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Paris As It Was and As It Is

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* * * * *

On quitting the HALL OF THE SEASONS, we return to that through which
we first passed to reach it. This apartment, from being ornamented
with the statues of ZENO, TRAJAN, DEMOSTHENES, and PHOCION, is
denominated the

HALL OF ILLUSTRIOUS MEN.

It is decorated with eight antique granite pillars brought from
_Aix-la-Chapelle_, where they stood in the nave of the church, which
contained the tomb of Charlemagne.

Among the antiques placed in it, I shall particularize

N° 75. MENANDER.

This figure represents the poet, honoured by the Greeks with the
title of _Prince of the New Comedy_, sitting on a hemi-cycle, or
semicircular seat, and resting after his literary labours. He is clad
in the Grecian tunic and _pallium_.

76. POSIDIPPUS.

The dress of Posidippus, who was reckoned among the Greeks one of the
best authors of what was called the _New Comedy_, is nearly that of
Menander, the poet. Like him, he is represented sitting on a
hemi-cycle.

These two statues, which are companions, are admirable for the noble
simplicity of their execution. They are both of Pentelic marble, and
were found in the XVIth century at Rome, in the gardens of the
convent of _San Lorenzo_, on Mount Viminal. After making part of the
baths of Olympius, they were placed by Sixtus V. at _Negroni_, whence
they were removed to the Vatican by Pius VI.

* * * * *

Continuing our examination, after leaving the HALL OF ILLUSTRIOUS
MEN, we next come to the

HALL OF THE ROMANS.

The ceiling of this hall is ornamented with subjects taken from the
Roman history, painted by ROMANELLI; and in it are chiefly assembled
such works of sculpture as have a relation to that people.

Among several busts and statues, representing ADRIAN, PUBLIUS
CORNELIUS SCIPIO, MARCUS JUNIUS BRUTUS, LUCIUS JUNIUS BRUTUS, CICERO,
&c. I shall point out to your notice,

209. _The_ TORSO _of_ BELVEDERE.

This admirable remnant of a figure seated, though the head, arms, and
legs are wanting, represents the apotheosis of Hercules. The lion's
skin spread on the rock, and the enormous size of the limbs, leave no
doubt as to the subject of the statue. Notwithstanding the muscles
are strongly marked, the veins in the body of the hero are
suppressed, whence antiquaries have inferred, that the intention of
the author was to indicate the very moment of his deification.
According to this idea, our countryman FLAXMAN has immortalized
himself by restoring a copy of the _Torso_, and placing Hebe on the
left of Hercules, in the act of presenting to him the cup of
immortality.

On the rock, where the figure is seated, is the following Greek
inscription:

[Greek: APOLLONIOS]
[Greek: NESTOROS]
[Greek: ATÆNAIOS]
[Greek: EPOIEI.]

By which we are informed, that it is the production of APOLLONIUS,
_the Athenian, the son of Nestor_, who, probably, flourished in the
time of Pompey the Great.

This valuable antique is of Pentelic marble, and sculptured in a most
masterly style. It was found at Rome, near Pompey's theatre, now
_Campo di Fiore_. Julius II. placed it in the garden of the Vatican,
where it was long the object of the studies of MICHAEL ANGELO,
RAPHAEL, &c. those illustrious geniuses, to whom we are indebted for
the improvement of the fine arts. Among artists, it has always been
distinguished by the appellation of the _Torso of Belvedere_.

94. _A wounded warrior, commonly called the_ GLADIATOR MORIENS.

This figure, represents a barbarian soldier, dying on the field of
battle, without surrendering. It is remarkable for truth of
imitation, of a choice nature, though not sublime, (because the
subject would not admit of it,) and for nobleness of expression,
which is evident without affectation.

This statue formerly belonged to the _Villa-Ludovisi_, whence it was
removed to the Museum of the Capitol by Clement XII. It is from the
chisel of AGASIAS, a sculptor of Ephesus, who lived 450 years before
the Christian era.

82. CERES.

This charming figure is rather that of a Muse than of the goddess of
agriculture. It is admirable for the _ideal_ beauty of the drapery.
She is clad in a tunic; over this is thrown a mantle, the execution
of which is so perfect, that, through it, are perceived the knots of
the strings which fasten the tunic below the bosom.

It formerly belonged to the _Villa-Mattei_, on Mount Esquiline; but
was taken from the Museum of the Vatican, where it had been placed by
Clement XIV.

80. _A Roman orator, called_ GERMANICUS.

Hitherto this admirable figure of a Roman orator, with the attributes
of Mercury, the god of eloquence, has passed for that of Germanicus,
though it is manifestly too old for him. Here we have another model
of beautiful elegance of form, though not of an _ideal_ sublimity.

