liefs. It consists of several spacious rooms, bearing suitable names. Six only are, at present, completed, but many others are in a state of preparation.

The greater part of these statues are the fruit of the conquest of Italy. Conformably to the treaty of Tolentino, they were selected at Rome, from the Capitol and the Vatican, by Barthelemy, Bertholet, Moitte, Monge, Thouin, and Tinet, who were appointed commissioners for this purpose.

In the vestibule, for fifteen cents, is sold a perspicuous and satisfactory explanation of the different objects that strike the eye as it traverses the Gallery of Antiques. I shall describe the most remarkable only of these:

Ón entering the gallery you might, perhaps, be tempted to stop in the first hall; but we shall visit them all in order, and proceed to that which is now the furthest on the left hand. The ceiling of this apartment, painted by Romanelli, represents the four seasons; whence it is called the Hall of the Seasons.

Among other antiques here, are the statues of the rustic divinities, and those relating to the seasons. Of the whole I shall distinguish the following:

210. Diana, habited as a huntress, in a short tunic without sleeves, is holding her bow in one hand, while, with the other, she is drawing an arrow from a quiver at her shoulder. Her legs are bare, and her feet are adorned with rich sandals. The goddess, with a look of indignation, is defending the hind from Hercules, who, in obedience to the oracle, is pursuing it, in order to carry it alive to Eurystheus; a task imposed on him by the latter as one of his twelve labours.

This statue might serve as a companion to the Apollo of Belvedere, and is reckoned the finest representation of Diana in existence. It is of Parian marble, and has been in France ever since the reign of Henry IV. It was the most perfect of

those formerly at Versailles. The parts wanting have been recently restored, with admirable skill.

214. In a bust, the city of Rome is personified as an Amazon. The helmet represents the she-wolf suckling the children of Mars.

This antique, of Parian marble, is of a perfect Greek style, and in admirable preservation. It formerly belonged to the gallery of Richelieu Castle.

51. This bronze represents a young man seated, who seems extracting a thorn from his left foot.

It is a production of the flourishing period of the art, but anterior to the reign of Alexander the great. It partakes a little of the meagre style of the old Greek school. was taken from the Capitol, where it was seen in the Palazzo dei Conservatori.

It

50. This young faun, with a deer's skin thrown over his shoulders, stands with his legs crossed, and leans on the trunk of a tree, as if resting.

The grace that reigns throughout this figure, as well as the immense number of copies still existing of it, all antiques, make it be supposed a copy of the Faun or Satyr in bronze, of Praxiteles. That statue was so celebrated, that the epithet famous was always annexed to it throughout Greece.

It is of Pentelic marble found in 1701, near Civita Lavinia, and placed in the Capitol by Benedict XIV.

59. Ariadne, asleep on a rock, abandoned by Theseus, at the moment when Bacchus became enamoured of her. The serpent on the upper part of the left arm is a bracelet.

For three centuries, this statue of Parian marble was one of the principal ornaments of the Belvedere, where it was placed by Julius II.

190. This head of Augustus, adorned with the civic crown of oak leaves, is one of the fine portraits of that emperor. It is in Pa

rian marble, and comes from Verona, where it was admired in the Bevilacqua cabinet.

On quitting the Hall of the Seasons, we return to that through which we first passed to reach it, This room, from possessing the statues of Zeno, Trajan, Demosthenes, and Phocion, is called the Hall of Illustrious Men. It has eight antique granite columns, 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 the following, as most worthy of notice:

75. This represents Menander, sitting on a semicircular seat. He is clad in the Grecian tunic and pallium.

76. This represents Posidippus, one of the best authors of the new comedy, whose dress is nearly that of Menander. Like him, he is represented sitting on a hemi-cycle.

These two statues, which are companions, are admirable for simplicity. They are of Pentelic marble, and were found, in the sixteenth 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.

After leaving the Hall of Illustrious Men, we next come to the Hall of the Romans. The ceiling is ornamented with subjects taken from Roman history, 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

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 antiquarians have inferred, that the intention of the author was to indicate the very moment of his deification. 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 a Greek inscription, by which we are informed, that it is the production of Apollonius, the Athenian, who probably flourished in the time of Pompey the great.

This valuable antique is of Pentelic marble, and sculptured in a 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.Among artists, it has always been distinguished by the appellation of the Torso of Belvedere.

94. 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 su blime (because the subject would not admit of it), and for noble expression.

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, of Ephesus, who lived 450 years before the christian era.

82. This charming figure is rather that of a muse than the goddess of agriculture. It is admired 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. Hitherto this figure of a Roman orator, with the attributes of Mercury, has passed for Germanicus, though it is too old for him.Here we have another model of elegance of form, though not of an ideal sublimity.

On the shell of a tortoise, at the foot of the statue, is inscribed some Greek characters, from which we learn, that the artist was Cleomenes, an Athenian, mentioned by Pliny. This statue was taken from the Gallery of Versailles, where it had been placed in the reign of Louis XIV. It formerly belonged to the garden of Sixtus V, at Villa-Montalto, in Rome.

