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Anecdotes^ of the Arts 
 
 ARCMITBCTURE, SCUZPTURE, &lilINTING, 
 kS2>eciiiieiis at Oxford ~ ' 
 
 IcSOO 
 
ANECDOTES 
 
 OP THE 
 
 ARTS IN ENGLAND; 
 
 OR, 
 
 COMPARATIVE REMARKS 
 
 ON 
 
 ARCHITECTURE, SCULPTURE, 
 
 AND 
 
 PAINTING, 
 
 CHIEFLY ILLUSTRATED BY SPECIMENS 
 
 AT 
 
 OXFORD. 
 By JAMES DALLAWAY, M. B. F.S.A. 
 
 EARL marshal's SECRETARY. 
 
 Longum eft iter per praecepta, breve et efficax per exempla. 
 
 Sen EC. Epift. vi. 
 
 LONDON: 
 
 PRINTED FOR T. CADELL AND W. DAVIES, STRAND. 
 
 1800. 
 
 T. BRNSLEY, PAINTIH, BOLT COWRT, FLFET STREET. 
 
TO HIS GRACE 
 
 CHARLES, DUKE OF NORFOLK, 
 
 EARL OF ARUNDEL AND SURREY, 
 AND 
 
 HEREDITARY EARL MARSHAL OF ENGLAND, 
 CHIEF OF THE 
 MOST NOBLE HOUSE OF HOWARD; 
 TO THE ILLUSTRIOUS INDIVIDUALS OF 
 WHICH, THEIR COUNTRY IS INDEBTED, 
 FOR THE 
 INTRODUCTION AND PATRONAGE 
 OF 
 
 ARCHITECTURE, SCULPTURE, AND PAINTING, 
 
 THIS VOLUME IS INSCRIBED, 
 IN DEFERENCE TO HIS JUDGMENT, 
 AND WITH GRATITUDE FOR HIS FAVOURS, 
 BY HIS MOST OBLIGED 
 
 AND FAITHFUL SERVANT, 
 
 JAMES DALLAWAY, 
 
 Heralds' College, London, 
 June 5, 1800. 
 
ADVERTISEMENT, 
 
 In a work of this kind the author claims 
 fome attention, whilft he defcribes its nature 
 and extent, becaufe the degree of praife due to 
 accuracy and candour to which he afpires^ 
 muft be limited to the execution gf his plan ^ 
 
 It has occurred to him, that we had no book 
 profcfledly written on the arts, the bafis of 
 which was a defcriptibn of fo magnificent ^ 
 repofitory as the UDiiverfity of Oxfordr 
 
 Nine years of refidence offered him a con- 
 ftant opportunity of examining thofe excellent 
 fpeciiTicns; and fmce his unlocked for removal 
 
 ^ 3 fxQPH 
 
vl ADVERTISEMENT. . 
 
 from the Univerfity, he has acquired a power 
 of making comparlfons by a vifit to Rome 
 and Florence. Travellers well know their 
 obligation to thofe defcriptive catalogues 
 which they call in Italy Cicerone books;'* 
 fuch as in England do not afpire to a higher 
 title, than that of a companion in a poft- 
 chaife." 
 
 quern tolkre rheda 
 
 Poffis HoR. 
 
 By an early partiality to Gothick architec- 
 ture, he has been led to inquire its hiftory, 
 and to examine many of the venerable re- 
 mains which abound in this kingdom. 
 
 Few fubjeds have opened a wider field for 
 conjefture; and without controverting the 
 opinions of others, to fome of which he pays 
 a high deference, he has followed the fuggef- 
 tions of his own mind, and the opportunities 
 of making comparifons. The nature of this 
 2 compilation 
 
ADVERTISEMENT. vii 
 
 compilation precludes fo ufeful an aid, as that 
 furnilhed by engravings, in explanation of 
 technical terms. To fupply fiich a deficiency, 
 he has made references to feveral magnificent 
 works, in which perfeft reprefentations are 
 feen. But it has been more his wifli to re- 
 commend to the lovers of architecture an 
 aftual infpedion of thofe ftruftures which he 
 has pointed out as containing fuperior excel- 
 lence, in diftind asras, and manners of buiid-v 
 ing. 
 
 He has indulged an illufion, and made fre- 
 quent references to works of art in Italy, as if 
 they had been fpared by the modern fpoilets 
 of Europe. The accounts we have rcceivedi 
 whether of their removal or deftruftion, 
 are too vague and unworthy of reliance; and 
 added to the difficulty of afcertaining fads, 
 he yields to the reludance he )(hould feel in 
 relating the predatory violcnae with which 
 
 a 4 they 
 
viii ADVERTISEMENT. 
 
 they have been torn from their ancient fta- 
 tion. 
 
 On the fubjedl of antique fculpture in 
 England, he has given fome original infor- 
 mation, and ow^ns, w^ith grateful refpect, 
 the favours of feveral gentlemen, whofc 
 knowledge of the fubje^l and polTeffion of 
 moft excellent antique ftatuary, render their 
 affiftance particularly valuable; a value much 
 heightened by urbanity, and readinefs of 
 communication. 
 
 Every man of tafte will congratulate him- 
 fclf, that England is the feat and the refuge 
 of the arts ; and that fo many genuine re- 
 mains of ancient fculpture arc preferved in 
 our cabinets. 
 
 Painting has been equally protected here, 
 in the prefent wreck of nations; and we no 
 longer regret the alienation of the Houghton, 
 
 while 
 
ADVERTISEMENT. ix 
 
 while we have gained the Orleans coUeftion, 
 bv a moft honourable purchafe. 
 
 Every expedlatlon he has formed from the 
 public acceptance of thefe pages would be 
 completely gratified, could they recommend 
 to the younger ftudents of the Univerfity the 
 love and purfuit of the arts, by pointing out 
 the opportunities which they enjoy. 
 
 When applied to objects of their proper 
 deftination, the arts are capable of extending 
 the fpherc of our intellect, of fupplying new 
 ideas, and of prefenting to us a view of times 
 and places, whatever be their interval or dif- 
 tance. They are a fource of agreeable fenfa- 
 tions, which difpenfes as much utility as 
 pleafure through the intercourfes of life; 
 which add a grace to fociety, and lend their 
 charms even to profound folitude. 
 
 To the faftidjous, for fuch there arc, he 
 
 will 
 
^ ADVERTISEMENT, 
 
 will only fay, that they will find many in- 
 ftances adverted to, with which they were 
 before converfant ; and many opinions adopt- 
 ed, which have more truth than novelty. 
 When they are fatigued by catalogues and 
 admeafurements he can only reply, that his 
 plan is particular information. 
 
 Minutula tamen funt, quse fi non hunc, alium 
 fcire juvent. Camdeni Pr/ef, in Annal. 
 
 ANALYSIS. 
 
ANALYSIS 
 
 PART THE FIRST- 
 
 ARCHITECTURE. 
 SECTtON L 
 
 The Goths not the inventors of the (lyle of building 
 called Gothick — It originated in the ignorance, inabi- 
 lity, or caprice, of the Italian archite6ls — Firft Chiif- 
 tian churches at Rome, the archetype of Saxon archi- 
 tecture — Gothick in Italy, Germany, and France, fpe- 
 cifically different — Saracenic — Mr. Murphy*s account of 
 Bataliah — Blfliop Warhurton's opinioji— Opus roma- 
 nam, or Saxon — Englilh Gothick, firft eftahllflied in 
 the reign of Henry III. — Perfe6l manner purfued in the 
 fourteenth century under the three Edwards — Peculia- 
 rities of it p. r 
 
 SECTION II. 
 
 Ot the Florid Gothick of the fifteenth and fixtecnth ccn- 
 t'jries — Pvoofs, pillars, windows, tabernacle work, and 
 
 cloyfters 
 
ANALYSIS. 
 
 cloyriers — Various inftances — Excellence of conftruc- 
 tion — Views of the component parts of a complete Go- 
 thick cathedral in England— Account ot ecciefiaftical 
 flru6^ures in France —Deflrudion made m England at 
 the reformation d 22 
 
 SECTION III. 
 
 Defcription of the cathedral church at Glouceller — Saxon 
 nave — Cloifters and choirs of fuperlor Gothick — Light- 
 pels, of the tovver gnd efFc(5l by moonlight. ^8 
 
 SECTION IV. 
 
 Of military and domeRic architedlure — Caftles — Embat- 
 tled houfes — r hombury - Hampton Court — Mount 
 Surrey — Richmond — Nonfuch — Hurflmonceaux — 
 Cowdry — Penfliuift, Firft Italian houfe eredled m Eng- 
 land — Architedure of the age of Elizabeth and James I. 
 
 — Profpedls of the city of Oxford — Church of St. Pe- 
 ter in the eafl— Caftle — Catfiedral — Style of the origi- 
 nal buildings of the Univerfity — Merton college — W. 
 Rede, bilhop of Chichefter — William of Wykeham-^ 
 Architedt of New College — Late alterations in the cha- 
 pel by Mr. Wyatt — Bidiops Chicheley and VVayneflete 
 
 — Sculpture — Public library and Divinity fchool — Uni- 
 verfity church — Remarks on fpires — Magdalene tower 
 built by cardinal Wolfey — His architedure at Chrifl 
 church , P' 59 
 
 SECTION 
 
ANALYSIS. 
 
 xiil 
 
 SECTION V. 
 
 Final sera of Gothick, and confirmation of the mixed ftyle 
 —Public fchools- -Bodleian library — Piclure gallery — ■ 
 Comparifon with the gallery at Florence — Quadrangle 
 at Merton — Wadham college — Palladian architedure — 
 Inigo Jones — Garden court at St. John's — Gate of the 
 Phyfic garden — Sheldonian theatre — Sir Chriftopher 
 Wren — Painted ceiling — Roof and elevation — Mufeum 
 — Chapel and garden court at Trinity — Library at 
 Queen's college — Nicholas Hawkfmoor — Front to the 
 High-ftreet, refembles the Luxemburg — Garden court 
 at New college, like Verfailles— Clarendon Printing- 
 houfe — Sir John Vanbrugh — Dean Aldrich — Peck- 
 water-court, Chrift church — All Saints church — Re- 
 marks on modern fteeples — Dr. George Clarke — AfiTo- 
 ciated with Hawkfmoor in building the library and 
 quadrangle at All Souls college — The architedl of the 
 library at Chrift church, and of Worcefter college — 
 Compared with Lord Burlington, and Sir James Bur- 
 roughs of Cambridge p. 85 
 
 SECTION VL 
 
 Gibbes— RadcllfFe library — RadclifFe-fquare— Gibbes's ar- 
 chitedlure at Cambridge — Portico of St. Martin's church 
 compared with others in London — His modern fteeples 
 —New buildingt at Corpus college— At Magdalene — 
 Kecne much employed at Oxford — At Balliol college — 
 
 The 
 
ANALYSIS. 
 
 The RadcIifFe Infirmary — The Obfervatory finlflied by 
 Wyatt — The gateway of Canterbury-court, Chrift 
 church — Obfervations on the Doric columns — Oriel 
 college library— Exeter college — Approach to the High- 
 ftreet by Magdalene bridge — Comparifon of the High, 
 ftreet with the Corfo'* at Rome — Gardens and public 
 rcforts at Oxford — Of Blenheim and Nuneham — Modern 
 gardening - Prince Borghefe's garden at Rome, defign- 
 by Jacob Moor, a landfcape painter — Infcription on the 
 bafe of a flatue of Flora p. 109 
 
 SECTION VII. 
 
 Ongm of architecture amongft the Greeks and Romans 
 — The age of Leo X. and the building of St. Peter's 
 church at Rome — The Italian manner, as adopted by 
 the French — By the Germans — Introduced by Inigo 
 Jones into England— His church of St Paul, Covcnt 
 Garden — Examination of St. Paul's cathedral by Sir 
 Chriftopher Wren — The original defign preferable to 
 the prefent — St. Stephen's, Walbroke — Library of Tri- 
 nity college, Cambridge — Greenwicli hofpital — The 
 monument — Blenheim by Sir John Vanbrugh — Catlle 
 Howard — Lord Burlington's cafmo at Chifwick — The 
 aflembly room at York — Imitations of Palladio's Ro- 
 tunda — Houghton and Holkham — Burlington-houfe, 
 Piccadilly, by Kent—Cannons — Sir Gregory Page'shoufe 
 on Black-heath — Wanflead — Keddleftone, by Adams — 
 Sheiburne Houfe, Berkeley-fquare — Lord Bute's, at 
 Luton — Adelphi — Lord Befborough's, at Roehampton, 
 by Sir William Chambers — Lord At>ercorn's, at Dud- 
 ingftone, near Edinburgh — Somerfet-houfe— New-gate 
 
 ^The 
 
ANALYSIS. 
 
 --The Bank— Additions by Sir R. Taylor and Soane — 
 New buildings at Lincoln's Inn — Chapel of Greenwich 
 hofpital, by Athenian Stuart — Holland's colonnade at 
 Carlton-houfe — Comparative obfervations on German 
 architedure — City of Bath— Payne — Carr — Hiorne— 
 Wyatt— Nafh's Cafmo at Dulwich P- ^33 
 
 PART THE SECOND. 
 
 SCULPTURE. 
 
 SECTION I. 
 
 Sculpture originated amongft the Egyptians, Etrufcans, 
 and Greeks, independently of each other — Hermsean 
 ftatues — Sculpture more ancient than painting — Of de- 
 fign in Egypt — Two dill:in6l manners — Excellence in 
 carving animals — Deviation under the Ptolemies —The 
 Egyptian Antinous — Etrufcan ftyle — Of higher anti- 
 quity than the Grecian — Its deficiency in grace and 
 charadler — Of the Grecian ftyle— Progrefs and de- 
 cline — Their idea of beauty in the abftra<Sl — Detail of 
 the parts of the human figure — Caufes of their beauty 
 and defedls P- 
 
 SECTION 
 
xvi 
 
 ANALYSIS. 
 
 SECTION II. 
 
 The hiftory of the fchools of fculpturc eftablilhed in 
 Greece— Dypoen us — Scillides — Ariftocles — Daedal us — 
 . Smilis — Myron — Phidias — Polycletus — Egefias — Athens 
 the chief feat of the arts — Alcomenes — Agoracritus — 
 Scopas — Ctefilaus — Praxiteles — Lyfippus — Agefander 
 — Polydorus — Athenodorus — Appolonius and Taurif- 
 cus — Opprefled ftaie of Greece after the death of Alex- 
 ander — The Seleucidae — Attnlus, king of Pergamus, 
 and the Ptolemies, fucceffively patrons of the arts — 
 Declaration of liberty to Greece at Athens, and revival 
 of the arts — Calliftratus, Athenaeus, and Policies — De- 
 predations of L. IMummius, and the removal of ftatues 
 to Rome — Gallery of Verres — Greek aiiilis encouraged 
 at Rome — Pafiteles, Archefilaus, and Evander — Julius 
 Caefar and Auguflus, munificent patrons of fculpture — 
 Caligula orders the ftatues remaining at Greece to be 
 brought to Rome— -^ra of Claudius — Of Nero — The 
 arts flourifhed under the aufpices of Trajan and Ha- 
 drian — Ariftsas — Papias and Zeno — The Tiburtine 
 Villa p. 187 
 
 SECTION III. 
 
 The decline of fculpture at Rome— The Antonincs— 
 Commodus — Total extindlion under the Gordians— 
 Conftantine colle6led many ftatues in Greece, and re- 
 moved many from Rome to embcllifh his new capital — 
 The Greek epigrams prove tlieir excellence — Veftiges 
 of the Roman arts in England — Petrarch and Poggius 
 
 vifit 
 
ANALYSIS. 
 
 vifit Rome— Only fix (latues remaining— Caufes of 
 the ruin of Rome— Cofmo de' Medici, the fiift colledtor 
 in the fifteenth century — Leo X.- Minutes of the dif- 
 covery of the mo(\ celebrated ftatues — Of the coUedlions 
 firft made by the Popes and Cardinals at Rome — Collec- 
 tion of Francis L— Philip IV.—Of the Vatican—Far- 
 nefe — Borghefe — Barbarini — Albani — Mattei — The 
 Capitol— Pio-Clementine Mufeum — Anecdotes of the 
 earl of Arundel's coiledlion — Arundelian marbles at Ox- 
 ford, and their prefent ftate— General obfervations in 
 conclufion • . . p. 2ia 
 
 SECTION IV. 
 
 Catalogue and examination of Lord Arundel's collection 
 of flatues at Oxford— Remarks on the Bacchus— Cicero 
 — Greek Girl, &c. — -Authenticity of the Parian Chro- 
 nicle — Collection at Wilton, made by Thomas, earl 
 of Pembroke— 'Anecdotes of it — Mr. Gilpin's critique 
 —The infcription called *' Bouftrophedon," not ge- 
 nuine 245 
 
 SECTION V. 
 
 Account of the farther introduction of antique ftatuary 
 into England — Dr. Mead— Lord Leicelkr— Lord Or- 
 ford — Mode of difcovering and procuring marbles at 
 Rome — The late earl of Leicefter's collection at Holk- 
 ham — The earl of Egremont's collection at Petworth— 
 Obfervations on the ftatue of a young Faun, with the 
 
 b name 
 
xviii 
 
 ANALYSIS. 
 
 name of the artift — Appolonius — Authenticity of names 
 fo affixed — Lord Orford*s colledlion at Houghton — 
 Mr. H. Walpole*s at Strawberry-hill — The earl of 
 Carlrlle's colledion at Caflle Howard 269 
 
 SECTION VL 
 
 Dcfcriptivc catalogue of Mr. Townley's colledion in 
 Park Street, Weflminfler — Curious infcriptions upon 
 far^ophagi • 299 
 
 SECTION vir. 
 
 The duke of Buccleugh's colle^flion in Privy Garden, 
 Weftminfter— Lord Palmerfton's, Romfey, Hampfliire 
 —Mr. Manfel Talbot's, at Margam, Glamorganlhire 
 — Lord Grantham's (late Mr. Weddel's) Newby, 
 Yorklhire — Anecdote of the Venus— The Honourable 
 Smith Barry's, at Beaumont, in-Chefhire — Mr. Blun- 
 del's, at Ince-Blundell, Lancafhire His numerous 
 and fine colle6tion of fepulchral marbles of every kind 
 •—Sir Richard Worfley's ftatues at Appuldercombe, in 
 the Ifle of Wight 337 
 
 SECTION VIIL 
 
 Extradh from letters from Gavin Hamilton to Mr. Town- 
 ley, relative to ftatues found by him in the Campagna of 
 7 Rome-« 
 
AN A LYSIS. 
 
 Rome — Difcoveries at the ** Pantanello'* near the ruins 
 of Hadrian's Villa at Tivoli in 1769 — Excavation and 
 difcoveries at the "Tor Columbaro," in 177 1 — At 
 Albano — At Monte Cagnuolo, near Genzano— At 
 Nemi — At Porta Marina, near Oflia, on the fea lhor« 
 — At Roma vecchia — At Caftello di Guido — \t the 
 Oliveto of Tivoli — At the fite of the ancient city of 
 Gabii, four miles from Rome, on the Via Praeneftina 
 — The ftatues now placed in the Villa Borghefe. . . 364 
 
 SECTION IX. 
 
