesterday, we had just terminated our examination of the HALL OF THE ROMANS. On the same line with it, the next apartment we reach, taking its name from the celebrated group here placed, is styled the

HALL OF THE LAOc.o.o.n.

Here are to be admired four pillars of _verde antico_, a species of green marble, obtained by the ancients, from the environs of Thessalonica. They were taken from the church of _Montmorency_, where they decorated the tomb of Anne, the constable of that name. The first three apartments are floored with inlaid oak; but this is paved with beautiful marble.

Of the _chefs d'oeuvre_ exhibited in this hall, every person of taste cannot but feel particular gratification in examining the undermentioned;

N 108. LAOc.o.o.n.

The pathetic story which forms the subject of this admirable group is known to every cla.s.sic reader. It is considered as one of the most perfect works that ever came from the chisel; being at once a master-piece of composition, design, and feeling. Any sort of commentary could but weaken the impression which it makes on the beholder.

It was found in 1506, under the pontificate of Julius II, at Rome, on Mount Esquiline, in the ruins of the palace of t.i.tus. The three Rhodian artists, AGESANDER, POLYDORUS, and ATHENOPORUS, mentioned by Pliny, as the sculptors of this _chef d'oeuvre_ flourished during the time of the Emperors, in the first century of the Christian era.

The group is composed of five blocks, but joined in so skilful a manner, that Pliny thought them of one single piece. The right arm of the father and two arms of the children are wanting.

111. AMAZON.

This uncommonly beautiful figure of Parian marble represents a woman, whose feminine features and form seem to have contracted the impression of the masculine habits of warfare. Clad in a very fine tunic, which, leaving the left breast exposed, is tucked up on the hips, she is in the act of bending a large bow. No att.i.tude could be better calculated for exhibiting to advantage the finely-modelled person of this heroine.

For two centuries, this statue was at the _Villa-Mattei_, on Mount Coelius at Rome, whence it was removed to the Museum of the Vatican by Clement XIV.

118. MELEAGER.