carrying on excavations, and had uncovered a part of the scarcely buried Via Appia. On each side of this road are masses of brick, the remains of ancient tombs; the number of these increases after the tower of Cecilia Metella, and the Via Appia at length loses itself in a farm of Torlonia, called “ Roma Vecchia,” from the great number of ruined heaps with which it is covered. The view from hence is most remarkable. The eye broods on the dreary expanse of Campania, on which neither man nor beast is seen to move; on which not even the smallest bush rises to break the long stretch of aqueducts, which might be fancied to be the bridges across which the inhabitants of Rome and its environs had passed from their pestilential country to the inviting and fertile hills of Tivoli. The contrast between these hills and the wide and dismal extent of comparative plain is, in fact, most striking.

I wished to return by a different road, but none presented itself: I therefore turned off from the Appian, and drove at random over the country on my right, until I fell in with a wheeltrack which brought me back to Rome!

The Campania around Rome was formerly infested by foxes; whose merit the Romans were,

however, unacquainted with. Not so Lord BI am told that his Lordship brought hither a pack of fox-hounds, but that he was deprived of his sport by the imbecility of the Campanian foxes; who, surprised and astonished at the unusual hue and cry, came out of their holes to gaze, in the character of uninterested spectators, on the horses, hounds, and English hunters. Their inexperience and curiosity were the causes of their premature destruction, and of the total extinction of their race.

I next went to the ruined Baths of Titus, and descried, by the help of smoking torches, the well-preserved and bright colours of the paintings on the ceilings; but which are very little superior to those of the same sort on the plafonds of modern rooms.

The marble pillars of these baths are well employed in the neat church of $. Peter in vincula. In this church is the tomb of Giulio II. ornamented by the famous statue of Moses, commonly considered as the chef d'auvre of Michael Angelo and of modern sculpture. In my opinion, however, the stunted

bullock's horns, which grow out of its forehead, are very unlike rays of light: the countenance is certainly very fierce, but the why or the wherefore is not so plainly expressed. The left arm is too long, the right leg too big, and the drapery heavy: the rest of the composition is fine, except the prebendary-seat in which it is cramped up, and the long flowing, rolling beard, which Fea allows to be out of proportion, and to give 6 alla statua l'aria di un fiume—the appearance “ of a river god.” The sculpture is best characterized by the following anecdote. An English amateur told me that he had taken his newlyarrived friend to see this renowned statue; that his companion had looked at it very attentively for a long time, after which he had turned round to his conductor, exclaiming, “How horrible!" • Why?' says the other, 'what do you suppose • it to represent? “ What? why the Devil, to “ be sure," replied the uninitiated stranger. Such is the sensation produced by the first sight of this statue; and I might put it to the candour of any admirer of M. Angelo, well acquainted with this composition, if it is not an exact imitation, in marble, of the description given by Tasso of the “emperor of the kingdom of “ darkness ;" whom, though a christian devil, one at least created in the time of christianity,


by a christian poet-he ennobles with the pagan name of Pluto. After alluding to the various forms of the different gods of hell, and to the “ immense tail which, from behind, winds round

each, and like a whip curls itself up, and again unknots itself,the Italian poet proceeds to detail, more minutely, the principal personage:


« Siede Pluton nel mezzo, e con la destra
" Sostien lo sceltro ruvido, e pesante.
“ Nè tanto scoglio in mar, nè rupe alpestra,
“ Nè pur Calpe s'innalza e'l megno Atlante,
“ Ch'anzi lui non paresse un picciol colle ;
“ Sì la gran fronte, e le gran corna estolle.


« Orrida maestà nel fero aspetto
“ Terrore accresce, e più superbo il rende;

Rosseggian gli occhi, e di veneno infetto,
« Come infausta cometa il guardo splendo :
« Gl involve il mento e sull' irsuto petto
“ Ispida e folta la gran barba scende.”*

• Gerusalemme Liberata, cant. iy. 6. Pluto sits in the * midst ; and with his right hand sustains his rough and " weighty sceptre, Nor is there any rock in the sea, nor “ Alpine mountain, nor towering Calpe, not great Atlas, that “ before him would not appear as a little hill; so high does he " raise bis great forehead, and his great horns. The horrid

majesty of his fierce aspect increases terror, and renders his o appearance more proud ; his eyes redden, and his look, in“ fected with poison, shines like an inauspicious comet. A

rough and thick beard surrounds his chin, and descends on

I was so struck with the exactness of the likeness, that I am unable to restrain myself from transcribing the lines to you.

But as I am now speaking on sculpture, how can I sufficiently praise some specimens preserved in one room of the Capitol ?

“ I see before me the Gladiator lie:
“ He leans apon his hand his manly brow,
“ Consents to death, but conquers agony,
“ And his drooped head sinks gradually low-
“ And through his side the last drops, ebbing slow
• From the red gash, fall heavy, one by one,
“ Like the first of a thunder-shower; and now

* The arena swims around him. He is gone, “ Ere the inhuman shout which haild the wretch

“ who won.

“ He heard it, but he heeded not. His eyes
“ Were with his heart, and that was far away.
He reck'd not of the life he lost, nor prize;
-“ But where his rude hut by the Danube lay,
There were his young barbarians all at play ;
There was their Dacian mother--he, their sire,
“ Butcher'd to make a Roman holiday-

“ All this rushed with his blood. Shall he expire, “ And unaveng'd? Arise! ye Goths, and glut your ire."

These are long extracts; but having brought

s his rugged breast.” How few of the paintings even of Mi. chael Angelo but are in the same outrageous, unnatural style !

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