97. 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.

This is a beautiful figure, of Carrara marble. It comes from the Museum of the Capitol, and once belonged to cardinal Albani. The fore-arm and left leg are modern.

200. In this colossal bust of Antinous 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. It was dug from the ruins of the Villa-Fede, at Tivoli, in 1790.

On the same line with the Hall of the Romans, the next room, taking its name from the celebrated group here placed, is styled the Hall of the Laocoon.

Here are four pillars of verde antico, a 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.

The Laocoon was found, in 1506, under Julius II, at Rome, on Mount Esquiline, in the ruins of the palace of Titus. The three Rhodian artists, Agesander, Polydorus, and Athenodorus, mentioned by Pliny as the sculptors of this groupe, flourished during the time of the empe

rors.

It 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. This beautiful figure of Parian marble is a woman, whose feminine features and form seem to have contracted the masculine habits of warfare. Clad in a 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 Cœlius, at Rome, whence it was removed to the Museum of the Vatican by Clement XIV.

118. Meleager, with nothing but a chlamis on his shoulders, and winding round his left arm, is here resting, after having killed the wild boar, which was ravaging his dominions; at his side is the head of the animal, and near him sits his faithful dog.

This groupe is sublime, and yet its sublimity is of a different cast from either that of Apollo, or of Mercury, called Antinous.

It is of Greek marble of a Cinereous colour: there are two traditions respecting the place where it was found, but the most probable is 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 Pig

hini palace at Rome, whence Clement XIV conveyed it to the Vati

can.

103 & 104. These colossal heads of Bacchantes stood at the entrance of the theatre of the Villa-Adriana, at Tivoli.

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. This bust deserves particular attention, for its beauty, its excellent preservation, and perfect resemblance to the medals which remain of Antinous.

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

112. Some have determined to call this beautiful head that of Bacchus; while others preserve its ancient name of Ariadne, by which it was known in the Museum of the Capitol.

It is of Pentelic marble, and one of the most sublime productions of the chisel, in point of ideal beauty.

From the Hall of the Laocoon, we pass into that which, from the famous statue, here erected, and embellished in the most splendid manher, 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. It is paved with different kinds of scarce and valuable marble, in large compartments, and in the centre is a large octagonal table of the same substance.

As this hall is considerably larger than the others, a greater number of antiques are here placed, of which the following are the most conspi

cuous.

155. Apollo Pythius. This is of Carrara marble, and, consequently, was executed by some Greek artist who lived in the time of the Romans; but his name is unknown. The forearm and left hand were restored by

Angelo de Montorsoli, a pupil of Michael Angelo.

Towards the end of the fifteenth century, it was found on the seashore, near the ruins of Antium. Julius II, when cardinal, purchased this statue, and placed it in his palace; but becoming pope he conveyed it to the Vatican, where, for three centuries, it was the admiration of the world.

On the 7th of November, 1801, Bonaparte 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 with beautiful granite pillars. The flight of steps, leading to this recess, is paved with the rarest marble, inlaid with the 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. 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.

This is allowed to be the most beautiful of all the statues of Venus which remain. The Venus of Medicis surpasses it in sublimity of form, approaching nearer to ideal beauty.

Bupalus, of Scio, produced this master-piece. He lived 600 years before Christ, so that it has now existed upwards of 2,400 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. This statue of Mercury is of the finest Parian marble. More robust in form than either Apollo or Meleager, it loses nothing by being contemplated after the former.

The harmony which reigns between its parts is such, that Poussin, always took from it the proportions of the human figure.

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

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

This figure is of white marble, which leads us to conjecture that it might have been intended for 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 VillaAdriana, and taken from the Museum of the Capitol.

To judge from the great number of figures of Antinous, 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 Antinous, together with a bust, and an excellent basrelief, in which he is represented, yet remain to be placed.

156. Bacchus is here standing, and naked. He is leaning carelessly with his left arm on the trunk of an elm, round which winds a grapevine.

This statue, of Greco duro, is reckoned one of the finest extant of Bacchus.

Having surveyed the Hall of the Apollo, we proceed, on the right hand, towards its extremity, and reach the last room of the gallery, which is called the Hall of the Muses.

It is paved with curious marble, and besides the Muses, and Apollo, here are also assembled the antique

portraits of poets and philosophers. Among these are Homer and Virgil; but the most remarkable specimen is Euripides.

In this hermes we have a capital representation of the features of the poet. The countenance is noble, serious, and expressive.

This hermes is 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.

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 muses by Philiscus, which, according to Pliny, graced the portico of Octavia.

The air of grandeur that reigns in 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 taste.

The alterations and embellishments made in the different apartments of the Gallery of Antiques have been designed by 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. Here, without the expence of a single liard, the young draughtsman may form his taste by studying the true antique models of Grecian sculpture; the more expe