 Of flatues difperfed in the various refidences of Englifh 
 gentlemen — Of the Italian fchool of fculpture — Lord 
 Surrey's fhield by Stradenus, at Norfolk houfe — Works 
 of Cellini — Bernini —Wilton — Bacon — and Antonio 
 Canova, now living at Rome, from the antique — modern 
 flatuary at Oxford — Hubert Le Soeur — FVancefco Fa- 
 nelli — Ryfsbrack — Roubiliac — Grinling Gibbons — Ba- 
 con — Edvv^ard Pierce — Mrs. Damer's young Bacchanal 
 in the Pidlure Gallery — Anecdote of Propertia dc' 
 Rofli of Bologna — Bufls in Terra Cotta, by Mrs. 
 Siddons — Weftminfter Abbey — Obfervations in conclu- 
 fion , , , , 082 
 
 PART 
 
XX 
 
 ANALYSIS. 
 
 PART THE THIRD. 
 
 PAINTING, 
 
 SECTION I. 
 
 Of the origin of painting in England, and Lord Orford's 
 work from Vertue^s notes on that fubjedt— Enamelling 
 — Specimens — Paintings in Frefco— Principally pradlifed 
 by ecclefnftics — Portraits in Frefco — Iljuminations — 
 Specimens in various MSS. — Painted and flained glafs 
 — Obfervations on regal and ecclefiaftical figures — Por- 
 traits in genealogical fucceflion — Single portraits at Mal- 
 vern, &.C. — Scripture hiftories at Fairford, Gloucefler- 
 fliire — St. Margaret's, Weftminfter — Deftrudlion of 
 flained glafs in churches by the Puritans— Modern re- 
 flotation of windows fo mutilated, at Windfor and Ci* 
 rencefter 419 
 
 SECTION II. 
 
 Chronological feries c: glafs ftainers employed at Oxford, 
 and their works --.-'lodcni aruifls — Jarvis, at New Col- 
 lege —Forreft — Pearfon — Eginton — With notices of 
 their works 441 
 
 SECTIOJf 
 
ANALYSIS. 
 
 xxl 
 
 SECTION III. 
 
 CoUedlions of ancient portraits in England in the houfcs 
 of the nobility — Portraits of eminent men in Ox- 
 ford 455 
 
 SECTION IV. 
 
 Paintings in College Chapels, in Oxford — Account of the 
 colledlion, chiefly of Italian pi6lures, bequeathed to 
 Chriftchurch by General John Guife — Several fpeci- 
 mens, clafled according to the fchool of each mafter. 480 
 
 SECTION V. 
 
 A fummary view of collections of foreign paintings brought 
 into England fuice the reign of Henry VIII. to the pre- 
 fent time, with notices of particular pi£lures — Of the 
 Englifh fchool of painting, as formed by Sir Jofhua 
 Reynolds — Conclufion • . . , . 497 
 
ERRATA. 
 
 Page S, for obfcrvation r, obfervationEj. 
 ■ 1 • —- cadenti r. cedent!. 
 28, — Trinity r. King's. 
 
 ■ 42, — arches r. niches. 
 
 ■ i- 109, — Seftion VII. r, Se^Ion VI» 
 • 112, — jufter r. juft. 
 
 — 138, — exifts r. exift 
 « 232, — vertum r, veftem (note) 
 
 ■ I 261, — treatic«s r. treaties. 
 .1 301, — adftat r. adftas. 
 
 — — 304, — reference toN. la r. N. 13. 
 - •• 322, — in r. is. 
 
 ■ I ■ — hair r hairs. 
 
 ■ ■ ' 325, — ftands r. ftand. 
 
 ■ I 33 a, — Anthens r. Athens. 
 
PART THE FIRST. 
 
 ARCHITECTURE. 
 
 ** Tot nos praeceptoribus, tot exemplis inftruxit antiquitas, ut 
 poflit orderi nulla forte nafcendi aetas felicior quam noHra, 
 cui docendae priores elaboraverunt." 
 
 QuiNCT. 1. xii. C/ 11. 
 
ANECDOTES 
 
 OF THE 
 
 ARTS IN ENGLAND. 
 
 PART THE FIRST. 
 ARCHITECTURE. 
 
 SECT. I. 
 
 The Goths had no lhare either in the inven- 
 tion or perfc6lion of that pecuUar ftyle of ar- 
 chitefture which bears their name ; for the 
 invention may be with certainty referred to a 
 period antecedent to their conqueft of the 
 fouthern provinces of Europe ; and many of 
 the more perfedt fpecimens were not com- 
 pleted till their dominion no longer exifted in 
 thofe countries. A total decay of the arts had 
 even preceded the diffolution of the Roman 
 empire; and the eftablifhment of chriftianity, 
 with its privilege of building churches, was 
 contemporary with the Gothick incurfions. 
 In this coincidence has originated a popular no- 
 tion, that the barbarians annihilated the Grc- 
 
 B cian 
 
2 ARCHITECTURE. 
 
 cian architedlure in order to introduce a ItvTe 
 peculiar to their own country, and that their 
 edifices are called Gothick" merely be- 
 caufe they are as v/idely difcriminated by their 
 proportions and ornaments from the claffical 
 monuments of Athens, as the Goths were from^ 
 the Greeks in their talents and national man- 
 ners. 
 
 It is not very improbable that the mere 
 love of novelty led to the invention of the ar- 
 chitecture wx call Gothick, and that the 
 irregularity fo decidedly and. univerfally attri- 
 buted to the Goths may have originated in 
 the caprice of the Italians> who were eithe? 
 really ignorant or fancifully negligent of pure 
 ftyle. 
 
 The leading caufes therefore which have 
 occafioned the difufe of Grecia.n architecture 
 in the firft ages of chriftianity, may be af- 
 figned to the ignorance and inability inta 
 which the artifts had fallen, before the Goths 
 had fpread themfelves over Europe. A know- 
 ledge of architectural elements was ftill pre- 
 ferved. The good tafte of the ancients, both 
 in decoration and proportion, was indeed loll, 
 but certain principles of the art were known 
 and pradtifed. They were not unacquainted 
 
 with' 
 
ARCHITECTURE. 3 
 
 with the fecret of arching a vault 5 but of all 
 the complicated forms adopted by the Greeks 
 and Romans, they retained that only which 
 is made upon crofs-fpringers rifmg from four 
 angles, and interfecPdng each other at the 
 common center. 
 
 Such a mode was univerfal in their ftruc- 
 tures, and is found in the fmalleft clofets, as 
 well as in the mod fpacious churches. 
 
 Simple combinations — fuch as to raife a 
 walled inclofure and to place pillars in the 
 length within, connected by an arcade or 
 architrave ferving as a bafe to a fecond wall 
 for the fupport of a roof of timber, were 
 known and praflifed, before the Goths had 
 appeared in Italy. The firft chriftian churches 
 built at Rome, particularly that of St. Paul 
 by Conftantine, have been imitated as archi- 
 types of the moft ancient churches through 
 Chriftendom. The frequent refort of the 
 bifliops of different nations to the Holy See, 
 afforded them an opportunity of obtaining 
 plans which they adopted upon their return 
 to their own country. The form of the 
 Latin crofs was at firft fimply followed in the 
 ground plan; that the diftribution of its parts 
 has been infinitely enriched and varied, may be 
 
 B traced 
 
4 ARCHITECTURE. 
 
 traced through fucceffivc a^ras, as confonant 
 to the genius of the feveral nations, by whom 
 it has been appUed. We may difcover by 
 comparilbn, diflx^rences in Gothick archi- 
 tefhure, as ftrongly marked as thofe of the 
 Grecian orders. Let me be allowed at leaffc 
 to qualify this affertion, by confining it to a 
 certain manner, analogous to the genius of 
 the people, who have ufcd it, fo that the 
 Gothick in Lombardy, in Spain, in Germany, 
 in France, but cfpecially in England, may be 
 generically diftinguifhed as decidedly as the 
 Doric, the Ionic, or the Corinthian. 
 
 Thofe who have examined the fupcrb edi- 
 iices in Italy which are ftyled Gothick, as 
 the cathedrals of Pifa, Orvietto, Sienna, &c. 
 will find a bare rcfemblance of what they 
 may have feen in other parts of Europe. 
 They muft doubtlefs have remarked that 
 circular arcades and portico's are moft fre- 
 quent ; which, if not corapofed of columns ex- 
 tracted and removed from Roman works, the 
 deficiency was fupplied by pillars imperfcftly 
 imitated from them''; and that the exuber- 
 
 ^ When furvcyiPig the jJuoino at Sienna, 1 remarked 
 that the capitals of the external pilaflers which fupported 
 'he fmaller arches, were conipofed chiefly of grotefque 
 hci.fls of beafls :.nd mongers, inflead of foliage. 
 
 ance 
 
ARCHITECTURE. 5 
 
 ance of ftyle called hy them II Gottico 
 Tedefco" very rarely occurs in Italy. The 
 Facciata, or grand wcftern front, was the ob- 
 ]c€t of fplendpur to which all the other part:-> 
 of the fabric were fubordinate. It was iu 
 that part only, that the arrlfts iirove to fur- 
 pafs each other by elevation and boldnefs, by 
 the multitude and originality of their fculp- 
 tures. Cupolas '° rife from the center of th.: 
 tranfept, and the campanile is alvvavs de- 
 tached from the main building. In a icw 
 inftances, as in the exquifitcly flender tovvcrs 
 of Florence and Venice, there is a certain 
 fpecies of beauty; whilfl: thofe of Bologna arc 
 equally aftonifhing, but pofitivelv ngly. The 
 firft mentioned tower was dcfjgned and built 
 by Giotto in the thirteenth century, in emula- 
 tion of the ftupendous fpires which at that asra 
 w^ere ereciing in Germany and the Low Coun- 
 tries. In Italy not a fmgle fpire is novv^ fecn. 
 
 The Dcra of Charlemagne gave rife to many 
 grand edifices dedicated to chriftianity, the 
 architects of which arc not recorded. If we 
 thus fix the cpocha of Gothic architecture, 
 
 ^ The term *'Dome" is Impiopcrly iiK^d for Cupola" 
 — it applies merely to a cathedral church, and is not iyiio- 
 nimous witli an hemifphei icai roof, as at the Pantheon, 
 unlcTs the vvliolc hr elevated as at St- Peter's. 
 
 B 3 llioupdi 
 
6 
 
 ARCHITECTURE. 
 
 though we cannot aicertaui the firft and moit 
 ancient fpeclmcn of it, we poffefs nearly all 
 the reft of its hiftory, when we know, that 
 it was adopted with certain variations, all 
 over Europe ; that great cities contended for 
 the honour of having the largeft and the 
 richeft church; that the fame ftylc of archi- 
 teAure employed in the ecclefiaftic paffed to 
 other public edifices and to the palaces of kings; 
 and finally, that till the end of the fifteenth 
 pentury, the Gothick reigned with a more 
 cxtenfive dominion than the moft graceful 
 or magnificent of the Grecian orders. 
 
 The cathedrals in Germany and France, 
 like thofe in Italy, owe their efFe^fl to the 
 facade, which is formed by a portico of pedi- 
 ments richly incrufted with the moft minute 
 ornam^ent, an infinity of niches, ftatues, pc- 
 deftals, and canopies, and one circular win- 
 dow of vaft diameter between two towers of 
 very elaborately cluftered pinnacles, where not 
 otherwlfe finifhed by a regular fplre. This 
 clefcription applies in particular to St. Ste- 
 phen's at Vienna, Strafburg, Nuremburg, 
 Rheims, Amiens, Notre Dame, and St. Denis 
 at Paris, Coutances, and Bayeux, not to mul- 
 tiply inftances. Thefe exhibit prodigies of 
 6 fublimitv. 
 
ARCHITECTURE. 7 
 
 luWimity, lightnefs, and patience of the 
 -conftrudors ; yet as if the age of piety or 
 wealth were paffed, moft of them are left in 
 an unfinifiied ftate. 
 
 Even the fbmptuous cathedrals of Florence, 
 Sienna, and Bologna, built of briclc^ are as 
 yet imperfe6lly incrufted with marble, and 
 one only of the intended ipircs of Sl Ste- 
 phen's, Vienna, Strafburg, and Antwerp, has 
 been condu6led to its fymmetrica! height. 
 
 It is worthy remark, that in Italy the Go- 
 thick is moft analogous to the Grecian archi- 
 tefture in the early initances I have cited. 
 Yet the Duomo, or great church at Florence, 
 built by Arnolfo in 1290, exhibits a ftylc 
 called by the Italian architcdls, ^' II arabo- 
 tcdefco," a mixture of Moorifli or lower 
 Greek with the German GotJiick. 
 
 The fquare at Plfa, which from its extent 
 and fcrupulous neatnefs gives to each edifice 
 its com.plete effect, prefents in the fame view 
 a moft rich groupe of the Lombard-Gothick 
 prevalent in the thirteenth century ; and the 
 warmeft admirer of that ftylc, indulging hi:: 
 imagination, could fcarcely form fuch an 
 affemblage in idea as the cathedral, die fall- 
 ing tower, the baptiftery, and the cloifters. 
 
 B 4 They 
 
^ ARCHITECTURE. 
 
 They are indeed the firft and moft per-* 
 fed: in their peculiar manner, and^ for au- 
 guft efFed:, unequalled in Europe. In the 
 northern nations a redundancy of ornament 
 foon prevailed, whilft in France a more fim-r 
 pie, and confequently a lighter ftyle, was ob- 
 fervable ; byt in Spain the Gothick wore 
 a gigantic air of extent and maffivenefs. From 
 the Moors at the fame time they borrowed 
 or corredly imitated an exceffive delicacy iri 
 the minute decoration of parts, from whence 
 the term Arabefque" is derived, and is 
 nearly fynominous with ^' Saracenic^ as 
 ufually applied, of which a fine inftance oc- 
 curs in the old porch of St. Mary RedclifFe, 
 Briftol. 
 
 Any farther obfervation I might make on 
 the peculiarities of Gothick architedure 
 in Spain and Portugal, are fuperfeded by 
 Mr. Murphy's Batallah, a work in which a 
 fcientific inveftigation is rendered delightful 
 by tafle and perfpicuity. It is an anecdote 
 
 ^ This opinion, however it may in appearance, does 
 xiot in reality militate againft the high authority of fir 
 Chriftopher Wren, who flyles the more ornamental man- 
 lier immediately confequent on the heavy Saxon, *' the 
 fara^enic.'* 
 
 mucl^ 
 
APvCHITECTURE. 9 
 
 much to the honour of the Norman fchool 
 of architedure, that the church of Batallah 
 creeled by John, king of Portugal, in 1430, 
 ^Yas defigned by David Flackctt, a native of 
 Ireland. The plan is of the pure Gothick . 
 of that asra ; the ornamental particles only 
 ^re upon the Moorifli model. 
 
 Of Gothick archltefture in France the 
 boaft is the Fa9ade of the cathedral at Pvhelms, 
 and its pretenlions arc juft. Amiens and 
 St, Denis at Paris, have fimilar and fcarccly 
 inferior claims. The Abbot Suggerius, who 
 built the latter in 1148, and wrote a treatife 
 on its conftruftion, had a mofl capricious idea 
 of proportion ; for the nave is 335 French 
 feet long and only thirty-nine in breadth. 
 There are three tiers of windows each thirty 
 feet high, and three only diftant from each 
 other. By fo great contrail, and fuch fre- 
 quent perforation of the walls, the magical 
 effecl of the internal perfpeclivc is produced. 
 
 The lovers of Grecian architeclure will in- 
 deed contend, that the total abfence of pro- 
 portions produces our firft furprifc, which wx 
 gradually lofe upon a flrid: examination. The 
 contrary is the effed of a claffical (Irudlure, of 
 vvhich St. Peter's is readily adduced as the 
 
 mofl: 
 
lo ARCHITECTURE. 
 
 moft memorable inftance. It is principally 
 the want of breadth which makes the length 
 appear extraordinary, and of breadth which 
 feems to elevate the roof to fo extreme au 
 height, in the more ftupendoiis of the Go- 
 thick churches. 
 
 This comparifon does not prove a purer 
 tafte in any of the nations which offer it, 
 to the difparagement of the reft. If in 
 architecture, tafte confifts in a juft re- 
 lation of parts in forming a whole, whiclj 
 accords with the idea we give to the 
 orders ; and the choice and diftribution of or- 
 nament be imitated from the rich or fimple 
 beauties of nature, it is certain that the Go- 
 thick architeds, of whatever country they 
 may have been, have fhewn much ingenuity 
 and fkill, but no tafte. For we may ob- 
 ferve in the Gothick, how totally the rules of 
 claflical architecture are violated or forgotten, 
 notwithftanding there is a charafter of origi- 
 nality, which, in its general and complete 
 effcfl:, furprifes, till we become enchanted 
 wath its influence 
 
 Biihop 
 
 ^ It is remarked by Mr. T. Warton, when comparing tlie 
 Grecian with the Gothick aichiteclure, that " Truth and 
 
 propriety 
 
/ 
 
 ARCHITECTURE. ii 
 
 Bifhop Warburton, in his notes on Pope, 
 has aflerted,thatGothick archltecflurc originat- 
 ed in Spain, where Moorilh archltefts were 
 employed or followed ; and that it fnnply 
 imitates an avenue of lofty trees ; the fliarply 
 pointed arch being that formed by the inter- 
 fering branches ; and that the fiiems of a 
 clump of trees are reprefented by columns 
 fplit into diftind lhafts. This obfervation is 
 ingenious, but not wholly applicable, for the 
 architecture ftyled Gothick in the northern 
 parts of Italy, had a diftind; origin and cha- 
 ra6leriftics ; and our own Gothick was not 
 brought to us from Spain, but from Normandy 
 and France. 
 
