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, 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 contemplative posture, holding in his hand his own planetary system.

and a proudThe statue It is larger

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,

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. An 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. It 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.

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, te 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 hea then 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

the Forum and the Tiber, where all the Jews, to the number of eight thousand, are inhumanly shut up at night under lock and key, like so many cattle. They have here a synagogue, small but rich. The history and religion of the Israelites are illustrated in compartments of bas-relief on the upper part of the wall. The aged Jew who officiates in the temple, opened the Holy of Holies for our inspection. It is rich in embroidered silks and other ornaments. We saw many of the persecuted race. They have dark complexions, and the same contour of face, which marks this peculiar people the world over.

On the 26th, we descended the Tiber, through the whole extent of the city, in a row-boat, and landing at the ancient port, went thence to the Villa Mattei, on the Cælian Mount. This charming retreat is situated under the walls of Rome, and commands a fine view of the ruins of Caracalla's baths. A large tract of land in the vicinity belongs to the villa. The grounds are laid out with considerable taste, ornamented with trees, parterres, shady walks, statues, and a lofty Egyptian Obelisk.

In front of the church of Santa Maria della Navicella, we examined a model of a Roman Galley, sculptured in marble, which was presented as a votive offering to the shrine and gave name to the chapel. It is of large dimensions, and placed upon stocks, at considerable elevation from the ground. It possesses some interest both as a work of art, and still more as furnishing an illustration of the classics.

We continued our excursion hence to the church of St. Stephen in Rotondo, the skeleton of an ancient temple built by Vespasian. It is in a circular form, supported by double rows of antique columns. In compartments round the walls, the tortures of the early christians, from the reign of Nero downward, are minutely delineated, with references and explanatory inscriptions. The exhibition is horrid beyond description. Bodies are seen lacerated and mangled in the most shocking manner. Ingenuity seems to have been put to the rack, in devising the most exquisite modes of torture. Fire and sword, boiling caldrons, gridirons, and dens of wild beasts, are here portrayed to the life. While we were examining the church, the sound of revelry and loud laughter was heard in the cloisters of an adjoining convent. It proceeded from a society of monks, who were making themselves merry over their viands and wine. One of

the attendants spread a table for us, in an apartment of the old monastery, and brought us an excellent kind of small fish from the Tiber, with a glass of Orvietto.

Pursuing our ramble over the Cælian Mount, we passed under the ancient arch of Dolabella, and visited the church of St. Gregory, for the purpose of examining the rival frescos of Guido and Domenichino. The chapel contains a statue of St. Gregory by Michael Angelo. It is worthy of his chisel. A curious Latin inscription states, that while the patron saint was entertaining twelve pilgrims at his table, a thirteenth guest appeared among them, who proved to be an angel. Whether he ate and drank with the rest, the legend saith not.

On the 28th, Signor Trentanove called and accompanied us to the Studio of the Cavalier Landi, a living painter of much eminence. His principal work is the Triumph of Mary Stuart, Queen of Scots. The scene is laid at Paris. Lord Darnley is a prominent person upon the canvass, but badly executed. The best figure is a Highland Soldier, in his national costume. A call was also made at the Studio of Cavaliere, a young artist of great promise. Among other sights, I this afternoon saw the original of Canova's Venus, at a window across a narrow street. She thrust out her head and rested sometime, as if on purpose to show her pretty face, her snowy neck, and alabaster arms.

LETTER LXXVII.

ROME CONCLUDED-FESTIVAL OF ST. PETER-ILLUMINATION OF HIS CHURCH-FIREWORKS OF ST. ANGELO-MONTE CAVALLO--TEMPLE OF THE SUN--A SUMMER DAY IN ROME--MÁL’ARIA--CEREMONY OF TAKING THE VEIL-THEATRES--ACADEMY OF ST. LUKE--SKULL OF RAPHAEL--CELEBRATION OF THE FOURTH OF JULY--AMERICAN CONSUL.

June-July, 1826.-In the evening of the 28th we accompanied Signor Trentanove to the Princess Gabrielli's, to witness the illumination of St. Peter's. A first view was obtained in crossing the bridge of St. Angelo. The whole front and dome of the church were brilliantly lighted up, the lamps being disposed in fanciful shapes, and investing the