On the shell of a tortoise, at tide foot of the statue, is inscribed
in beautiful Greek characters:

[Greek: KLEOMENÆS]
[Greek: KLEOMENOYS]
[Greek: ATÆNIOSE]
[Greek: POIÆSEN.]

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. ANTINOÜS, _called the_ ANTINOÜS OF THE CAPITOL.

In this monument, Adrian's favourite is represented as having
scarcely attained the age of puberty. He is naked, and his attitude
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 læta 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. ANTINOÜS.

In this colossal bust of the Bithynian youth, are some peculiarities
which call to mind the images of the Egyptian god _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 flourishing
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 LAOCOON.

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. LAOCOON.

The pathetic story which forms the subject of this admirable group is
known to every classic 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 Titus. 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 attitude 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.

The son of OEneus, king of Calydon, with nothing but a _chlamis_
fastened on his shoulders, and winding round his left arm, is here
represented resting himself, after having killed the formidable wild
boar, which was ravaging his dominions; at his side is the head of
the animal, and near him sits his faithful dog.

The beauty of this group is sublime, and yet it is of a different
cast, from either that of the _Apollo of Belvedere_, or that of the
_Mercury_, called Antinoüs, of which we shall presently have occasion
to speak.

This group is of Greek marble of a cinereous colour: there are two
different traditions respecting the place where it was found; but the
preference is given to that of Aldroandi, who affirms that it was
discovered in a vineyard bordering on the Tiber. It belonged to
Fusconi, physician to Paul III, and was for a long time in the
_Pighini_ palace at Rome, whence Clement XIV had it conveyed to the
Vatican.

103 and 104. _Two busts, called_ TRAGEDY and COMEDY.

These colossal heads of Bacchantes adorned the entrance of the
theatre of the _Villa-Adriana_ at Tivoli. Though the execution of
them is highly finished, it is no detriment to the grandeur of the
style.

The one is of Pentelic marble; and the other, of Parian. Having been
purchased of Count Fede by Pius VI, they were placed in the Museum of
the Vatican.

105. ANTINOÜS.

This bust is particularly deserving of attention, on account of its
beauty, its excellent preservation, and perfect resemblance to the
medals which remain of Adrian's favourite.

It is of Parian marble of the finest quality, and had been in France
long before the revolution.

112. ARIADNE, _called_ (in the catalogue) BACCHUS.

Some sculptors have determined to call this beautiful head that of
BACCHUS; while the celebrated VISCONTI, and other distinguished
antiquaries, persist in preserving to it its ancient name of ARIADNE,
by which it was known in the Museum of the Capitol.

Whichever it may be, it is of Pentelic marble, and unquestionably one
of the most sublime productions of the chisel, in point of _ideal_
beauty.

* * * * *

From the HALL OF THE LAOCOON, we pass into the apartment, which, from
the famous statue, here erected, and embellished in the most splendid
manner, takes the appellation of the

HALL OF THE APOLLO.

This hall is ornamented with four pillars of red oriental granite of
the finest quality: those which decorate the niche of the Apollo were
taken from the church that contained the tomb of Charlemagne at
_Aix-la-Chapelle_. The floor is paved with different species of
scarce and valuable marble, in large compartments, and, in its
centre, is placed a large octagonal table of the same substance.

In proportion to the dimensions of this apartment, which is
considerably larger than any of the others, a greater number of
antiques are here placed, of which the following are the most
pre-eminent.

N° 145. APOLLO PYTHIUS, _commonly called the_ APOLLO OF BELVEDERE.

The name alone of this _chef d'oeuvre_ might be said to contain its
eulogium. But as you may, probably, expect from me some remarks on
it, I shall candidly acknowledge that I can do no better than
communicate to you the able and interesting description given of it
by the Administration of the Museum, of which the following is a fair
abridgment.

"Apollo has just discharged the mortal arrow which has struck the
serpent Python, while ravaging Delphi. In his left hand is held his
formidable bow; his right has but an instant quitted it: all his
members still preserve the impression given them by this action.
Indignation is seated on his lips; but in his looks is the assurance
of success. His hair, slightly curled, floats in long ringlets round
his neck, or is gracefully turned up on the crown of his head, which
is encircled by the _strophium_, or fillet, characteristic of kings
and gods. His quiver is suspended by a belt to the right shoulder:
his feet are adorned with rich sandals. His _chlamis_ fastened on the
shoulder, and tucked up only on the left arm, is thrown back, as if
to display the majesty of his divine form to greater advantage.

"An eternal youth is spread over all his beautiful figure, a sublime
mixture of nobleness and agility, of vigour and elegance, and which
holds a happy medium between the delicate form of Bacchus, and the
more manly one of Mercury."

This inimitable master-piece is of Carrara marble, and, consequently,
was executed by some Greek artist who lived in the time of the
Romans; but the name of its author is entirely unknown. The fore-arm
and the left hand, which were wanting, were restored by GIOVANNI
ANGELO DE MONTORSOLI, a sculptor, who was a pupil of Michael Angelo.