 From this fummary view of architcClurc in 
 the earlier centuries, fmcc the eftablifiiment 
 of Chriftianity in different parts of Europe, I 
 proceed to that prevalent, at different periods, 
 in England only. Our Saxon progenitors, 
 from their intercourfe with Rome upon 
 
 propriety gratify the judgment, but they do not afFecl tlie 
 imagination.'* — Notes on the Minor Poems of Milton, 
 p. 91. It was Mr. T. Warton's intention, had he lived 
 longer, to have publilhed the Hiilory of Gothick Archi- 
 te6^:ure, for which no man was more eminently qualiricd, 
 with perhaps tlie exception of Mr. Gray. 
 
 ecclefiaftical 
 
12 ARCHITECTURE. 
 
 ecclefiaitical concerns, adopted, with however 
 rude an imitation, the Ronaan plan of churches. 
 We have hkewife a fair prefumption, that 
 many temples and palaces of the Homans re- 
 mained, at that period, at leaft undemoliflied, 
 in Britain ^ 
 
 The weflern front of their churches had a 
 portico or ambulatory, and the eaflern was 
 femicircular, and refembled the tribune in 
 Roman Bafilicae. The principal door-cafe 
 was formed by pilafters with fculptured capi- 
 tals, and the head of the round arch contained 
 bas reliefs, and was incircled by mouldings of 
 great variety imitated with imperfcft fuccefs, 
 from many then exifting at Rome, and not 
 without great probability, in England. Thefe 
 mouldings may be more particularly fpecified 
 and clafled, as the indented, the zig-zag like 
 the Etrufcan fcroU — the fixiall fquares fome 
 alternately deeper than others — and the flou- 
 rlfhed with fmall beads, ufually on the capi- 
 tals of pilafters. The lateft device which be- 
 came common juft before the Saxon ftyle was 
 abandoned, w^as a carving round the heads of 
 arches, like trellis placed in broad lozenges, 
 and confiderably projefting^ Of the beft 
 
 e Gyraldus Crimbrenfis. 
 / See Carter's Ancient Architedure in England. 
 
 inftances 
 
ARCHITECTURE. 13 
 
 inftances now prefer ved to us, I feleft the 
 porches of St. Margaret's church in York, 
 Glaftonbury, Malmibury, and Dunftable Ab- 
 bies, and the caftle at Norwich. Such was 
 the Ibhdity of the walls and the bulkinefs of 
 the pillars, that buttreflcs were neither necef- 
 fary, nor in ufage. 
 
 After the Norman conqueft, that ftyle call- 
 ed by the Monks Opus Romanum" becaufc 
 an imitation of the debafed architefture of 
 Italy, was ftill continued in England. The 
 extent and dimcnfions of churches were 
 greatly increafed, the ornamental carvings of 
 the circular arches, and the capitals of pillars 
 and pllailers became more frequent and ela- 
 borately finiihed. Of the moft remarkable 
 fpecimens of what is ufually termed Saxon 
 archlteclure ftill obfervable in cathedral and 
 conventual churches, the true aera wdll be 
 found to be fubfequent to the Saxons them- 
 felves ; and to have extended not more than 
 ' a century and a half below the Norman con- 
 queft. Thes two churches at Caen, built 
 by William and his queen, arc the archetypes 
 ot thofe novv^ rcm.aining in England ; but the 
 
 g Ducancl's AnglQ-NcriHan Antiq, 
 
 moft 
 
14 ARCHITECTURE. 
 
 moft magnificent work of this kind was the 
 nave of old St. Paul's, London ^. The vaults 
 were void of tracery, and the towers without 
 pinnacles, but ornamented with arcades, in 
 tiers, of fmall interfecled arches, on the, out- 
 fide walls. 
 
 The reign of Henry III. introduced a ftyle 
 which, from the leading peculiarity of the 
 pointed arch, and in contradiftinftion to the 
 Saxon, has univerfally obtained the name of 
 Gothick. Salifoury ' and Ely cathedrals, and 
 Weftminfter abbey, have been generally ad- 
 duced as the moft perfec^l examples^. It may 
 be fuppofed, that the two laft. mentioned were 
 
 ^ Dimenjions. — Old St. PauFs cathedral occupied a fire 
 of 3I: acres, j\ rood, and fix perches. The whole length 
 was 690 feet. Breadth of the nave 120, and 102 high. 
 The fide walls were 85 feet high, and 5 thick. Tlie 
 tower 260, and the fpire, which was of wood covered with 
 lead, 274 feet more— total height 520. It was more lofty- 
 according to Greaves (Pyramidolog. p. 69) than the great 
 pyramid in the proportion of 481 to 520. — Dugdale. 
 
 i Dimcnfions, — Saiifbury^, nave 217 feet by 34^, and 
 84 high. Tower 207, fpire 180 — total 387. This cathe- 
 dral coft in building 42,000 marks, about 28,000/. of 
 prefcnt money. 
 
 ^ The width of the naves of Ely cathedral and Weftmin- 
 fter abbey are each of them 72 feet 9 inches. 
 
 conftru<Sed 
 
ARCHITECTURE. 15 
 
 conftrufted upon the fame plan, as there is a 
 fingular accordance in their chief proportions. 
 Whether this early Gothick originated in Pa- 
 leftine, or was borrowed from the Moors in 
 Spain, has given rife to conjedure ; but a 
 more bold deviation from the previoufly efta- 
 blifhed architecture of the country, could not 
 have been made. To the enormous circular 
 pillars and arches, the narrow lancet windows 
 and roof upon fimple crofs-fpringers fuc- 
 ceeded at once, without a gradation of fiiyle ; 
 the flendcr fliaft infulated, or cluftcrcd into a 
 fnigle pillar, the arches fharply pointed, the 
 w^indow increafed to three lights inftead of 
 one, and with fmall columns as mullions, and 
 laftly the roof interfered by ribs of ftone- 
 work and ftuddcd with carved knots. 
 
 It will be contended bv the French anti- 
 quaries, that this new mode was not cxclu- 
 fively our own, but that it appeared, if not 
 earlier, at leafi: in the fame century, in the 
 magnificent cathedrals I have noticed, as then 
 recently erecJled in France. If the buildings 
 in the Holy Land fuggefted ideas of this 
 novel architecture, the French Croifaders had 
 the fame opportunities of introducing it into 
 France as ours Into England, for they were 
 
 ailbciated 
 
16 ARCHITECTUxRE. 
 
 affociated in the fame expedition. It has 
 been faid, that in the church of the Holy Se- 
 pulchre at Jerufalem no pointed arch was 
 fccn, but that in Moorifh ftruclures equally 
 obvious to tliofe adventurers it is frequent ; 
 for which rcafon it may be more correctly 
 defcrlbed as Saracenic'' than as Gothick. 
 
 This particular ftyle, whether allowed to 
 be Saracenic or Gothick, was the parent of 
 fevcral others, in fucceffive centuries, the pro- 
 grefs of v/hich was confirmed, by certain 
 difcrimination ; but the Saxon having been 
 once relinquiflied, was never again adopted 
 cither fnnply or with analogy. During the 
 reigns of the two firft Edwards its prevalence 
 was decided. With incredible lightnefs, it 
 exhibited elegance of decoration and beauty 
 of proportions in the multiplicity of the ar- 
 cades and pillars, the latter being ufually of 
 Purbec marble, each a diftincl fliaft ; but the 
 whole colic6led under one capital, compofed 
 of the luxuriant leaves of the palm-tree, in- 
 diginous in Paleftine and Arabia. A very fa- 
 vourable fpecimen of the manner which dif- 
 tinguiflics the early part of the fourteenth, 
 century, both as applied to roofs and arcades, 
 is feen at Briftoi, in the conventual church of 
 
 St. 
 
ARCHITECTURE. 17 
 
 Sf. Auguftine> now the cathedral. But pre- 
 vioufly to another ftyle of known pecuHarlties, 
 the capitals became more complicated, the 
 vaults were -ftudded with knots of foliage 
 at the interlacing of the ribs, the weftern 
 front was inriched with numerous ftatues, 
 and the flying buttrefles, formed of fegments 
 of circles in order to give them lightnefs, 
 were rendered ornamental by elaborate finials. 
 This exuberance tended to the abolition of 
 the firft manner; and about the middle of 
 the long reign of Edward III. under the 
 aufpices of W. of Wykeham, we have the 
 earl left inftances of that fccond manner, 
 which in its eventual perfe6lion attained to 
 what is now diftinguifhed, as the pure Go- 
 thick ^ 
 
 The equally cluftered pillar with a low 
 
 ' St. Stephen's chapel, Weftminfter (now the Hoiife of 
 Commons) was founded by Edward III. and iiniflied in 
 1348. In the Remembrancer's Office in the Exchequer, 
 a curious account is preferved of the expences of die arti- 
 ficers and materials. Amongft other entries is one *' To 
 mafter Richard of Reading for forming two images of 
 faints 3/. 6s. 8^/." Plans and fedlions of this fine build- 
 ing have been lately publifhed by the Society of Anti- 
 (jViaries, 
 
 C fliarp 
 
i8 ARCHITECTURE. 
 
 iliarp arch prevailed in the firft year af Ed- 
 ward III. over which was ufually placed a rov-^ 
 of open galleries, originally introduced in the 
 Saxon churches, and adopted, ^s far as the 
 idea only, from themv Contemporary with 
 Wykeham lived Rede, bifhop of Chichefter, 
 an adept in the fcience and practice of archi- 
 tecture; and many others of the prelates and 
 abbots of that time prided themfelves in ex- 
 hibiting proofs of their architectural fkill ia 
 rebuilding their churches, or very frequently 
 adding to them, and giving them a pervading 
 fymmetry of ftyle. The ftupendous fabric? 
 of York and Lincoln are of this a^ra and its 
 chief boaft Thofc oi Winchefter and Exeter 
 were likewife partly rebuilt or reduced to a 
 famencfs of manner by the alteration of archer 
 and windows> in fo great a degree, as to ob- 
 tain an apparently contemporaneous conftruc- 
 tion, in their relative parts. In the wefEen?. 
 fronts of Litchfield, York, and Peterborough, 
 but particularly in that of Lincoln, which was 
 preferred by lord Burlington to any in Eng- 
 land ; and in the interior of each of thefc 
 
 D'lmenfions, — York, total length 524 feet, tranfept 222- 
 wide, nave 99 feet high. Lincolnj total length 483 feet,- 
 tranfept 223 wide. 
 
 cathedrals^ 
 
I 
 
 ARCHITECTURE, 19 
 
 cathedrals, we are fo well fatisfied with the 
 proportions and the propriety of ornament, 
 that we could readily difpenfe with the luxu- 
 riance of the fucceffive ^era and manner. 
 To form fome criterion of this pure Gothick ; 
 let me obferve, that the pillars became more 
 tall and (lender, forming a very lofty arch, 
 and that the columns which compofed the 
 duller, were of imequal circumference. A 
 more beautiful inftance than the nave of the 
 cathedral of Canterbury cannot be adduced* 
 The windows, efpecially thofe at the eaft and 
 weft, were widely expanded, and their heads 
 ramified into infinite interfeftions with qua- 
 ter-foils or rofettes, which bear on the points 
 of the arching muUions. The roof hitherto 
 had not exceeded a certain fimpHcity of or- 
 nament, and no tracery was fpread over the 
 groins of the vault, which refted on brack<^ts 
 carved into grotefque heads 
 
 In this and the immediately fubfequcnt 
 reigns, the large and lofty central tower (for, 
 the more ancient belfries were ufually de- 
 
 The foliage imitated on the finials and capitals is that 
 of plants which are indiginous in Paleftine ; and not of the 
 oak or vine as it is ufually called. When compared with 
 the euphorbium, the refeniblance will be found exa6l. 
 
 C tached) 
 
ARCHITECTURE. 
 
 tached) and the cloifters richly pannelled, and 
 having a moft delicately fretted roof, wer^s 
 added to many of the cathedrals, and con- 
 ventual churches then exifting. Withinfide, 
 the canopies of tabernacle work over faints or 
 fcpulchral effigies, the fhrines of exquifite 
 finilhing, repeating in miniature the bolder 
 ornaments by which the building was deco- 
 rated on a large fcale, in the high altars and 
 Ikreens of indcfcribable ricbnefs, continue to 
 fafclnate every eye by their beauty and fubli- 
 mky. Even on the outfide of thefe magni- 
 ficent works, as the weftern fronts of Wells 
 and Litchfield, and bifliop Grandifon's fkreen 
 fo placed at Exeter, there are cmbellifliments 
 of equal merit. The facade of the cathedral of 
 Sallfbury is one of the moft ancient, fimple, 
 and regular, now remaining. The eye dwells 
 with more fatisfa^tion on a broad furface, re- 
 lieved onlv, and not diftraded by ornamenL 
 Wykeham's high altar at New College, and 
 Whetehamftcde's flvreen at St. Alban's, ex- 
 ceed in fimplicity and correct proportions any 
 fpecimen I could adduce of the firft defcrip- 
 tion. 
 
 To the croffes eredled by Edward I. in ho- 
 nour of his beloved confort (evidently neither 
 
 the 
 
ARCHITECTURE. 21 
 
 die work of CavalUni nor of Abbot Ware), 
 we may attribute the introduction of the ela- 
 borate canopies and minute ornaments ufed in 
 tombs, fepulchral chapels, and the flirines of 
 faints, commonly called " tabernacle work 
 an earlier .or more complete inftance of which 
 does not occur to my recollecSion, than that 
 of Edward II. at Gloucefter, dedicated by his 
 *fon at the commencement of his reign.. 
 
 During the firft cera of Gothick, internal 
 grandeur was produced folcly by vail propor- 
 tions contrafted by the multiplication of fmall 
 parts, fuch as cluftcred pilafters and the mul- 
 lions of windows ; but about the period I 
 have defcribed, by the general iiitroduftion of 
 this fpecies of .architectural refinement, the 
 high altars, flirines, and fepulchral monu- 
 ments, were combined to increafe the rich- 
 nefs of the whole interior to an eventual exccfs. 
 The earliefl: inftance of this minute work- 
 manfliip, which has been termed fiUigraine,'* 
 Is the choir of the cathedral at York, about 
 the clofe of the fourteenth century. 
 
 From this period no memorable variety 
 occurs, till the middle of the fifteenth cen- 
 tury, when an ambition of novelty invented 
 a multiplicity of ornaments, and amongft 
 
 C 3 many 
 
2% . ARCHITECTURE. 
 
 many others which were capricious and with- 
 out fpecific import, we may obferve the per- 
 petual recurrence of the armorial enfigns of 
 honour. From this fafhion the antiquary 
 colledts decifive information, and is gratified 
 by the certain appropriation of the building 
 to its founder or reftorer, 
 
 SECTION 
 
ARCHITECTURE. 
 
 23 
 
 SECTION 11. 
 
 I HAVE already noticed, that in the courfc 
 of the thirteenth and fourteenth centuries 
 llich alterations of the Saxon llyle, by which 
 it could be reconciled to the Gothick model, 
 were very frequ-cntly made by thofe ecclefiaf- 
 tics, whofe opulence and tafte allowed them 
 to prad:ife the fcicnce of architefiure. W c 
 have abundant memoirs of bifliops and abbots, 
 who cultivated with affiduity and fuccefs the 
 elements of geometry, and the principles of 
 -decoration, when applied to the ftructurcs for 
 which they furniflhed plans. 
 
 The fifteenth century, beginning with the 
 reign of the fourth and extending nearly to 
 the clofc of that of the feventh Henry, will be 
 found to include the total progrefs of that par- 
 ticular manner of building, called for the fake 
 of diftindion, the Florid Gothick." In the 
 •fucceeding age, even that ftyle vs as abandoned 
 forthc invcntionsof Holbein, and Johnof Padua 
 
 C 4 m 
 
24 ARCHITECTURE. 
 
 in England, imperfectly adopted from thofe of 
 Brunellefchi and Palladio;, the great reformeris 
 of architedlure in Italy. 
 
 A late very elegant critic ^ has confidere4 
 the fine fculptural facella of the archbifhops in 
 the cathedral of Canterbury, as the genuine 
 architypes of the Florid Gothick," to which 
 may be added bifhop Beauchamp*s chapel at 
 Salifbury, and the tombs of fucceffive pre- 
 lates, from Wykeham to Fox, at Win- 
 chefter. 
 
 The leading peculiarity of this manner of 
 building is chiefly to be perceived in the 
 vaultings of roofs connefted with windows, 
 and the conll:ru<5lion and ornaments of cloif- 
 ters and towers. 
 
 In the roofs, the intricacy of figures de- 
 fcribed by the interfering of crofs-fpringers, 
 and the exaft adaptation of the groins of the 
 vault to the heads of the windows, which arc 
 more pointed than in the preceding age, to- 
 gether with the fcarcely credible height and 
 thinnefs of the fide walls, fill the eye of the 
 aflonifhed fpedlator with an inftantaneous 
 ^larm for his own fafety. 
 
 ^ W^lpole's Anecdotes of Painting. 
 
 « Jam 
 
ARCHITECTURE. 1^5 
 
 « Jam lapfura cedenti 
 
 Imminet affimilis. JEt^. 1. vi. 6oj. 
 
 After having varied and exhauftcd the 
 forms of leaves, knots and rofes ^, the artifts 
 frequently introduced images of angels with 
 mufical inftruments in full choir, over the 
 high altar. 
 
 In the w^indows, we remark an cxpanfe be- 
 yond all proportion when fmgly placed ; or 
 otherwifc, that they are crowded into a very 
 inadequate fpace. 
 
 Cloifters, which were originally, with few 
 exceptions, unornamented inclofures for the 
 purpofes of exercife or religious offices, wxrc 
 then found to admit of the full embellifli- 
 ment of the fhrines or chapels cxifting in 
 other parts of the church. This new appli- 
 cation of the ornamental particles was affifted 
 in a very ftriking degree by -perfpeftive, and 
 the -almofl: infinite reduplication of a fmall 
 yault, fpringing from four fcmicircular groins 
 
 ** Where the tall {hafts that mount in mafTy pricic, 
 ** Their mingling branches flioot from licle to fiJc ; 
 *' Where, elfin fculptors with fantaftic clew 
 •* O'er the long roof their wild embroidery drew.'* 
 
 T. Wart ON*. 
 
 at 
 
ft6 ARCHITECTURE. 
 
 at the angles, which reft upon pilaftcrs. For 
 this kind of fretted roof upon a diminutive 
 fcale, the term " fan-work" has been ufed — an 
 idea fuggefted perhaps by a certain refemblance 
 to that fhape, as fpreading from the bafe. 
 
 The towers'" which are known to have 
 been ere'died in the fifteenth century, efpe- 
 cially toward the clofe of it, have certainly 
 gained little in point of aerial elevation, but 
 are much more beautifully conftrud:ed ; as 
 they are ufually panncUed with arcades and 
 half mullions, like thofe which compofe a 
 window, from the bafe to the fummit. No- 
 thing can exceed the boldnefs of the parapets 
 and pinnacles, in numerous inftanccs, the 
 moft remarkable of which are feen in the 
 wxftern counties of England. Of the fore- 
 going remarks the cathedral of Gloucefter 
 and the parochial church of Redcllfte, Briftol, 
 exhibit the moft fatisfaftory evidence. In the 
 
 ' The height of moft cathedrals is equal to the breadth 
 of the body and fide aides. Spires and towers are ufually 
 as high as the nave is long ; or perhaps more accurately, 
 the tranfept. The crofs or tranfept extended half the 
 length of the whole fabrick ; and the aifles jull: half the 
 breadth and height of the nave added together. — See Pref. 
 to Willis's Mit. Abb. p. 8. 
 
 6 , laft 
 
ARCHITECTURE. 27 
 
 laft mentioned is a peculiarity, obfervablc 
 likewife in Wellminfter abbey, that the aifles 
 are continued on either fide of the tran- 
 fept. 
 
 It is a fingular fail, that during the commo- 
 tions between the houfes of York and Lan- 
 cafter, and their adherents, fo prejudicial to 
 the progrefs of the arts of civilization, archi- 
 teclure in England flourifhed in a greater de- 
 gree The fuperior ecclefiaftics were con- 
 fined to their cloifters, as few of them had 
 taken an a<5live part in the difpute ; and fome 
 of the faireft ftru6lures w^hich remain, arofe 
 in confequence of wealth accumulated by in- 
 fligating the noble and affluent to contribute 
 to the general emulation of fplcndid churches, 
 built under their own infpeftion. 
 
 Abbot Sebroke's choir at Gloucefter, which 
 has no equal, was begun" and completed dur- 
 ing that turbulent period. 
 
 The agreement between the commlffioners of Richard 
 duke of York and W. Horwood Freemafon, for the build- 
 ing of the chapel in the college oT Fotheringhay given bv 
 Dugdale (Monaft. v. iii. p. 162) details with minutenefs 
 the ground plan and architeclura] ornaments of that very- 
 beautiful ftrudure. Many terms occur, the original ap- 
 plication of which can now be fuppHed by conje<Sture 
 pnly. 
 
 The 
 
28 ARCHITECTURE. 
 
 The meek Henry VI. better fuited by his 
 education and habits to have been a prieft 
 than a potentate, encouraged this prevaiUng 
 tafte by his own example. King's College 
 chapel at Cambridge was begun under his 
 aufpices, and at his expence ; and though he 
 was prevented from carrying on his munifi- 
 cent intentions by his perfonal diftrefles and 
 violent death ; and thefe celebrated w^alls had 
 rifen fcarcely twenty feet above the founda- 
 tions at that time, it is evident that the ori- 
 ginal plan given by Nicholas Clofe (afterward 
 bilhop of Litchfield) was principally adhered 
 to by Henry VII. and bis fon, in whofe reign 
 it was finifhed 
 
 The grand deviation from the firfi: defign 
 appears to have taken place in the roof, and 
 the nurnerous introduction of large efcocheons 
 of the armorial enfigns of the houfe of Lan- 
 cafter, which are crowded too near the fight. 
 
 Thefe efcocheons, however fanClioned by 
 the univerfal ufage of that day, deftroyed' th(^ 
 
 ' Dimen/ions,^Tv\n\\.)' College chapel 304 feet long 
 and 73 wide, from outfide to outfide \ 91 high to the bat- 
 tlements, and 150 to the four principal pinnacles. With- 
 ir^fide it is 291 by 45^, and 78 in height. 
 
 intended 
 
ARCHITECTURE. 29 
 
 intended effeft of contraft produced by the 
 fimplicity of the fide walls and the exube- 
 rance of the vault ; as they break the mafs 
 into too many inconfiderable parts. 
 
 When Edward IV. had gained peaceable 
 pofTcffion of the crown, he rebuilt the royal 
 chapel at Windfor ^, probably from a defign 
 of Beauchamp, bifhop of Sarum, whom he 
 appointed furveyor of his works. But the 
 glory of this ftyle and age was the fepulchral 
 chapel ereded by Henry VII, at Weftmin- 
 fter 5. Alcocke, blfliop of Ely, where he had 
 built an elegant chapel, and had given proof 
 of his fkill in architecture in ievcral colleges 
 at Cambridge, was appointed furveyor of the 
 works by that monarch, and affociated with 
 Sir Reginald Bray. 
 
 Thcfc eminent men were equally verfed 
 in the theory and practice of architecture, 
 w^hich their joint performance, the conven- 
 tual church of Malvernc in Worccfterfhire, 
 fufficiently evinces. 
 
 In the farfamed edifice at Wcftminfter, the 
 
 ^ Dimenjicm. — Windfor 260 feci long, 65 wide — tran- 
 fept 1 13. 
 
 g It coft 14,000/. and was finlflied in 1508. 
 
 expiring 
 
30 ARCHITECTURE. 
 
 expiring Gothick feems to have been ex- 
 haufted by every effort. The pendent roof, 
 never before attempted on fo large a fcale, if 
 King's College chapel be excepted, is indeed 
 a prodigy of art, yet upon infpefting it, we 
 are furprifed rather than gratified. That 
 
 magic hardinefs^" of which Mr. Walpole 
 Ipeaks as charad:eriftic of the lafl: ftyle of Go- 
 thick, has in this inftance gained its utmoft 
 bounds. — There is an infinity of rofes, knots 
 and diminutive armorial cognizances, cluftered 
 without propriety upon every fmgle member 
 of architecture, and we are at length fatigued 
 by the very repetition, which was intended 
 to delight us. 
 
 This laft manner has deviated into abfolute 
 confufion, by which tafte and fcleftion are 
 equally precluded, from w^hence refults a lit- 
 tlenefs, whilft the eye is diverted from any 
 particular objc6l of repofe. 
 
 Of Gothick architecture in Scotland the 
 moft beautiful pieces which remain intire 
 
 ' The term hardlefTe and ardltezza" fo frequently 
 adopted by French and Italian archite61:s when defcribing 
 the extreme loftinefs of Gothick ftrudures is fo tranflated 
 by Mr. Walpole in his Anecd. of Painting v. i. 185. 
 
 have 
 
ARCHITECTURE. 31 
 
 have their date in the prior part of the fif- 
 teenth century. They are the chapels at Roflin 
 near Edinburgh, and that in the palace of 
 Holy-Rood, the lafl: mentioned of which was 
 finifhed about 1440 by king James the fe- 
 cond, of that realm. — Their fides are flanked 
 by flying buttrclfcs like thofe at King's Col- 
 lege and Weftminfter, but with a happier 
 cfFed, becaufe in a purer ftyle. 
 
 Contemporary with thefe fpecimens of 
 Florid Gothick'' is the abbey church at 
 Bath, partaking in a very fmall degree of 
 that defcription of ornament. 
 
 It was the laft building of equal magnitude 
 purely Gothick, and remains in the fame 
 form as when finifhed in 1532. Oliver King, 
 bifliop of Bath and Wells, who died thirty 
 years before that time, may be confidered as 
 the founder, and as having furnifhed , the 
 plan. 
 
 In an age when ecclefiaftical fabricks of 
 the firfl: degree, were conftru6led with a vaft 
 profufion of wxalth and labour, we are the 
 more pleafed to contem.plate this w^ork of a 
 prelate, who preferred the admirable fimpli- 
 city of the earlier fchool of Gothick, to the 
 overcharged decoration which other archi- 
 
 teds 
 
32 ARCHITECTURE. 
 
 tecfls of his own time, were fo ambitious to 
 dilplay. 
 
 As far as the knowledge of the powers of 
 conftrudion, the Gothick archltecfls maintain 
 a fuperiority over the moderns. The moft 
 able geometrician of that day, the great Sir 
 Chriftopher Wren, was proud to confefs from 
 frequent liirveys of the roof of King's College 
 chapel, that it exceeded his utmoft efforts 
 in conftruclion ; and upon infpecfting the 
 churches of Salifbury and Weftminfter prc- 
 vioufly to repairs, he declared that the archi- 
 te6ls of a darker age were equally verfed in 
 thofe principles. M. Sufflot, the moft fcien- 
 tific archited: France ever produced, and an 
 indefatigable inveftigator of the fine cathe- 
 drals which abound in that country, was 
 clearly of this opinion. From fuch rcfearches 
 he colledled many ufeful hints for his exqui- 
 fite Cupola of St. Genevieve at Paris, now the 
 national mufeum. 
 
 • Had caprice alone diredled thefe archltefls, 
 they would not in fo many inftanccs have 
 merited this praife, that the boldnefs and 
 lightnefs of their works have been always ac- 
 companied by a correfpondent folidity, which 
 their perfed: duration amply proves. 
 
 We 
 
^ ARCHITECTURE. 33 
 
 Wc muft in candour acknowledge that 
 thefc efforts of fkill defy the fuccefsful imita- 
 tlon of the moderns \ 
 
 The plans are irretrievably loft, for I can- 
 not allow, that they never exifted, as fome 
 have afferted. In France, there were accu- 
 rate details of ecclefiaftical architecture in 
 MSB. colle(?ted from conventual archives, 
 which have been either printed by their anti- 
 
 i The rawnefs of new (lone is totally unfavourable to 
 'Gothick buildings of the ecclefiaftical kind. So long ac- 
 cuftomed to contemplate churches when of harmonizing 
 lints 
 
 in their Qlefruflet coats 
 The fame they wore fome hundred years ago,— -He a n l e y. 
 
 'vve annex an idea of inferior dimenfions and unapproprlate 
 trimnefs to edifices of a moft ancient femblancc indeed ; 
 but only a few years old. This obfervation may apply to 
 numerous modern imitations of the Gothick ftyle, defigned 
 and executed by the village mafon at the command of the 
 church-warden. 
 
 The great architects have generally failed. PaJIadlo 
 gave plans, neither Grecian nor Gothick, for the front of 
 the church of St. Petronius at Bologna, a very ancient 
 Lombard ftru^lure. Inigo Jones placed a Corinthian por- 
 tico before Old St. Paul's. He built the chapel at Lin- 
 coln's Inn, and called it Gothick. Sir Chriftopher W ren's 
 towers at Warwick, and Chrift Church, Oxford, are not 
 happy productions. Perhaps, it is referved for Mr. Wyatt 
 to be an illuftrious exception, in his abbey at Fonthill. 
 
 D quarics, 
 
•34 ARCHITECTURE. 
 
 quaries, or were carefully preferved, before 
 the revolution. In England, at the fuppref- 
 fion of monafteries their MSS. were deftroyed 
 with a very limited exception only ; and it is a 
 fair conjecture, that many were written on 
 fubjedis of geometry, mechanics and archi- 
 tediure elucidated by drawings. The ftu- 
 pendous examples of the practice of thefe 
 fciences will furely vindicate the ancient ar- 
 tifts of this kingdom from that partial ac- 
 quaintance with the theory, which has been 
 imputed to them. 
 
 It has been remarked by a French critic in 
 Gothick architecture, that to compofe a 
 church, w here every perfection of which that 
 ftyle is capable, fliould be combined, he would 
 feleCt the portal and weftern front of Rheims, 
 the nave of Amiens, the choir of Beauvais, 
 and the towers of Chartres'^. 
 
 Upon 
 
 ^ The dates of the building of fome of the hneft abbey 
 and cathedral churches in France, colle6led amongft others 
 from D'Argenville's lives of architedls (T. I. Preface) may 
 not be vininterefting. Charlemagne, in the eighth cen- 
 tury, introduced Gothick architecture into France and 
 Germany. He built the cathedral of Aix la Chapelle. 
 Rheims was ere6led about 830, in the reign of Louis the 
 Debonaire. St. Lucien de Beauvais and Chartres rofe un- 
 der 
 
ARCHITECTURE. 35 
 
 , Upon^ a fimilar idea, in England, I would 
 propofe — the fituation of Durham, the weftern 
 front of Peterborough, Lincoln, or Wells — our 
 
 der the aufpices of Robert the Pious, in the next century* 
 Tlie former was not finifhed till the reign of Philip I. 
 and Amiens under Philip Auguftus, who accompanied our 
 Richard I. to the Holy-land. 
 
 Hugh de Libergier built St. Nicaife at Rheims, and had 
 finifhed before his death, in 1263, two towers of fa^ade^ 
 and ten fpires of ftone, the two larger of which have an 
 elevation of fjxty upon a bafe of fixteen feet. Robert the 
 Pious eredted the cathedral at Paris. Suggerius, the abbot 
 of St. Denis and the minifler of Louis Le Gros, built that 
 church in three years and three months ; the churches of 
 Verdun, Laon, Lizeux and St. Rcmi at Rheims, are all of 
 the thirteenth century. 
 
 St. 0ucn, whidi is a model of noblenefs and delicacy 
 was completed in 1 320, and in a few years after, the fu- 
 perb cathedral of Bourges, Troyes in Champagne, and the 
 church of St. Urban by Urban the IVth. in the preceding 
 ceiitury, are exquifite fpeclmens of Gothick ; but the laft- 
 mentioned was never completed. 
 
 ^ The Society of Antiquaries of London, much to their 
 honour, are now engaged in publiftiing a feries of the 
 moft remarkable cathedrals with architectural fe6lions and 
 elevations. Exeter and Bath only are as yet finiflied, which 
 evince that the completion of this work will be a monu- 
 ment of national tafle. Hollar has given us exquifite prints 
 of the Facades of York and Sarum with the fpire, and the 
 interior of Lincoln. But his numerc^s views of Old 
 St. Paul's are the greater curiofity. 
 
 D 2 Lady's 
 
36 ARCHITECTURE. 
 
 Lady's Chapel of Gloucefter or Peterborough— ^ 
 nave and tranfept of Weftminfter — towers ot 
 York, Canterbury, Wells, or Gloucefter — clolf- 
 ters of Weftminfter or Gloucefter. 
 
 A pofitlve preference or decifion in favour of 
 any fmgle fpecimen w^hich I have adduced I am 
 iinable to make ; each of them being fo fupe- 
 rior, in the manner and a^ra to which they 
 belong. 
 
 Our reformers demoliftied nearly as many 
 fine fpecimens of Gothick as they left entire. 
 We have ample proof in monaftic ruins, as 
 well as in thofe churches which were fpared 
 and applied as cathedrals, or given to parifties, 
 that the greater abbies were poffefTed of con- 
 fecrated buildings no lefs magnificent than 
 thofe of the epifcopal fees. 
 
 In the auguft remains of Fountains, Glaf- 
 tonbury and Tinterne"", amongft many others, 
 we can ftill trace an extent and former fplen- 
 dour, which rival our more perfe<£l examples 
 in every progreffive variation of Gothick ar* 
 chitedture. 
 
 ™ Tinterne in Monmoutlifiiire, which is co-eval with 
 Weilminfter Abbey, has a remarkable fimilarity in its whole 
 plan and ftyle of architedure. It was in fa<5t a repetition 
 iia miniature. 
 
 An 
 
ARCHITECTURE. 3? 
 
 An evidence ftill more fatisfaftory occurs 
 in the nuraerous conventual churches which 
 are preferved, and have furvived the furround- 
 ing devaftation of the monafterles to which 
 they were originally attached. 
 
 SECTION 
 
3S 
 
 ARCHITECTURE, 
 
 SECTION nr. 
 
 As a certain degree of illuftratlon may pof- 
 llbly follow from a more circumftantial detail, I 
 fhall offer in confirniation of thefe general re- 
 marks, a fketch of the architeftural hiftory of 
 the cathedral of Gloucefter — a city where I once 
 refided, and which is endeared to me by the 
 experience of the moft cordial and adlive 
 friendfliip, and by attachments which will 
 ceafe only with my life. 
 
 The area in which this fumptuous edifice is 
 placed% is fpacious and neat. At very diflant 
 periods, it has been externally made conform-^ 
 
 a Dlmenjions of the Cathedral at Gloiiccjlcr, 
 feet. 
 
 Total length and breadth 420 by 144 
 
 of the Nave 171 — 84 
 
 Choir 140 
 
 Tranfept 66 
 
 Tower feet high including the 
 
 Pinnacles. 
 Our Lady's Chapel 90 — 30 
 Cloifters 141 130 
 
 able 
 
ARCHITECTURE. 39 
 
 able to a prevailing ftyle of pure Gothick." 
 A few years only, before the fuppreflion of the 
 abbey, the tower was completed, under the 
 direction of Robert Tulley (one of the monks, 
 and afterwards bifhop of St. David's^) to 
 whom that charge had been dcvifed by Abbot 
 Sebroke, who died in 1457. The ornamen- 
 tal members and perforated pinnacles are of 
 the moft delicate tabernacle work, very full, 
 but preferving an air of chaftnefs and fnnpU- 
 city. 
 
 Its peculiar perfection, which immediately 
 ftrikcs the eye, is an exa6l fymmetry of com- 
 ponent parts, and the judicious diftribution 
 of ornaments. The fliaft of the tower is 
 equally divided into two ftories, corrcilly re- 
 peated in every particle, and the open parapet 
 
 t Robert Tulley was confecrated bldiop of St. David's 
 1469 ; ob. 1482. Over the dividing arch of the nave and 
 choir is written in the Gothick charader, 
 
 *' Hoc quod digeftum fpecularis opufque politum 
 ** Tullii ex onere Sebroke Abbate jubente," 
 
 Thomas Sebroke, who was eledled Abbot in 1453, ^'^^ 
 1457 ; ^ ^^^^ conje6lure that Tulley was appointed 
 
 by him to fuperintend the execution of a plan, he had given 
 for the choir. The fame R. Tulley laid the foundation 
 (lone of Magd. College, Oxford, in 1473. Wood. 
 
 D 4 and 
 
40 ARCHITECTURE. 
 
 and pinnacles fo richly cluftered;, are an ex- 
 ample of Gothick, in its moft improved 
 ftate. 
 
 The extrem.ely beautiful effeft of large 
 maffes of architecture by moonlight, may be 
 confidered as a kind of optical deception, and 
 nearly the fame as that produced by ftatuary 
 when ftrongly illuminated. TKus feen, the 
 tower of this cathedral acquires a degree of 
 lightnefs, fo fuperior to that which it Ihows 
 under the m.eridian fun, that it no longer 
 appears to be of human conftruAion. 
 
 As to the parts nearer the ground under the 
 fame circumftance, I avow my preference of the 
 Grecian ftyle, for a portico and colonnade, 
 cafting a broad fliade from multiplied columns, 
 and catching alternately a ftriking light from 
 their circular form, become diftind:; and a 
 grand whole relults from parts fo difcriminated. 
 The Gothick, on the contrary, is merely folid 
 and impervious, and owes all its efFe6l to its 
 mafs and height. 
 
 The ftatues of tutelary faints, and bene- 
 fadlors, which were difperfed in various parts 
 of the external view, have fufFered much even 
 m their pedeftals and canopies by the mutila- 
 tion of fanatics. It is to be regretted, that 
 
 foipe 
 
ARCHITECTURE, 431 
 
 fome of the Engllfh cathedrals which have 
 efcaped it^ in a certain degree, Ihould have 
 been built with friable ftone, of which that 
 of Litchfield is a lamentable fpeeimen. For 
 a colledion of ftatues in a perfed ftatc, the 
 weftern fronts of the cathedrals of Wells and 
 Lincoln are the naoft worthy notice. 
 
 At Sienna, the exterior of the great church 
 is covered with marble, which retains the 
 minuteft ornament, in a complete ftate. 
 Thofe who have not vifited the Continent, 
 can fcarcely imagine how much we have loft 
 in our beft inftances, by the deftrudiion of 
 cfhgies and carvings, whilft the above-men- 
 tioned remain as entire as when firft erected. 
 
 The vacant niche leffens the luxuriance of 
 the rich Gothick in a degree proportioned to 
 a defliced entablature of the Corinthian or- 
 der. 
 