Towards the end of the fifteenth century, it was discovered at _Capo
d'Anzo_, twelve leagues from Rome, on the sea-shore, near the ruins
of the ancient _Antium_. Julius II, when cardinal, purchased this
statue, and placed it in his palace; but shortly after, having
arrived at the pontificate, he had it conveyed to the Belvedere of
the Vatican, where, for three centuries, it was the admiration of the
world.

On the 16th of Brumaire, year IX, (7th of November, 1801) BONAPARTE,
as First Consul, celebrated, in great pomp, the inauguration of the
Apollo; on which occasion he placed between the plinth of the statue,
and its pedestal, a brass tablet bearing a suitable inscription.

The Apollo stands facing the entrance-door of the apartment, in an
elevated recess, decorated, as I have before observed, with beautiful
granite pillars. The flight of steps, leading to this recess, is
paved with the rarest marble, inlaid with squares of curious antique
mosaic, and on them are placed two Egyptian sphynxes of red oriental
granite, taken from the Museum of the Vatican.

142. VENUS OF THE CAPITOL.

This figure of Parian marble represents the goddess of beauty issuing
from the bath. Her charms are not concealed by any veil or garment.
She is slightly turning her head to the left, as if to smile on the
Graces, who are supposed to be preparing to attire her.

In point of execution, this is allowed to be the most beautiful of
all the statues of Venus which we have remaining. The _Venus of
Medicis_ surpasses it in sublimity of form, approaching nearer to
_ideal_ beauty.

Bupalus, a sculptor of the Isle of Scio, is said to have produced
this master-piece. He lived 600 years before Christ, so that it has
now been in existence upwards of two thousand four hundred years. It
was found about the middle of the eighteenth century, near
_San-Vitale_, at Rome. Benedict XIV having purchased it of the
_Stati_ family, placed it in the Capitol.

125. MERCURY, _commonly called the_ ANTINOÜS OF BELVEDERE.

This statue, also of the finest Parian marble, is one of the most
beautiful that can be imagined. More robust in form than either that
of the _Apollo_ or of the _Meleager_, it loses nothing by being
contemplated after the former. In short, the harmony which reigns
between its parts is such, that the celebrated POUSSIN, in preference
to every other, always took from it the _proportions of the human
figure_.

It was found at Rome, on Mount Esquiline, under the pontificate of
Paul III, who placed it in the Belvedere of the Vatican, near the
Apollo and the Laocoon.

151. _The Egyptian_ ANTINOÜS.

In this statue, Antinoüs is represented as a divinity of Egypt. He is
standing in the usual attitude of the Egyptian gods, and is naked,
with the exception of his head and wrist, which are covered with a
species of drapery in imitation of the sacred garments.

This beautiful figure is wrought with superior excellence. It is of
white marble, which leads to a conjecture that it might have been
intended to represent Orus, the god of light, it having been the
custom of the Egyptians to represent all their other divinities in
coloured marble. It was discovered in 1738, at Tivoli, in the
_Villa-Adriana_, and taken from the Museum of the Capitol.

To judge from the great number of figures of Antinoüs, sculptured by
order of Adrian to perpetuate the memory of that favourite, the
emperor's gratitude for him must have been unbounded. Under the form
of different divinities, or at different periods of life, there are
at present in the GALLERY OF ANTIQUES no less than five portraits of
him, besides three statues and two busts. Three other statues of
Antinoüs, together with a bust, and an excellent bass-relief, in
which he is represented, yet remain to be placed.

156. BACCHUS.

The god of wine is here represented standing, and entirely naked. He
is leaning carelessly with his left arm on the trunk of an elm, round
which winds a grape-vine.

This statue, of the marble called at Rome _Greco duro_, is reckoned
one of the finest extant of the mirth-inspiring deity.

* * * * *

Having surveyed every object deserving of notice in the HALL OF THE
APOLLO, we proceed, on the right hand, towards its extremity, and
reach the last apartment of the gallery, which, from being
consecrated to the tuneful Nine, is called the

HALL OF THE MUSES.

It is paved with curious marble, and independently of the Muses, and
their leader, Apollo, here are also assembled the antique portraits
of poets and philosophers who have rendered themselves famous by
cultivating them. Among these we may perceive HOMER and VIRGIL; but
the most remarkable specimen of the art is

N° 177. EURIPIDES.

In this hermes we have a capital representation of the features of
the rival of Sophocles. The countenance is at once noble, serious,
and expressive. It bears the stamp of the genius of that celebrated
tragic poet, which was naturally sublime and profound, though
inclined to the pathetic.

This hermes is executed in Pentelic marble, and was taken from the
academy of _Mantua_.