 Few churches in Endand exhibit fo com- 
 plete a fchool of Gothick, in all it's grada- 
 tions from the time of the conqueft, as the 
 cathedral of Gloucefter. 
 
 The heavy Saxon ftyle, vvltli enormous 
 circular pillars bearing round arches with in- 
 dented mouldings, diftinguiflies the nave, 
 which is the chief part of the original ftruc- 
 4 turc 
 
42 ARCHITECTURE. 
 
 ture erefted by Aldred bifliop of Worcefter, 
 in 1089. The fouth aifle is Norman, with 
 windows of the obtufe lancet form, and 
 £nifhed with the nail head moulding, which 
 is always the fame on both fides. In the 
 weftern front, and the additional arcade, we 
 muft obferve a much later ftyle, as the nave 
 was confiderably lengthened by Abbot Hor- 
 ton, in the fourteenth century. 
 
 It is hardly poffible to enter the choir, 
 which includes every perfedlion to which the 
 Gothick had attained during the fifteenth 
 century, without feeling the influence of ve- 
 neration. In the nave 
 
 " The arched and ponderous roof 
 By its own weight made ftedfaft and immovable 
 Looking tranquillity." Congreve, 
 
 immediately engages the attention, and by its 
 heavy fimpUcity renders the highly wrought 
 ornaments of the choir, mor^ confpicuous and 
 admirable. 
 
 At the termination of the nave, under the 
 tower, is the approach to the choir; and 
 above the great arch is a window between 
 two vacant arches, richly fculptured. 
 
 On 
 
 / 
 
ARCHITECTURE. 43 
 
 On the north and fouth fides, are the arches 
 which fupport the vaulting of the tran- 
 fepts. Both of thefe are interfedled at the 
 fpringing by a flying arch with open fpan- 
 drils, each fpanning the fpace of the tower. 
 The brackets are figures of angels with efco- 
 cheons of the abbey — Edward IL and the 
 munificent Abbot Sebroke, the founder. 
 
 Upon the exaft point of thefe interfering 
 arches, is a pillar forming an impoft of the 
 great vaulted roof, which is then divided into 
 lharp lancet arcades, and has an air of incre- 
 dible lightnefs. From this part, there are five 
 more arcades divided by cluftcrs of femi-co- 
 lumns, which reach from the bafe to the 
 roof; and the ribs are infinitely interfered 
 and variegated with the moft elaborate trellis 
 work, com.pofed of rofettes, which, although 
 they arc fo thickly ftudded, arc not repeated 
 in a finglc Inftancc. 
 
 Over the high altar, are angels in full choir, 
 with every inflirumcnt of mufic pradifcd in 
 the fifteenth century. This is an extremely 
 interefting fpecimen, if it be remembered, 
 that we have no accurate knowledge of the 
 mufical infi:ruments of the Greeks and Ro- 
 inans, jput that which may be colleded from 
 
 their 
 
44 ARCHITECTURE. 
 
 their bas-reliefs and ftatues. Of the fame 
 ^ra are figures of minftrels with their diffe- 
 rent inftruments placed over the pillars, on 
 either fide of the nave of York cathedral, and 
 others of ruder workmanfliip on the outfide 
 of the church of Cirenceller, Gloucefter- 
 flilre. 
 
 It is probable, that the whole vaulted ceil- 
 ing was at firft painted of a deep azUre co- 
 lour, with ftars of gold, and the ribs or inter- 
 feftors gilded, which were condemned at the 
 reformation, and concealed by a thick wafli 
 of lime. Such have been reftored at Weft- 
 minfter by Sir Chriftopher Wren. 
 
 At Orvietto, Sienna, and many of the 
 Ivombard churches, roofs both of the naves 
 and choirs fo ornamented, are ftill pcrfeft. 
 That the architecture has been reftored to its 
 native fimplicity of colour, is a circumftance 
 of tfuer tafte ; indeed the incongruous and 
 accumulated decorations of churches on the 
 Continent, difturb the harmony of the defign 
 by crowding fo many adfcititious parts, and 
 the repofe of it, by maffes of raw colours and 
 gilding. The co- incidence of the purity of 
 the proteftant worfhip with the chaftnefs, 
 which pervades its temples (more efpecially 
 
 in 
 
ARCHITECTURE. 4^ 
 
 Iti fomc which have been lately renovated) is 
 a certain criterion of national good fenfe. 
 
 There are thirty-one ftalls of rich taber-* 
 nacle work carved in oak on either fide, little 
 inferior in point of execution to the epifcopal 
 throne at Exeter, or thofe at Windfor, erefted 
 in the reign of Edward IV. and allowed to be 
 fome of the fincft pieces of Gothick carving in 
 wood, now remaining in England"^. 
 
 This choir was built in the grand asra of 
 ftained glafs, when it was more frequent and 
 excellent than at any other period. It was 
 indifpenfably neceflary to architectural effcS:, 
 according to the prevailing ftyle, which gav6 
 to windows a difproportionate fpace. But 
 the fombre tints reflefted from them modified 
 the light and contributed to blend the whole 
 into one mafs of cxquifite richnefs. For, the 
 general efFecfl was confulted by the Gothick^^ 
 as well as the Grecian artifts. 
 
 ^ I obferved, when at Rome in 1796, that the high 
 altar of tlie church of St. John, Lateran, had a Gothick 
 canopy compofed of rich pediments and finials in the Florid 
 ftyle of the fourteenth century, exadly like thofe of that 
 date in England. It is the only fpecimen of true Gothick 
 now remaining in Rome, 
 
 At 
 
46 ARCHITECTURE, 
 
 At prefent^, the naked tranfparent wirk 
 dow dellroys the Intended harmony, and the 
 primary idea is fadly impoverifhed. How 
 this incredibly Hght roof was conftrufted, may 
 puzzle modern imitators as much as Sir Chrif- 
 topher Wren, when he examined the vault 
 of King's College chapel. The analogy be- 
 tween thefe roofs muft be confined folcly to 
 conftruftion, for each has a ftyle of ornament 
 effentially differing from the other. Certain 
 it is, that the crofs-fpringcrs are of very folid 
 •ftone, and the vault which they fupport, of 
 the toph or ftalacSitical ftone, fpecifically 
 lighter, in a great degree, than the other. 
 Chalk was ufed, where eafily procured, as at 
 Chichefter. 
 
 The two fartheft arcades dilate about a 
 yard from the right line, inftead of forming a 
 
 Milton, who was educated at St. Paul's fchoolj acquir- 
 ed a veneration for the Gothick ftyle by conftantly fre- 
 quenting the great cathedral in his early youth. In his 
 *' II Penferofo" we have almoft as exadl a defcription of 
 that majeftic pile^ as that given by Sir W. Dugdale. The 
 cloifters, the high emhowed roof of the choir," th6 
 mafTy proof pillars of the nave, which was in the Saxon 
 ftyleV" and the ftoried windows richly dight/* are partU 
 cularized by both. 
 
 fecftion 
 
ARCHITECTURE. 47 
 
 fcffion of a hexagon, and are connefted with 
 the great eaft window, which is embowed in 
 a flight degree, and occupies the whole fpace 
 of the end of the choir. It is faid to be of 
 the largefh dimenfions in England^; for the 
 arch has three chief divifions or mulHons ter- 
 minating eUiptically, the middle of which in- 
 cludes feven tiers of ftained glafs, now fo ex- 
 tremely decayed and mutilated, as to appear 
 like the tiflue of a carpet. 
 
 Our Lady's chapel beyond, is more modern, 
 but a continuation of the fame plan. The 
 interior is uncommonly elegant, though it 
 lofes much effed: by concealing the altar of 
 the fineft tabernacle work, which w^as cover-^ 
 ed over fome years ago by a raw white ftucco, 
 reprefenting a radiation. The extreme eaft- 
 crn window of this beautiful chapel and part 
 of its fretted roof, are now feen in a plealing 
 perfpecSive through the alcove of the heavy 
 unfuitable altar-piece of the choir, placed 
 there in the laft century. When the reform- 
 ers, with indifcriminating zeal, dcftroyed fo 
 many fine fpecimens of art, merely as the 
 
 " The glafs occupies a fpace of 78 feet 10 inches, by 
 
 35-6. 
 
 gaudy 
 
48 ARCHITECTURE. 
 
 gaudy appendages of popery, to Introduce 
 \vithin plain Uncmbellifhcd walls their own 
 fimpler woffliip, fomewhat of ancient orna- 
 ment ftill remained for the fanatic adherents 
 of Cromwell to deftroy. Soon after the efta- 
 bllfhment of Charles II. on the throne, th^ 
 clergy exerted themfelves with more piety 
 than tafte, to reftorc their altars and choirs to 
 their former beauty, and, generally fpcaking> 
 without fucccfs. When we know that the 
 rich canopies and fhrine work, inftcad of be- 
 ing renewed, where partially injured, were 
 chipped away to make room for plain oak 
 wainfcot, pilafters, alcoves, and carvings of 
 heterogeneous fliape> we muft r(^gret a mif- 
 application without remedy. There aire too 
 many of our cathedrals to which this obfcr- 
 vation applies. 
 
 Originally, and prior to this injudicious iil- 
 terruption, the continuity muft have produc- 
 ed a ftriking idea of fpace and grandeur, as 
 may be remarked at Wells. The ancient 
 rere-dofs and high altar did not obftruft the 
 view, as they now remain concealed by the 
 wainfcot of oak, and may be examined from 
 the fide galleries of the choir. Such a fpeci- 
 men of exuberant foliage anterior to the reign 
 
 of 
 
ARCHITECTUPvE. 49 
 
 of Henry VII. as thefe roofs difplay, is unique ; 
 particularly in contraft with the other parts 
 of the church. It is evident, that bifliop 
 Aldred's fabrick confifted of dimenilons as ex- 
 tenfive as the prefent, of which the vaft fub* 
 ftrudions, ftill retaining many members of 
 Saxon ornament, afford a fufficient proof. 
 The ^ heavy tower at the weft end, was taken 
 down in the reign of Edward III. when abbot 
 Horton's addition and accommodation of the 
 nave, in its whole roof, to the Gothick ftyle, 
 w^ere made. The paffages and oratories by 
 which the choir is furrounded, are all of 
 Saxon, or, at leaft, of early Norman architec- 
 ture. It is conftrucled within them ; the 
 fide walls and low circular pillars having been 
 
 f This wefliern tower was rebuilt during the abbacy of 
 John de Felda 1250, which had fallen in 1116. Florence 
 the hiftoric monk of Worcefter, in his annals, gives the 
 date of the building of the prefent nave 1058, and of its 
 dedication 1 100. The roof was renewed in 1242, as we 
 L\irn from a very curious and interefling AIS. of the Lives 
 of the Abbots, in tlie library of Queen's College, Oxford. 
 " A. D. 1242, completa eft nova volta in navi ecclefi^e, noii 
 auxiliofabrorum ut prime, fed animofd virtute monachoruin 
 tunc in ipfo loco exiflcntium." May we conclude from 
 this paffige, that the monks finifheJ it with their own 
 
 E reduced, 
 
so ARCHITECTURE. 
 
 reduced, and the whole lined with facings of 
 elegant pannels. Thefe are placed within 
 arcades of feini-mullions, refembling win- 
 dows, which are op^n to the choir from the 
 galleries before mentioned. During the 
 grand ceremonies of the church the females 
 of fuperior rank furveyed them from above. 
 
 In the pavement, before the high altar, we 
 may notice a fingular curiofity ; being entire- 
 ly compofed of painted bricks, which were 
 prepared for the kiln by the more ingenious 
 monks, who have difcovered accuracy in the 
 penciling of the armorial bearings, and fancy 
 in the fcrolls and rebus, which are the ufual 
 fubjecls. Moft of thefe repeat the devices of 
 Edward II. of the Clares and De Spencers, 
 earls of Gloucefter, and abbot Sebroke 
 
 The rich workmanfliip of the cloifters, 
 which elucidates my former remark on their 
 general confi:ru6lion, is well worthy attention* 
 One fide of the fquare extending 148 feet, 
 with a window of ftained glafs at the termi- 
 nation, attracts the eye immediately upon en- 
 tering the cathedral, as the very ilriking per- 
 
 g Carter (Ancient Sculpture and Painting, v. i.) lias 
 given a coloured etching of this pavement. 
 
 2 fpedtive 
 
ARCHITECTURE. 51 
 
 fpedive is admitted through an iron grate. 
 It is a happy illuftration of the pifturefque 
 principle in Gothick. Thefe clolfters, begun 
 by abbot Horton in 1351, and left incomplete 
 for feveral years, were finiflied by abbot Fro- 
 cefter about the year 1390 ^. 
 
 Lord Bacon mentions the whifpering gal- 
 lery as remarkable. It is a narrow paflage , 
 formed by five parts of an oclagon, and is 
 twenty-five yards in extent. On the outfide, 
 it appears to have bcxn merely a fecond 
 thought for the purpofe of communica- 
 tion. 
 
 With the variety and magnificence of an- 
 cient decorations, as well architectural as 
 fepulchral, the antiquary will be much grati- 
 fied. But the man of tafte muft regret, that 
 the good bifhop Benfon, diftinguiflicd by 
 Pope for his manners and candour," flioulJ 
 have wafted his munificence upon ill con- 
 ceived and unappropriate ornaments, upon 
 works which are neither Gothick nor Chi- 
 
 ^ MS. Regiil:. ut Tup. The archite£lural beauties of 
 this cathedral have beea lately delineated by the prefent 
 diredlor of the Society of Antiquaries in a fcries of etchin :s 
 in folio, of which the fpirit, accuracy, and elegance, are 
 feldom equalled by profeffional artifts. 
 
 E z nefc. 
 
 i 
 
52 ARCHITECTURE. 
 
 nefe'. Kent, who was praifed in his day;, 
 for what he little undcrftood, defigned the 
 ftreen. 
 
 When Edward II. lay murdered at Berke- 
 ley Caftle, abbot Thokey ventured to fhow 
 that refpedl for the royal corpfe which had 
 been refufed to it by other ecclefiaftics. He 
 removed it to Gloucefter, and performed the 
 funeral obfequies with the greateft fplendour. 
 Near the high altar is the monument of that 
 inglorious prince ftill in the hlgheft preferva- 
 tion, with the figure finely carved^, Rhyf- 
 brack vifited this tomb with profeffional ve- 
 neration, and declared it to be the beft 
 fpecimen of contemporary fculpture in Eng- 
 land, and certainly the w^ork of an Italian 
 artift. 
 
 I conjc6lure that it was executed by fome 
 
 ' We may trace to a book on archite6^:ure, written by 
 Batty Langky, who invented five new orders of Gothick^ 
 all the incongruities which may he feen in the renovations, 
 of parifh churches. This moft ahfurd treatife is unfortu- 
 nately much approved of by carpenters and flone mafons. 
 Kent fan6tioned fucli grofs deviations from tafte by his owii 
 practice. 
 
 ^ It is excellently engraven in Gough's Sepulchral 
 Mon. V. I. ' 
 
 of 
 
ARCHITECTURE. 53 
 
 of thofc who accompanied or fucccedcd Pie- 
 tro Cavallini. 
 
 I noticed in Italy three tombs much larger, 
 compoled of verd antique and various mar- 
 bles^ all of fimilar form to that of king Ed- 
 ward, and with equally elaborate canopies. 
 They are the tombs of the Scaligeri, lords of 
 Verona, in the fourteenth century, where 
 they fiand expofed to the open air, at the 
 angle of a ftreet, as entire as when firft 
 crcvfled. 
 
 Soon ^ after Edward III. was feated on the 
 throne, he rfiade a progrefs, attended by jiis 
 whole court, to pay the cuftomary honours to 
 his deccafed father, for whom the convent, in 
 gratitude for the oblations made at his tomb, 
 folicited canonization, a century afterward^ 
 but without fuccefs. 
 
 ^ '* Cujus tempore conftructa eft magna volta cliori 
 niagnis et multis expenfis, et fumptuofis cum ftallls ibidem 
 lix parte doni et oblatlonis fidelium ad tumbam regis con- 
 lluentlum, quae ut opinio vulgi dicit, quod fi omnes obla- 
 tiones ibidem collatae, fuper eccleliam expendirentur, po- 
 taifTet de novo fapiliime reparaii.'' The offerings of Ed- 
 ward the Third, Queen Philippn, Edward Prince of 
 Wales, and tl>e nobihty^ are all diflin6lly noticed in the 
 MS. above cited. 
 
 E 3 Sq 
 
54 ARCHITECTURE. 
 
 So large was the fund of wealth they ac- 
 quired, that it farnifhed fupplies for the 
 rebuilding of the whole church beyond the 
 nave, under the aufpices of fucceeding ab- 
 bots, who did not materially deviate from 
 one plan 
 
 The following very chara^leriftic defcrip- 
 tion, not originally intended for Gloucefter, 
 is extracted from a poem of no common 
 merit. 
 
 " dcom*d to hide her banifl-i'd head 
 
 For ever, Gothick architedlure fled— 
 Forewarn'd fne left in one rr}oll beauteous place 
 Her pendent roof, her windows branchy grace. 
 Pillars of clufter'd reeds, and tracery of lace." 
 
 FosBROKt's Economy of Monaftic 
 Lfe, p. 73. 
 
 Whether the foregoing obfervations be fa- 
 tisfad:ory or otherwife^ certain it is, that the 
 
 ^ Hearne has publifhed a poem on the foundation of 
 the abbey of Gloucefter, which he has attributed to Wil- 
 liam Malverne, otherwife Parker, the abbot who furvived 
 the diffolution in 1541. Speaking of Edward II. he oh- 
 ferves, 
 
 <' By whofe cbktbns the fouth ifle of thys church 
 
 Edyfied was and build, and aifo the queere." — Stakza xv. 
 
 Gpthick 
 
ARCHITECTURE. S5 
 
 Gothlck churches, whatever be the peculiar 
 manner of their sera, prefent the greateft 
 beauties, accompanied by ftrong defe<^ls. 
 We cannot contemplate them without dif- 
 covering a majeftic air well worthy of their 
 deftination, a knowledge of what is moft 
 profound in the fcience and practice of build- 
 ing, and a boldnefs of execution, of which 
 claffic antiquity furniflies no examples. The 
 Romans gave to their large vaults fix or 
 eight feet of thicknefs ; a Gothick vault 
 of fimilar dimenfions would not have one. 
 There is a heavinefs to be perceived in all 
 our modern vaults, whilft thofe of our cathe- 
 drals have an air wdiich ftrikes the moft un- 
 praftifed eye. This lightnefs is produced by 
 there being no intermediate and projecting 
 body between the pillars and the vault by 
 which the connection is cut off, as by the 
 entablature in the Grecian architedture. The 
 Gothick vault appears to commence at the 
 bafe of the pillars which fupport it, efpecially 
 when the pillars are cluftered in a flieaf, 
 which being carried up perpendicularly to a 
 certain heigiit, bends forward to form the 
 arcades, even to their centers ; and ftone there 
 
 E 4 feems 
 
55 ARCHITECTURE. 
 
 feems to poflefs a flexibility, equal to the 
 moft duilile metals. 
 
 To the credit of the prefent age, the Go- 
 thick ftyle has been much more accurately 
 underftood, than it was in the laft. Ben- 
 tham and Effex of Cambridge, were the firft 
 who exhibited any thing like precifion or 
 true tafte in the reftorations they were erri- 
 ployed to make. Strawberry hill was a 
 more happy imitation, than any which had 
 preceded it ; and the literary works of the 
 elegant owner tended much to correct er- 
 ^-ours, and to eftablifh a criterion of wh^t i? 
 pure Go thick. 
 
 The numerous publications of the Anti- 
 quarian Society have laid open the fources 
 of information on that fubjecS, and pro- 
 pofed genuine models for the direftion of 
 thofe archited:s >vho ^re not guided by ca- 
 price only. 
 
 Mr. Wyatt firft reftored the cathedral at 
 Litchfield, and by incorporating our Lady's 
 chapel with the choir, has extended it to 
 a difproportionate length. At Salifbury, he 
 |ias merited the praife of Mr. Gilpin", for 
 
 " Weflern Tour, 
 
 the 
 
ARCHITECTURE. 57 
 
 the propriety and fimplicity of his altera- 
 tions. He has hkewife rebuilt the nave of 
 Hereford cathedral, fmce its complete dila- 
 pidation. 
 
 Nothing can exceed the charadieriftic neat- 
 nefs with which St. George's chapel has been 
 repaired by the munificence of his prefent 
 majeftyo Originally one of the moft beau- 
 tiful ftrudures of the aera, to which it be- 
 longs, it has lately gained every advantage, 
 that tafte aided by expence, could give it. 
 
 To Sir Reginald Bray already mentioned, 
 the choir owes its original building and com- 
 pletion in 1508°. The roof is perhaps too 
 much expanded for the height, and its pro- 
 portion to the impofts, which are fmall and 
 light ; but the aifles are exquifite — they have 
 all the magic perfpeilive of the cloifters at 
 Gloucefter, even improved by loftinefs. A 
 fine cffcS: is given to tlic elevation by the 
 tranfept, with its circular termination equally 
 dividing it, in the center. 
 
 ^ John Hylmer and William Vertne, fiecmafons, under- 
 took the vault of the roof of the choir for 700/. in 1506, 
 and to complete it hefore Chiiftmas, 1508. Aflimole's 
 Hifc. Garter, p. 136, 
 
 Taken 
 
58 ARCHITECTURE. 
 
 Taken altogether, the lover of ecclefiafti- 
 cal Gothick, will confider Wlndfor as " the 
 beauty of hollnefs and of fiiblimity, will 
 feek no more admirable fpccimen, than the 
 choir at Gloucefter. 
 
 SECTION 
 
ARCHITECTURE, 
 
 59 
 
 SECTION IV. 
 
 Domestic architefture has feldom been 
 inveftigated in its progrefs, with due atten- 
 tion. Whilft every effort was confined to 
 ecclefiaftical or military ftru6tures, external 
 beauty, or co mm odioufnefs, appear to have 
 been little confidered in the private habita- 
 tions of men. When the jealous and fierce 
 fpirit of the feodal fyftem prevailed in full 
 force, caftles were abfolutely neceflary to 
 repel predatory violence ; and whatever hof- 
 pitality and courtefy were praftifed within 
 their walls, they frowned defiance upon all 
 without them, either uncivilized or hoftile. 
 From reflections on the hiftory of the early 
 Norman warriors, wc willingly turn to thofe 
 of the middle centuries, when chivalry had 
 thrown her rays of refinement over domeftic 
 life. Caftles were then the fchools of the 
 hardier virtues ; and manners which were 
 once diftorted by baronial emulation, had 
 
 acquired 
 
6o ARCHITECTURE. 
 
 acquired from chivalrous inftitutions a mild 
 dignity, which has been loft in a higher 
 degree of polifh. In moft of thefe military 
 ftruftures, the bafe court confifted of offices 
 and apartments, unavoidably incommodious, 
 as the defence was the leading idea ; fymme- 
 try, therefore, is very feldom feen, in any de- 
 gree, excepting in the round or angular 
 rooms. We may contemplate frequent caf- 
 ties majeftic or pi6lurefque in decay, nor 
 have we lived too late, for the opportunity 
 of infped:ing fome, which owe to the tafte 
 of their prefent pofleffors a well imitated 
 revival of their former fplendour. I will in- 
 ftance only Arundel, Warwick, and Aln- 
 wick. But fpecimens of domeftic architec- 
 ture applied to houfes, fimply and indepen- 
 dently of caftellated houfes, fo frequent in the 
 reigns of the Tudors, are at this time very 
 rarely feen. So late as the reign of the 
 fourth Henry, the caftellated form was adopt- 
 ed even where there were no appendages of 
 a warlike nature, as at Hampton Court in 
 Herefordlliire. Soon afterv^ard, we have 
 abundant inftances of private refidence ; where 
 nothing military can be ^^aced, except the 
 
 cmbattline'. 
 
ARCHITECTURE. 
 
 62 
 
 embattling, which was then ufually adopted 
 as an ornament of dignity ; and, as fuch, was 
 applied even to ecclefiaftical ftru6lures. 
 
 Of archited:ure which, adopting a military 
 appearance, difplayed likewife the magnifi- 
 cence and convenience of a private dwelling, 
 the moft remarkable fpecimens, during the 
 reigns of Henry VII. and VIII. are the un- 
 finiflied palace of Edward duke of Bucking- 
 ham, at Thornbury in Gloucefterfhire, now 
 belonging to Colonel H. Howard ; and Hamp- 
 ton Court, Middlcfex, eredied by cardinal 
 Wolfey. Mount Surrey on St. Lennard's 
 hill, near Norwich, was a refidence of more 
 elegance and tafte, than any of that age. 
 It was defigned and built by the gallant and 
 accompliilied Henry Howard, earl of Surrey, 
 after his return from the court of the De 
 Medici, at Florence. It is therefore pro- 
 bable, that it exhibited feme imitations of the 
 Italian ftyle. 
 
 Of the fame ftyle and ^ra were the pa- 
 laces of Richmond and Nonfuch ; the latter 
 of which having been left incomplete by 
 Henry VIII. was raifed to a fmgular degree 
 of fplendour by Henry Fitzalan, carl of Arun- 
 6 del. 
 
6% ARCHITECTURE. 
 
 del. Herftmonceux ^ and Cowdry are now ve- 
 nerable ruins. Penlhurft is ftili perfeft. Hol- 
 bein was eftabliflied in England under the 
 patronage of the court ; and had gained Ef- 
 ficient influence for a partial introduction of 
 the architeClure, which had began to revive 
 in Italy. 
 
 John of Padua fiicceeded him in the 
 mixed ftyle ; and built the palace of the pro- 
 testor Somerfet ; and Longlcat, for his fecre- 
 tary, Sir John Thynne. 
 
 The firft houfe, purely Italian, erected in 
 this kingdom, was by fir Horatio Palavicini 
 at Little Shelford in Eflex ; which was taken 
 down in 1754. 
 
 In the reign of Elizabeth, many magnifi- 
 
 * Herftmonceaux, one of the mofl: ancient and curious 
 edifices of brick then remaining, and originally built by Sir 
 Roger Fiennes in tlie reign of Henry VI. was taken down 
 in part and reduced to a ruin, by Mr. Jeffrey Wyatt the 
 architedl, that a modern houfe might be built with the 
 materials. Cowdry houfe, the noble refidence of the 
 Brownes, Yifcounts Montacute, was deftroyed by fire in 
 1793. It is faid that Mr. Sydney, the prefent poffefTor of 
 Penfhurfl, defigns to reftore that famous feat of his ancef- 
 tors to its former grandeur. 
 
 cent 
 
ARCHITECTURE. 63 
 
 cent houfes were built by the nobility. ^ John 
 Thorpe was a favourite archlteft, and appears 
 to have merited his fame. Of his defigns, 
 the principal is lord Exeter's, at Burleigh* 
 Audley Inn, once equally fumptuous and ex- 
 tenfive, is fald by Lloyd, in his State Worthies^ 
 to have been defigned by Henry Howard earl 
 of Northampton, for his nephew Thomas earl 
 of Suffolk, but Thorpe fuperintended the 
 building. Lord Northampton planned like- 
 wife his own refidence at Gharlng Crofs, now 
 Northumberland houfe, which was finifhed 
 by Gerard Chrlftmas, an able archited: of that 
 day. 
 
 The vaft dimenfions of the apartments, the 
 extreme length of the galleries, and the enor- 
 mous windov/s, are the chief charailerlftics 
 of the ftyle of Elizabeth and James the firft. 
 The ornaments both within and without, 
 were cumbrous, and equally void of grace and 
 propriety. The dawn of claflical archltcfture 
 firft appeared to us during the fliort-llved 
 profperity of Charles the firft. To the genius 
 of Inlgo Jones, who had imbibed the true 
 
 ^ Walpole's Anccd. Append, to v. i. 8vo. Thefe de- 
 figiis are in the polTeffion of lord Warwick. 
 
 fplrlt 
 
64 ARCHITECTURE. 
 
 fpirit of Palladio, we are indebted for the re- 
 formation of the national tafte. The ban- 
 quetting houfe at Whitehall is a proud exam- 
 ple of his fkill ; which can not be too much 
 admired, though it has been fo feldom imi- 
 tated, either in its dignity or correcSnefs^ 
 
 For an irrefiftible digreffion into which 1 
 have been led, I hope to be pardoned; and 
 lhall confine myfelf to inftances in the Uni- 
 verfity of Oxford, and to obfervations which 
 may refiilt from an examination of them. 
 
 The city of Oxford exhibits, in every direc- 
 tion, one of the richeft architectural views in 
 England. From Botley Hill on the north- 
 weft, the profpeft is more like one from the 
 hills above Cologne, than any I faw on the 
 Continent. There is a variety of lofty edi- 
 fices happily grouped, and the only fine point 
 for the RadclifFe library, as a central object. 
 We have no difgufting monotonous break of 
 
 c Inigo Jones's defigns for the palace at Wliltehall 
 were in the pofieffion of Dr. G. Clarke, and by him be- 
 queathed to the library of Worcefter College, Oxford. 
 Pope's Works, Warton's edit. v. vii. p. 322. 
 
 Thofe in the Vitruvius Britannicus, are not genuine. 
 Kent likewife publifhed them, with the aiTiftance of lord 
 Burlington. 
 
 the 
 
ARCHITECTURE. 65 
 
 the horizontal hne, as in the views of Rome 
 irom a fimilar eminence ; where are domes 
 infinitely repeated, from the immenfity of 
 St. Peter's, to the diminutive cupola of a con- 
 vent. 
 
 From the fecond hill in Baglcy wood, 
 the landfcape is fore-fliortened; with Chrift 
 Church Hall as the principal objed:, and Mag- 
 dalene tower, to the eaft. From Ellesfield, 
 Eiffley, andNuneham, the great features change 
 their pofition, without lofmg their beauty. 
 
 The antiquary will inveftigate with plea- 
 fure two fpecimens which Oxford affords of 
 the earlieft asra of architefture, in this coun- 
 try, as well Saxon as Norman, ecclefiailical 
 and miUtary. The choir part of the church 
 of St. Peter's in the Eaft, is faid to be the moft 
 ancient fi:rud:ure, not in ruins, in England, 
 and its pretenfions may be allowed, though 
 we reject the legend of St. Lucius. Of the 
 cafl-Ie, built by the great Norman baron Ro- 
 bert D'Oiley, which received the emprefs 
 Maud after her retreat from that of Arundel, 
 one folitary tower has furvived the injuries of 
 war and time. It is a rude mafs of great 
 height without battlements, and is extremely 
 curious, both for its antiquity and fmgukr 
 
 F conftru6ticn. 
 
66 ARCHITECTURE. 
 
 conftruftion^. Few traces remain of Henry I/s 
 palace of Beaumont^ in which Richard L was 
 born ; but its fite is fhown in fome gardens. 
 
 Of the ftyle called Sa^on, the cathedral 
 retains the general charaderiftics, and the or- 
 naments of the arches are ilmilar to thofe in 
 the fineft examples at Southwell in Notting- 
 hamfhire ; and at St. Crofs and Romfey near 
 Winchefter. 
 
 The probable date of this foufture is that 
 of the introduction of canons regular of St, 
 Auguftine in 1122, after the difmiffal of the 
 nuns, when the convent flill acknowdedged 
 St. Fridefwyde as their tutelar. 
 
 The Chapter-houfe was undoubtedly built 
 by them, in the reign of Henry II. and has 
 fome of the rich^fi: decorations of that man- 
 ner immediately preceding the deviation into 
 the firfi: Gothick. With the flighteft exami- 
 nation, the originevl ftrufture may be diftin- 
 guiflied from cardinal Wolfey's repairs and 
 alterations. The pendent roof of the choir, 
 built either by him or King, the firft bifhop of 
 Oxford, is of the latcil Gothick inferted in- 
 
 DifTcrtations on ancient caflles by Edward King, efq. 
 and the hiflory of Oxford caflle given as a fpecimen. 
 
ARCHITEGTURE, 67 
 
 to Saxon. At the contiguous village of EifHey 
 is a church of contemporary building. 
 
 Although in the courfe of a few centuries 
 the number of ftudents were increafed to 
 thirty thoufand% they were almoft entirely 
 accommodated by the citizens. The halls 
 were then numerous in proportion to the ftu- 
 dents, and frequented only for fcholaftic exer- 
 cifes^. Merton college can boaft the firft 
 quadrangle, about the end of the thirteenth 
 century. A curious delineation of the uni- 
 verfity by a fort of bird's eye view, publiftied by 
 Ralf Aggas in the reign of Elizabeth, proves 
 that the original colleges were lov/, and void 
 of regularity or beauty ; as the front of Lin- 
 coln college is now feen^. In this refpe6l I 
 believe they were not much inferior to con- 
 ventual habitations in general ; for not till a 
 fhort time before the fuppreffion, v/ere the 
 cells of the monks more fpacious, even in the 
 greater monafteries. The church, the refec- 
 
 c Fox's Martyrs— Holinflied, &c. 
 f In a cliamber of the old quadrangle at Mertcsn the 
 following monkilh rhyme is painted in a window, as ap- 
 pofite to this as the fourtecth century — 
 
 Cxoniam qaare , 
 VenUii, premeditarc. — • 
 
 i Loggan's Oxonla Iliuftiata, Fol. 1675. 
 
 F Hi tory 
 
68 ARCHITECTURE. 
 
 tory, and the Abbot's lodgings, engroflcd all 
 the fplendour or convenience of the building. 
 But an cera of more perfed: architecture foon 
 fucceeded. William Rede, formerly fellow 
 of Merton, and bifhop of Chichefter, was the 
 moft able architeft of his age ; and exerted 
 much of his fkill for the benefit of his own 
 fociety. The gateway and library are known 
 to have been erefted from his plans, and from 
 internal evidence, I conjecture that the chapel 
 v^^as, at leaft, dcfigned by him. The induf- 
 trious Antony a Wood fixes the date of its re- 
 dedication in 14:24. Rede died in 1385, 
 when the plan might have been given, and 
 the foundations laid. The tower was built 
 by Thomas Rodeborue, warden, who was con- 
 fccrated bllliop of St. David's in the laft men- 
 tioned year. But the ftyle of the fmall 
 equally cluftcred pillars round the piers of the 
 tower, and the heads of the windows, all of 
 which form different figures, favour my opi- 
 r lon, as far as an exadl refemblance to both, 
 in Exeter cathedral and St. Stephen's chapel, 
 Weftminfter, recorded, as of the early part of 
 the reign of Edward III. — The great eaft 
 Vindow at Merton is perhaps the moft per- 
 feft inftance in that manner of fpreading the 
 muUionS; now in being, with fo rich an ef- 
 
 fedl. 
 
ARCHITECTURE. 69 
 
 fe(5l. The external pannelling of the tower 
 and the pinnacles are of a later aera than the 
 chapel, and were probably added by bllhop 
 Rodeborne. The timber franme work within, is 
 moft curioufly conftrudled. William Rede ex- 
 celled likcwife in military architefture ; as 
 the gateway of his caftle of Amberley in Suf- 
 fex, now remaining, proves with fufficient 
 evidence. It is a fmgular fa6l, that William 
 of Wykeham, his fucceflbr, and greatly hi^ 
 fuperior in the profeffion and pra6tice of ar- 
 chiteAure, difcovercd his eminent talents in 
 the roval caftle of Windfor. 
 
 In the year 1379, the munificent founder 
 completed the building of New College, the 
 north fide of which, containing the chapel 
 and hall, was an edifice, for extent and gran- 
 deur, hitherto unknown in the univerfity. 
 The elevation has all that diijnity which re- 
 fults from proportion and harmony of parts, 
 and had even a more noble afpedt, before the 
 other fides of the quadrangle were raifed in 
 1675. Symmetry was then facrificed to con- 
 venience ; for the area, though large, appears 
 to be funk between walls of parallel height. 
 The internal proportions of the chapeV' are 
 
 ^ Dimenjwns. — Ante-chapel 80 feet by 36. Choir IQO 
 by 32, and 65 high, before the roof was renewed. 
 
 F 3 correft. 
 
70 ARCHITECTURE. 
 
 correft, even fo as to emulate thofe of a Gre- 
 cian temple ; and the lightnefs of the arcade 
 dividing the ante-chapel, could have origi- 
 nated only in the genius of the immortal 
 Wykeham. I fpeak of them as they were 
 left by him ; and of the fubfequent alterations, 
 thofe in 1636 and in 1684, had fpared the 
 architefture. From the decay of the roof it 
 was found neceifary In 1789 to renew it to* 
 tally ; and Mr. James Wyatt was intrufted 
 by the fociety with the re-modelling of their 
 venerable ftrufture. — To difparage by petty cri- 
 ticifm a work which few furvey without ad- 
 miration, would be an Invidious attempt, by 
 which I truft thefe pages will not be dif- 
 graced; and it is w ith diffidence, and refpe6l 
 of the eminent talents of Mr. Wyatt, that I 
 venture remarks, didlated folely by a love ol 
 truth. 
 
 It will be previoufly inquired, w^hether it 
 were Mr. Wyatt' s intention to reftore this 
 chapel to a perfeft correfpendencc with the 
 ftyle of architefture by which Wykeham's age 
 is definitely marked?- — Or was he at liberty to 
 introduce the ornaments of fubfequent archi- 
 tedlure, by his judicious adaptation of which 
 ^ beautiful whole might be compofed ? 
 
 With 
 
ARCHITECTURE. 71 
 
 With no great: hazard of probability, we will 
 fuppofe that thefe improvements had been 
 gradually made during the lapfe of the laft 
 centuries ; yet it can fcarcely be allowed, that 
 Wykeham's original plan has been followed 
 with accuracy. 
 