Since the revival of the arts, the lovers of antiquity have made
repeated attempts to form a collection of antique statues of the
Muses; but none was ever so complete as that assembled in the Museum
of the Vatican by Pius VI, and which the chance of war has now
transferred to the banks of the Seine. Here the bard may offer up to
them a solemn invocation, and compose his lay, as it were, under
their very eyes.

The statues of CLIO, THALIA, TERPSICHORE, ERATO, POLYHYMNIA, and
CALLIOPE, together with the APOLLO MUSAGETES, were discovered in
1774, at _Tivoli_, among the ruins of the villa of Cassius. To
complete the number, Pius VI obtained the EUTERPE and the URANIA from
the _Lancellotti_ palace at _Veletri_. They are supposed to be
antique copies of the statues of the Nine Muses by Philiscus, which,
according to Pliny, graced the portico of Octavia.

* * * * *

The air of grandeur that reigns in the general arrangement of the
gallery is very striking: and the tasteful and judicious distribution
of this matchless assemblage of antiques does great honour to the
Council of the CENTRAL MUSEUM. Among the riches which Rome possessed,
the French commissioners also, by their choice selection, have
manifested the depth of their knowledge, and the justness of their
discrimination.

The alterations and embellishments made in the different apartments
of the GALLERY OF ANTIQUES have been executed under the immediate
direction of their author, M. RAYMOND, member of the National
Institute, and architect to the NATIONAL PALACE OF ARTS AND SCIENCES.
In winter, the apartments are kept warm by means of flues, which
diffuse a genial vapour. Here, without the expense of a single
_liard_, the young draughtsman may form his taste by studying the
true antique models of Grecian sculpture; the more experienced artist
may consult them as he finds occasion in the composition of his
subjects; while the connoisseur, the amateur, or the simple observer
may spend many an agreeable hour in contemplating these master-pieces
which, for centuries, have inspired universal admiration.

These are the materials on which Genius ought to work, and without
which the most promising talent may be greatly misapplied, if not
entirely lost. It was by studying closely these correct models, that
the great MICHAEL ANGELO, the, sublime RAPHAEL, and other eminent
masters, acquired that idea of excellence which is the result of the
accumulated experience of successive ages. Here, in one visit, the
student may imbibe those principles to ascertain which many artists
have consumed the best part of their days; and penetrated by their
effect, he is spared the laborious investigation by which they came
to be known and established. It is unnecessary to expatiate on the
advantages which the fine arts may expect to derive from such a
repository of antiques in a capital so centrical as Paris. The
contemplation of them cannot fail to fire the genius of any artist of
taste, and prompt his efforts towards the attainment of that grand
style, which, disdaining the minute accidental particularities of
individual objects, improves partial representation by the general
and invariable ideas of nature.

A vast collection of antiquities of every description is still
expected from Italy, among which are the _Venus of Medicis_ and the
_Pallas of Veletri_, a finely-preserved statue, classed by artists
among those of the first rank, dug up at _Veletri_ in 1799, in
consequence of the researches made there by order of the French
commissioners. Upwards of five hundred cases were lying on the banks
of the Tiber, at Rome, ready to be sent off to France, when the
Neapolitans entered that city. They carried them all away: but by the
last article of the treaty of peace with the king of Naples, the
whole of them are to be restored to the French Republic. For the
purpose of verifying their condition, and taking measures for their
conveyance to Paris, two commissioners have been dispatched to Italy:
one is the son of CHAPTAL, Minister of the Interior, and the other is
DUFOURNY, the architect. On the arrival of these cases, even after
the fifteen departmental Museums have been supplied, it is asserted
that there will yet remain in the French capital, antiquities in
sufficient number to form a museum almost from Paris to Versailles.

The CENTRAL MUSEUM OF THE ARTS is open to the public in general on
the 8th, 9th, and 10th of each decade;[1] the other days are
appropriated to the study of young pupils; but a foreigner has only
to produce his _permis de séjour_ to gain admission _gratis_ every
day from the hour of ten o'clock to four. To the credit of the
nation, I must observe that this exception in favour of foreigners
excites no jealousy whatever.

It is no more than a justice due to the liberality of the French
republican government to add, that they set a noble example which is
worthy of being followed, not only in England, but in every other
country, where the arts and sciences are honoured, or the general
interests of mankind held in estimation. From persons visiting any
national establishment, whether museum, library, cabinet, or garden,
in this capital, no sort of fee or perquisite is now expected, or
allowed to be taken. Although it was not a public day when I paid my
first visit to the CENTRAL MUSEUM, no sooner did I shew my _permis de
séjour_, than the doors were thrown open; and from M. VISCONTI, and
other members of the Council, who happened to be present, I
experienced the most polite and obliging attention. As an Englishman,
I confess that I felt a degree of shame on reflecting to what pitiful
exaction a foreigner would be subject, who might casually visit any
public object of curiosity in our metropolis.

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