 For the reftoration of the altar piece, as a 
 part of his defign, Mr. Wyatt has great cre- 
 dit ; and wc w^ill not fcrutinize too clofely, 
 whether the fcriptural hiftories in marble bas 
 reliefs above the altar, could have been made 
 by any fculptor, of any country, then in ex- 
 iftence'. 
 
 Confidering, that the very numerous cano- 
 pies and pedeftals wxre not to be reftored to 
 their original deftination of containing images, 
 would it not have produced a better efFeft, 
 if the fcries had been compofed of fewer and 
 larger niches? There is now no bold mafs o^ 
 ornament, and the largeft, which is the organ 
 cafe, is violated by a conceit, which no very 
 fallidious fpeftator w^ould call a peep-hole. 
 By candle-light, all the rich flirine work of 
 
 * The late Mr. James Effex reftored the altars of King's 
 college, Cainbriclge, and Ely cathedral, to the juR model of 
 the Gothick orli^tnals. 
 
 F 4 thq 
 
71 ARCHITECTURE. 
 
 the altar is loft, as it it barely diftingulfliable 
 from a plain wall. 
 
 It is the opinion of a confiderable critic that 
 the Gothick roof lofes its beauty in every de- 
 gree, in which it is rendered more flat^; an 
 efFedl fufficiently obvious upon a comparifon 
 of the great center arch, and the heads of the 
 windows, with the expanfe of the new vault- 
 ing, with which they have an imperfect ac- 
 cordance. 
 
 In the canopies of the ftalls we are brought 
 forward to the luxuriant Gothick of Henry 
 the fcventh. The application of the ancient 
 carved fubfellia to the prefent reading defks, 
 is a new idea. Antiquaries well know, that 
 it is but rarely that the fubjefts of thefe carv- 
 ings will bear light and expofure. In all 
 the old choirs they are frequent, and were 
 made the r^^ciprocal vehicle of fatire between 
 the regular and the fecular clergy. The vices 
 of either, be they what they might, were 
 exhibited in images grofsly indecorous. Here 
 then is no adherence to coftume. Confider- 
 ing the prefent chapel, not as a reftoration, 
 but an imitation of ftyles fubfequent to the 
 founder, where will the archetype of the or- 
 
 ^ Mr. Gilpin. — Northern Tour, v. i. p. 17. 
 
 gau 
 
ARCHITECTURE. 73 
 
 gan cafe be feen ? — The execution of the 
 whole is exquifite; and it might have been 
 fuppofed, that Mr. Wyatt would have re- 
 curred, at leaft, to the tomb of W. Wyke- 
 ham in Winchefter cathedral, built by Bifhop 
 himfelf, for the pureft of all authorities in 
 the minuter Gothick or fhrine w^ork. In 
 that church is an unrivalled feries of fepul- 
 chral facella including the whole of the fif- 
 teenth century, from Wykeham to Fox^ In 
 the firft mentioned tomb all is fimple and 
 harmonious ; — the progreffive rlchnef^ of the 
 other two, and the exuberant littlenefs, yet 
 heavy in its efFeft, which diftinguifhes the laft, 
 appear to have been imitated by Mr. Wyatt, 
 w ithout much difcrimination. 
 
 Yet, whatever difpofitions for cenfure we 
 may indulge for the moment, no mind, ef- 
 pecially a poetical mind, can quit this beau- 
 tiful and highly decorated fcenc, without fen- 
 timents of the fuUeft gratification. 
 
 The improvements adopted from Mr. Wy- 
 att's plans at Mcrton and Balliol, would have 
 been more judicious and appropriate had he 
 condefccndcd to confult or follow the Gothick 
 
 J Thefe monuments are all engraved in the Mon. Ve- 
 tuft. V. i. 
 
 architypes 
 
74 ARCHITECTURE. 
 
 archltypes exifting in both thofe colleges. 
 Merton has a fine roof in its chapel, and Bal- 
 liol a bay window of great beauty. The cen- 
 tral points in Mr. Wyatt's new roofs are too 
 ilat, and the ramifications too few and plain 
 for the manner he profefles to imitate. His 
 plans at Magdalene have undergone the teft of 
 public opinion"", but are, as yet, unexecuted. 
 
 The great example of regular Gothick which 
 had been given by Wykeham, was followed 
 by Chicheley and Wayneflete with equal cor- 
 reclnefs, but in inferior dimenfions and ftylc. 
 The"" chapels and halls both of All Souls and 
 Magdalene were proofs of the increafmg fplen- 
 dour of the univerfity. Few chapels in Ox- 
 ford fhow more tafle in their prefent ftate of 
 embellifhment, than that of All Souls Col- 
 lege. The windows and wainfcot painted in 
 chiaro-fcuro, and the peculiar chaftnefs of the 
 
 ^ In the exhibition of the Royal Academy 1797. 
 
 " Merely as a matter of curiofity, I infert the names of 
 tlie mafter mafons employed by Chiclieley and Wayneflete. 
 John Druel and Rogtr Keys were the architecis of All 
 Souls, and William Orchyarde of Magdalene. Wood's 
 Antiq. Oxon. Edit. Gutch. Life. of Chicheley, p. 171. 
 Perhaps the fuperior parts of the latter were defjgned by- 
 Robert Tnlly, bifhop of St. David's, already mentioned as 
 the archited of Gloucefler. 
 
 ornament, 
 
ARCHITECTURE. 75 
 
 ornament, difFufe an air of propriety and 
 beauty over the whole. Under a bright fun 
 the effedl is moft happy. Of thofe who vifit 
 Oxford, upon w^ horn the arts have only a tem- 
 porary influence, the greater part I have obferv- 
 ed to remember this chapel with more fatisfac- 
 tion. There is a charm in propriety of ftyle 
 which reaches even the leaft difcriminatins: 
 mind. 
 
 Upon each of the buttrefies of the cloifter 
 at Magdalene, is placed a grotefque figure ; 
 and the defign of them being profeffedly cenig- 
 matical, many fmgular folutions have been 
 given °. They form no part of the original 
 plan, but were added in 1 509. To the invef- 
 tigators of the progrefs of fculpture in England, 
 Oxford affords feveral interefting fpecimens. 
 Thofe of the bcft execution are Henry VI. 
 and archbifliop Chicheley over the gateway at 
 Ail Souls, which are uncommonly fine; others 
 againft the chapel at Merton, and five under 
 the srreat weft window at Mas^dalene. 
 
 There are likevvife curious has reliefs at 
 Merton and Balliol, St. Michael at the eaft 
 end of the chapel of New college, as fcen 
 
 " CEdipus Magdalen, by W. Reeks, 1680. 
 
 from 
 
^6 ARCHITECTURE. 
 
 from the garden, and a very elegant frize of 
 vine leaves under the bay vs^indow of the tow- 
 er of the Schools, facing Hertford college. So 
 general as the cuftom of fepulchral effigies 
 had become, but more particularly thofe for 
 the decoration of fhrines, we may fuppofe that 
 a regular fchool of fculpture was eftablilhed, 
 which bore fome analogy to the mafter-ma- 
 fons, Cavallini had left difciples who were 
 capable of continuing the art ; and we are 
 furprifed at the bold effe6l fometimes pro- 
 duced in fo rude a material as free-ftone'\ 
 
 In this century, a better ftyle of architec- 
 ture was introduced in the univerfity of Cam- 
 bridge, by John Alcocke, bifliop of Ely. 
 
 Humphrey duke of Gloucefter was, at the 
 fame time, the avowed and munificent patron 
 of learning and learned men. He built the 
 Divinity School and the Public Library above 
 it, now incorporated with the Bodleian. The 
 
 p See Carter's Antient Sculpture and Painting, 2 vols, 
 folio, for etchings of thefe remains. The ftatues of Queen 
 Eleanour placed in the croffes ere6i:ed to her memory by 
 her hufhand, Edward I. are amongft the moft early and 
 the fineft fpecimens of fculpture in England. See Mon. 
 Vetuft. V. iii. and many very accurately drawn and engraved 
 in the two volumes of Cough's Sepulchral Monuments. 
 
 former. 
 
ARCHITECTURE. 77 
 
 former, both in the fretted roof and the whole 
 interior, is finiflied in the rich ftyle of 1480, 
 which is the date of its completion, and feme 
 years after the demife of the duke. 
 
 A more beautiful Gothick room, excepting 
 that it is too low for its length, is now feldom 
 fcen. May it not be faid, that not only the room 
 is too low for its length, but that the difpofal of 
 the ornaments of the ceiling renders this im- 
 propriety ftill more objectionable ? In the reign 
 of Henry VII. the univcrfity church of St. 
 Mary was built by John Carpenter, bifhop of 
 Worcefter, and formerly provoft of Oriel col- 
 lege. The choir at leaft, and the fpire, rofe in 
 confequence of his benefaftion. By richly cluf- 
 tering this ftecple at its bafe, and leaving the 
 ihaft plain, the whole elevation is llriking and 
 beautiful. From the bafe it is only 1 80 feet high, 
 w hich is exaftly the height of the fpire only, at 
 Saliibury. Meafuremcnts of other remarkable 
 buildings have the follow^ing reference. The 
 infide of the Dome of Santa Sophia at Con- 
 ftantinople is exaclly as high from the floor ; 
 the Falling Tower at Pifa is more lofty by eight 
 feet ; and the great Obelilt, of a fmgle ftone 
 befide the bafe, now placed before the church 
 of St. John Lateran at Rome, is Icfs fo, only 
 
 by 
 
78 ARCHITECTURE. 
 
 by twelve — A Gothick fpire, windows, and 
 niches, with a Roman portico fupported by 
 twifted columns, prefent a very ftrange mix- 
 ture ; yet the due proportion of its feveral 
 parts reconciles the eye to this incongruity, 
 and we praife the general effe6l of St. Mary's 
 as an edifice infpiring an appropriate rever- 
 ence. 
 
 When the early temples of chriftianity had 
 gained fplendour from the contributions of 
 the pious, the efforts of the archited: appear 
 to have been chiefly exerted in exciting ad- 
 miration by works of ftupendous fkill. The 
 roofs fufpended by invifible fupport, the co- 
 lumns and arcades of incredible lightnefs, the 
 towers gaining fymmetry by their extreme 
 height ; but more than all, the heaven- direft- 
 ed fpire, elevated the mind of the devout fpec- 
 tator to the contemplation of the fublime re- 
 ligion he profefled. 
 
 Upon the continent, the fpire is rarely feen ; 
 in no inftance indeed in Italy; and thofe of 
 France and Germany have only a general ana- 
 logy to ours. Thofe of St. Stephen at Vienna 
 and Strafburgh are, in fa6l, a continuation of 
 the tower gradually diminilhing from its bafe, 
 with attached buttrelfes, floping from their 
 6 foundation* 
 
ARCHITECTURE. 79 
 
 foundation. Such are likewife at Rouen, 
 Coutances^ and Bayeux in France. On the 
 contrary, moil fpires in England, Hke that of 
 SaUftury, their great archetype, which has 
 never been equalled, are an addition to the 
 tower, and commence diftln<5lly from the 
 parapet. It may be remarked, that the more 
 beautiful fpecimens of a fpecies of architec- 
 ture exclufively our own, are extremely fim- 
 ple, and owe their effect to their fine propor- 
 tions unbroken by ornamental particles. Even 
 that of Salifbury'i gains nothing by the fculp- 
 
 q Mr. Murphy (Introcl to his Ratallah) obfsrves, that 
 there is no fettled proportion- which is fometimes four 
 times the diameter of the bafe ; fometimes the height to the 
 breadth of the bafe, is as eight to one. The fpire of Sarum 
 is only fevcn inches thick ; fo tliat if we reafoned of con- 
 iinidion from theory, it would be inadequate to fullain its 
 own weiglit." Old St. Paul's fpire of wood and lead, was 
 520 feet higli. St. Stcpher.'s, Vienna, 465. Strafburg 456, 
 and Sahfbury 387. The fingubrly beautiful fpire of 
 Lowth in Lincolnfiiire was built in ]^02, by John 
 Cole, architecl, at the expence of 305/. s. z^d. It 
 is 184 feet high. I he lall-mentioned are all of ftone. 
 T he art of eiedling fpires is not loft in England. — About 
 forty years ago, the fpire of St. Andrew's, Worceller, which 
 is extremely elegant, was built by Nath. Wilkinfon, an 
 uneducated mafon. Tlie lieight, from the parapet of the 
 tower, is 155 feet 6 inches — the diameter of the baf^ of ths 
 fpire 20 inches, and under the capital and weather cock, 
 only 6 inches, five eighths. 
 
 tured. 
 
8<i ARCHITECTURE. 
 
 tured fillets which fur round it, and thofe of 
 the fa9ade at Litchfield are frofted over with 
 petty decorations. At Infpruck and in the 
 Tyrol, I obferved a large globe bulging out 
 in the middle of the fpires, which is xovered 
 w^lth lead, a deformity not to be defcribed. 
 
 The finely proportioned tower at Magdalene 
 college'' w^as fix years in building, and was 
 finillied in 1498. During no period of Eng- 
 lifli architefture were fo many of thefe beau- 
 tiful ftru6lures erected, as in the reign of Henry 
 VII. It is traditionally known, that this 
 tower was planned by the afpiring genius of 
 Cardinal Wolfey ; and was his firft eifay in 
 a fcience which he well undeiilood, and 
 pra6lifed with extraordinary magnificence. 
 
 His palace at Hampton Court was a fcenc 
 of gorgeous expence ; but his intended col- 
 lege at Oxford, uniting public benefit w4th 
 
 ' Dimcnfions. — Magdalene tower 122 feet high, diameter 
 26. The cathedral at Gloucefter 224. Cantcrhury 235. 
 St. Stephen's church, Briftol, 1 24. Taunton, Somerfctfhire, 
 I53; all of which were built between 1490 and 1520. 
 Towers of this age in Gioucederfliire, and the weft of 
 England, are very frequent and beautiful. The tower built 
 by Giotto in 1334 at Florence, is 264 feet high, with a dia- 
 meter of 46. The Falling Tower at Pifa is 188 feet higli. 
 
 fplendour^ 
 
ARCHITECTURE. 8i 
 
 fplendour, would have exceeded any fimllar 
 inftitution in Europe. Rome itfelf would 
 not then have offered a retreat of fcience and 
 learnhig, fo perfed: and extenfivc, in all its 
 plans'. Wolfey's great hall and three fideg 
 of the quadrangle were nearly finilhed, when 
 he fell under the king's difpleafure in 15:19; 
 thefoundatlonwas refumed, and Chrift Church 
 eftablifhed by royal authority in 1545, upon 
 the prefent dimenfion. The cardinal had in- 
 tended to build a church on the north fide, 
 and the walls had rifen fome feet above the 
 ground. In 1638 the fociety defigned to re- 
 duce the whole to uniformity; but the civil 
 war prevented its completion, which did not 
 take place before 1665. Many alterations 
 were then made, but without tafte. The 
 cloifter being removed, the area was funk 
 feveral feet, and a terrace raifed round the 
 quadrangle. The parapet of the whole build- 
 ing was fiuTounded with rails in the Italian 
 ftyle, having globes of ftone, at regular dlf- 
 
 ^ A computation may be made of the expence of this 
 great work, from that incurred in the laH: year only of the 
 cardinal's profperlty, being 7835/. 75. 2cl, Wood's 
 Antiq. Oxon. Edit. Gutch ; of which I have generally 
 availed myfelf, as an authority, for dates, &c. 
 
 G tanccs, 
 
82 ARCHITECTURE. 
 
 tances, by no means correfponding with the 
 architeflure of Wolfey. The balls are no 
 longer remaining to increafe the heavlnefs of 
 the balluftrade, which it might have been 
 hoped, in this age of judicious alteration, 
 would have been reftored by the open battle- 
 ment and parapet which was originally a part 
 of the plan, if any credit be due to the de- 
 lineation of the topographer, Ralph Aggas \ 
 The quadrangle forms almoft an exad: fquare,. 
 but is Icfs than that at Trinity College, in 
 Cambridge, the irregularity of which;, and the 
 greater variety of buildings, renders it more 
 pifturefque. To form an idea of the vaftnefs 
 of edifices ereftcd by the ancients, it may be 
 noticed that the interior area of the Flavian 
 Amphitheatre at Rome, is eonfiderably longer 
 than any of thefe, although not fo w^de, on 
 account of its oval form. 
 
 Every eye will be ftruck with the magni- 
 ficence of the hall, with the fpace and gran- 
 deur of proportion, and the propriety of orna- 
 ment, as lately introduced in Mr. Wyatt's 
 
 f Dimenfions. — The Colofleo 320 feet by 206, and 848 
 in circumference. Trin. Coll. Cambridge, ^34 feet by 
 325 W. and E. 287 by 256 N. and S. King's Coll. 
 300 feet by 296. Chrilr Church 264 feet by 261. 
 
 reftorations. 
 
ARCHITECTURE. 83 
 
 tcftorations. The hall at Trinity College, 
 Cambridge, is Inferior in other circumftances, 
 rather than dimenfions 
 
 In the reign of Charles 1. the prefent ap* 
 proach to the hall was rebuilt; but the name 
 of the architeft is not preferved. The vault- 
 ed roof is fupported by a fmgle pillar in the 
 centre of a fqiiare, and by groins at the angles. 
 It is evidently an imitation of the Chapter- 
 houfes at York, Salifbury, Ely, and Worcefter, 
 The effed: produces inftantaneous furprife, 
 but little fatisfaclion. Plans have been given 
 for the remodelling of the whole ftaircafe^ 
 
 Wolfey had left the great entrance tower 
 about half finifhed. In 1 68 1 , Sir Chriftopher 
 Wren gave the prefent defign, a notable 
 proof that Gothick archltefturc had never 
 employed his great mind. Nothing like it 
 Vvas ever attached to any Gothick fabrick of 
 the pure ages ; if it has any analogy, it may 
 
 Dimenfions of Hails. — Chriil Church 115 feet by 40, 
 and 50 high. 
 
 Weftminder 228 feet by 66. Middle Temple 100 feet 
 by 64. Guild- Hali 153 feet by 48, ?nd 55 high. Wind- 
 for ic8 long. Richmond Palace (now taken down) 
 100 by 40. Lambeth 93 feet by 38. Trin. Coll Cam- 
 bridge, 100 feet by 40, and 50 high. New College, Oxford, 
 78 feet by 35, and 40 high, 
 
 G 2, be 
 
84 ARCHITECTURE. 
 
 be to the ancient louvres at Ely and Peter- 
 borough, but to thofe merely as being an 
 odangular tower. 
 
 We may fuppofe, that, had the firft 
 plan been carried into effect, it might have 
 refembled the great gateway at Trinity, Cam- 
 bridge, or others of the fame asra. This 
 tower contains one of the heavicft bells in 
 England 
 
 Viewed from the ftreet the elevation of 
 Chrift Church is extremely grand, with an 
 extent of nearly four hundred feet. In the 
 ground plan there is a very ftriking refem- 
 blance of the front of the palace of Edward 
 Staftbrd duke of Bucks, now colonel 
 H. Howard's, at Thornbury, in Glouceller- 
 fliire. The cardinal had effeded the ruin of 
 the duke, his rival about the time that he 
 firft meditated his college at Oxford. 
 
 ^ Mr. Coxe^s account of the bells in RufTia almoft ex- 
 ceeds credit. The great bell: at Mofcow weighs 432,000 lb 
 is 19 feet high, and 63 feet 4 inches in circumference ; ano- 
 ther in St. Ivan's Church is 288,000 ih. The great belt 
 at Peter's, Rome, recaft in 1785, is 18,6671b, avoirdupois. 
 One, 1 7,000 lb. weight, is placed in the tower of the Palazzo 
 Vecchio at Florence, and is 275 feet from the ground. 
 This at Chrifl: Church is 17,000 lb. St. Paul's 8,400 lb. 
 Gloucefier 70001b. Exeter and Lincoln are heavier. 
 
 6 sECTia>* 
 
AB.C HITECTURE. 
 
 85 
 
 SECTION V. 
 
 We are now arrived at the final aera of 
 Gothlck archited:are in England ; and the 
 introduction of a manner engrafted on it, 
 which, from the heterogeneous mixture of 
 both Grecian .and Gothick, retained the gene- 
 ral character of neither. 
 
 It is probable, from the ftudy of a popular 
 work by Sir Henry Wootton, fome time rcfi- 
 dent at Venice'', as well as the fame of Palla- 
 dio and Vignola, reported to us by thofe who 
 had yifited Italy, that a partial attempt at 
 regular archite&ire was firli made. Still it 
 was confined to the portico, as tlie moft 
 ornamental part, while tiie reft of the ftruc- 
 ture was thickly perforated \N'ith enormous 
 fquare windows having the lights unequally 
 
 a Eleinents of arcliite^lure by Sir H. Wootton, 1524. 
 Fuller's Ch. Hift. P. 8. p. 188. The Grecian orders 
 were introduced in gateways in Caius College, Cambridge, 
 in I5S7> ill imitation of Holbein's deligi^s. 
 
 G 3 dlvidedj, 
 
86 ARCHITECTURE. 
 
 divided, and the whole parapet finifhed with ^ 
 battlements, and tall pinnacles. \ 
 
 Such is the ftyle of the great quadrangle 
 of the Public Schools, which were began in 
 1 613; and, as Hearne has difcovercd, from a 
 defign of Thomas Holte of York. The infide 
 of this fquare has an air of great grandeur 
 refulting from the large dimenfions of the 
 relative parts, rather than accuracy of propor- 
 tion. To the lofty tower is attached a ferles 
 of double columns, which demonftratc the 
 five orders from the Tufcan, at the bafe, to 
 the Gompofite. The architect has proved 
 that he knew the difcriminations, but not the 
 application, of them4. On the oppofite fide Is 
 the library, which rofe from the munificence 
 of Sir Thomas Bodley; and is the mioft ex- 
 tenfive and curious in England. It is com- 
 puted to contain 160,000 books, of which 
 30,000 are nianufcripts'\ The oriental MSS, 
 
 ^ The Univerfity Library at Cambridge is extremely 
 refpeclable. King George I. gave 30,000 volumes, wljich 
 had been colledleJ by Moore bilhop of Ely. The Arabic 
 MSS. v/hich belonged to Erpenius the lexicograplier, 
 were purchafed in Holland by the duke of Bucks, and 
 given to this library after Iiis death. Lord Pembroke ia 
 J63Q contributed the Bairocci library to the Bodleian. 
 
 are 
 
ARCHITECTURE. 87 
 
 arc the moft rare and beautiful to be found 
 in any European colled:ion ; and the Princi- 
 pes Editiones of the Claffics lately procured 
 from the Pinelli and Crevenna libraries rival 
 thofe at Vienna*'. The Vatican contains 
 only 80,000 books, at the largeft calculation, 
 principally manufcript. With the Bodleian, 
 the Ambrofian at Milan, the Minerva at 
 Rome, and the feveral libraries at Florence^, 
 the royal library at Paris, and that of tlie Bri- 
 tifli Mufeum, will advance their peculiar 
 claims of equality, either in point of number 
 or curiofity. But I am wandering from the 
 fubjed: of architefture. Duke Humphrey's col- 
 ledlion, confifting of illuminated MSS. and 
 tranflations of the Claffics, are faid to have 
 been all facrificed to the ignorance and zeai 
 
 c In the Imperial library at Vienna, the origin and 
 progrefs of printing till many flielves, as tlie feries of ty- 
 pographical fpecimens is continued from the invention to 
 tlie clofe of the fixteenth century. In the Maglia becclii 
 library at Florence, are tliree thoufand volumes printed in 
 the fixteentli century, befide eiglu tlioufand very rare MSS. 
 It has been flirewdly obferved by an anonymous Itahan 
 author, Una bibliotcca per quanto fi voglia copiofa, le 
 fi voglia iflrutiva, non conterra moiti llbri. I libri forio 
 come gli uomini, non la moltiplicltat, ma la fcelta fa il loro 
 pregio." — Principl du Archct. Civile. F. 2. 
 
 G 4 of 
 
88 ARCHITECTURE. 
 
 of the Reformers in the reign of Edward VI. 
 The room which contained them over the 
 Divinity School, was made when the Bod- 
 leian Library was founded, to conne6l two 
 others which were built at either end, and 
 are fpacious and well adapted. 
 
 Three fides of the quadrangle in the high- 
 eft ftory, is appropriated to receive the por- 
 traits of thofe who have done honour to the 
 univerfity by their learning or influence in 
 the ftate, and as it contains likewife many 
 MSS. it may be confidered as a continuation 
 of the Bodleian Library. In fhapc there is 
 a certain refemblance of this with the far- 
 famed gallery at Florence ; but a confider- 
 able inferiority with refpedl to dimenfions 
 The ceiling is of painted timber frame, coarfc 
 
 Dimenjlom. — Galler\ at Florence E. and W. fides 
 461 by 21 ; S. fide 123-9 > there is a fulte of 
 
 nineteen large apartments behind the gallery, befides the 
 tribune. 
 
 Gallery at Oxford, N. and S. fides 129-6 by 24-6 ; E. 
 fide 158-6 by 24-6. Vatican at Rome is a fingle gallery 
 237-9 by 50-2 . But the lafl: purpofe that would be gueff- 
 ed for it is a library, and that the choiceft in the world, for 
 the books are all inclofed in prefTes, the doors of which are 
 finely painted, 
 
 and 
 
ARCHITECTURE. 89 
 
 and grotefque, and round the cornice are a 
 number of the heads of eminent men. Such a 
 feries is likewife in the Florentine gallery ^ ; 
 and though much better executed, as por- 
 traits, are drawn equally from imagination. 
 
 Thefe are indeed a handfome fuite of gal- 
 leries, which were much in fafliion in the 
 reign of James I. and the ufual appendage to 
 a great houfc. That at Audley Inn was 
 feet in length. Another at Theobald's was 
 123 feet by 2 r. 
 
 Before the commencement of the fchools 
 it is conjeclured, from the fmiilarity of the 
 portals, that the fame archited: had complet- 
 ed the garden quadrangle at Merton, and the 
 whole ftrudlure of Wadham College^. I 
 think the two latter are the preferable build- 
 ings, as their plan is more fimple and more 
 compatible with the particular manner which 
 prevailed early in the feventeenth century. 
 
 ^ A moft perfect idea of the magnificent interior of the 
 Mediccan gallery is given in that lingular effort of genius 
 by Zoffanii, lately rennoved from a (htion unworthy of it at 
 Kew, to the Queen's lodge at Windfor. 
 
 ^ We may judge of the expence of building, two cen- 
 turies ago, by that of Wadham College, which amounted 
 only to 1 1,360/. 
 
 Under 
 
90 ARCHITECTURE. 
 
 Under the patronage of archbifhop Laud, 
 Inigo Jones was firft employed at Oxford. 
 He built the arcades and porticos in the in- 
 ner quadrangle of St. John's College. They 
 are in his fivil manner, and copy the faults 
 rather than the excellencies of his great maf- 
 ter Palladio. The bufts between the arches 
 and the heavy fohage and wreaths under the 
 alcoves are exuberant and unclaffical. Be- 
 fides this, the impofts of the arches reft upon 
 the pillars, which conveys an idea of inftabi- 
 lity. There is fo ftrong a refemblance to tlie 
 ambulatory in the Royal Exchange, that it is 
 evident, that Jones repeated himfelf here in 
 miniature. By the gateway of the Phyfic 
 Garden, finiflied from his defign, we are re- 
 minded of York Stairs, in the Strand. We 
 may fuppofe, that in both thefe inftances he 
 was reftrained by his employers, or fettered 
 by the mode of building then fafliionable — 
 when his genius was left without control, 
 and fupported by the royal treafures, he pro- 
 duced Whitehall. 
 
 It does not appear, that the fpecimens 
 Inigo Jones had given of his talents led to any 
 farther employment in Oxford ; and Cam- 
 bridge 
 
ARCHITECTURE. 91 
 
 bridge has not a fmgle edifice which claims 
 his name. 
 
 Nor were the firft approaches he made to- 
 ward Palladian corre6lnefs produdive of the 
 leaft reform. His work at St. John's was 
 fcarcely finiflied, when Oriel, Jefus,Univerfity, 
 and Exeter, were nearly rebuilt in a ftyle ex- 
 tremely inferior to Wadham, which was ma- 
 nifeftly their model as far as accommodation;, 
 and the diftribution of the apartments. 
 
 The Sheldonian Theatre added new fplen- 
 dour to the univerfity. It was defigned by 
 one of its own profeflbrs; the great Sir Chrif- 
 topher Wren, w ho from being the moft pro- 
 found mathematician of his age, became the 
 moft able architeft. This fingular ftru6lure, 
 wdiich ftill attracts the admiration of the 
 fcientific, as well as of the common obferver, 
 was erected by the fole benefaction of Gilbert 
 Sheldon, archbifliop of Canterbury, in 1669. 
 It was the firft etfort of a genius which after* 
 ward imagined and completed St. Paul's. 
 
 In the ground plan, the architcd: has 
 adopted that of the Theatre of Marcellus at 
 Home, built by Auguftus, v/hich was 400 
 Englifh feet in diameter, and could contain 
 8d,ooo fpedtators wlien fitting. For the 
 
 ma<2;nificent 
 
92 ARCHITECTURE. 
 
 magnificent idea of this theatre e^ ery praifc 
 is due, as nothing can exceed the confum- 
 mate contrivance and geometrical arrange- 
 ment, by which this room is made to receive 
 4000 perfons, without inconvenience. 
 
 In imitation of the ancient theatres, the 
 walls of which were too widely expanded to 
 admit of a roof, the ceiling has the appear- 
 ance of painted canvas ftrained over gilt cord- 
 age. It is geometrically fupported upon the 
 fide walls without crofs-beams, an invention 
 which at firft engrofTed univerfal admiration, 
 but is now known and pradifed by almoll 
 every architect ^. 
 
 Streater, whom King Charles II. made his 
 ferjeant painter, was employed upon this ceil- 
 ing, which, though its meaning is as recon- 
 dite and unintelHgible as an allegory need be, 
 it is in every refpe6l, a very poor performance. 
 There is an alTemblage of the arts and 
 fciences. 
 
 s The theatre cofl: 16,000/. Sir Chrlftopher owed the 
 original idea of the roof to Sebaitian Serlio, and Dr. WalJis, 
 his predeceflor in the Savihan chair of geometry. Dr. W.'s 
 plan was given to the mufeum of the Royal Society. The 
 diameter of the roof is feventy feet by eighty. 
 
 Some 
 
ARCHITECTURE. 93 
 
 Some account of thofe public furfaces/' 
 upon which, as lord Orford obfcrvcs, the 
 eye never refts long enough to criticife/' may 
 not be foreign to my purpofe, as they are a 
 part of internal archited;urc. 
 
 Not to mention the cupolas painted by the 
 great Italian artifts, which are fcarcely Icfs 
 numerous than excellent, I will feled: only 
 the ftupcndous works of Michelagnuolo and 
 Pietro di Cortona, in the Seftine chapel in 
 the Vatican, and the grand hall of the Bar- 
 barini palace. 
 
 In depicting the fublime fubjedl of the 
 
 Laft Day the great painter has exerted 
 the vigour of the nioft fertile imagination, 
 and indulged his love of anatomy, to the ut- 
 moll extent. He rcprcfents embodied fouls 
 as kifling each other, after a long fcparation. 
 Pope Paul IV. determined to deface this 
 
 ^ The incongruity, if not the profanenefs of fuch ideas 
 in fo facred a place, isjullly reprehended by the Abbe Marfy 
 in his poem " Capella Sextina." Michchsniuolo was 
 engaged eiglit years in this iirimenfe work. He is faid to 
 have borrowed many ideas from the " Inferno^' of his 
 friend Dante ; and it is remarkable, tliat his condemned 
 fouls are finer than thofe in a flateof beatitude, in point of 
 defign and expreflion. 
 
 magnificent 
 
^4.-^ ARCHITECTURE. 
 
 magnificent work on account of the nudities, 
 but Daniel de Volterra was found to clothe 
 the exceptionable figures with light draperies^ 
 much to his own credit as to the execution ; 
 but at the expence of the original. 
 
 TheBarbarini ceiling reprefents the triumph 
 of glory and the cardinal virtues, and for 
 compofition and colouring has been efteemed 
 beyond any in Rome. The figures are nu- 
 merousj without confufion. But of Rubens- 
 we have the opportunity of infpedling one of 
 the grandeft works in the ceiling of White- 
 hall Excellent as he was for his colouring; 
 and management of light and ihade, he 
 could not preferve this fpecies of painting 
 from contempt. 
 
 The fubjed: was certainly fuflScient to rack 
 any invention however ftored, for it was the 
 apotheofis of fuch a monarch, as King 
 James I. Rubens acquired his love of allc- 
 gorifing and perfonification from his mafter 
 Otho Vaenius at Leyden ; and the emblems 
 
 ^ At Oflerley Houfe, the flaircafe Is ornamented with 
 the apotheofis of William I. Prince of Orange, by Ruhens, 
 broug]]t from Holland by Sir Francis Child. Lyfons's En- 
 virons of London, vol. iii. p. 28. 
 
 3 publifhed 
 
ARCHITECTURE. 
 
 publlflicd by Govartius, are known to have 
 been of his defigning. 
 
 Claflical corredinels he feems to have de- 
 fied, particularly in the Luxembourg, where 
 he groupes Mercury and Hymen with Cardi- 
 nals and the Queen mother. At Whitehall, 
 in the ovals, w^e have the virtues reprefcntcd 
 by deputy. Apollo ftands for prudence, and 
 has a new attribute, the horn of plenty, in his 
 hand. To exprefs the filial piety, and to dif- 
 play the taite and magnificence of Charles I. 
 ma grand audience chamber as this was 
 defigned to be, thefe ornaments were not un- 
 fuitable ; but are in their prefent defignation 
 a fingular decoration of a proteflant churcli. 
 The great inconvenience of view^ing paint- 
 ings fo placed, lefl'ens the fatisfaftion which 
 the moft correal compoiition could poffibly 
 afford ; and forefliorteninsi; is too diflimilar to 
 nature, cither to lurprile or pleafc'-. 
 
 The 
 
 ^ Tiie whole cxpence of vvliat is now called the Ban- 
 quetting houfe was 20,ooc/. three thoufand of which were 
 jjaid to Rubens for this work. It was reftored by Cipriani 
 hi 1780, who received 2000/. 
 
 ^ Diflicile^ fugito afpectus cont»aJK"que vifu 
 Membra fub ingrato, niotufcjue av^ii'ifque coav^os. 
 
 Dl' i^RtSNOV. 
 
96 ARCHITECTURE. 
 
 The firft attempt to forefhorten figures on 
 ceilings was by Corregio in his Aflumption^ 
 in the cupola at Parma, and the Afcenfion, 
 in the abbey of St. John, llaffaelle, in the 
 little Farnefe palace, in his marriage of Cupid 
 and Plyche has given the appearance of 
 tapeftry attached to the ceiling. 
 
 Verrio and La Guerre brought this tafte- 
 lefs fafhion into England. They were well 
 calculated for it ; but Thornhill and Knel- 
 ler wafted their time and talents upon fuch 
 performances. 
 
 Verrio fet the example too, of introducing 
 real portraits under allegorical femblance, in 
 which his abfurdity was only exceeded by his 
 malevolence. Of this circumftance there is 
 a memorable inftance at Windfor. 
 
 Rubens difplayed an ingenious fatire in a 
 pidiure in the Duffeldorff colleftion. He has 
 reprefented himfelf as Diogenes fearching for 
 
 Amongft the Cartoons of RafFaelle, the leaft pleafing is 
 the miraculous draught of fiflies, becaufe it has more fore- 
 fliortening. 
 
 Thornhill painted at Oxford the Afcenfion on the 
 ceiling of Qiieen's College chapel, and the Refurredlio 
 veflita" of archbifliop Chicheley in pontificalibus. 
 
 an 
 
Architecture. 97 
 
 an honeft man, amidft a crowd of the por- 
 traits of his friends. 
 
 Verrlo was the only artift to whom 
 Charles II. was liberal ; and towards him he 
 was profufe — but Verrio had impudence and 
 wit ^ 
 
 A peculiar excehence of the Sheldonian 
 theatre, as pointed out to thofe who infpeft 
 it; is, that it is formed in the interior, on the 
 precife model of the antique. In this re- 
 fpe6l its pretenfions cannot be but partially 
 allowed. Palladio gave a plan for an Olym- 
 pic theatre in his native city of Vicenza, 
 which was fmiflied in 1 580, arid was intend- 
 ed for fcenic recitations^ like the ancient 
 Greek plays. The feats are of ftone and in- 
 clofcd by a beautiful colonnade, with ftatues 
 on the parapet. The profcenium is a mag- 
 nificent facade of the Corinthian order ; and 
 
 " Yerrio, at Windfor, has Introuuced a portrait of Lord 
 Shaftefbury as the daemon of fedltion, and the honfekceper 
 as a furv. Sebaftian Ricci's brother drefTed as a gentleman 
 in the ftyleof Charles II. is made a fpe6^:ator of one of our 
 Saviour's miracles, at Bulfirode. At Greenwich, Sir James 
 Thornhill has habited King William in armour, with filk 
 ftockings and a flowing wig. He received 6685 /. for tlie 
 whole work, at 3 /. tlie fquare yard. 
 
 H the 
 
98 ARCHITECTURE. 
 
 the fcenes are fixed, being compofed of wood(, 
 reprefenting rich architecture in perfpeftive, 
 which is feen through the arcade, with an 
 impofing tffcS:, It is now ufed for the pub- 
 lic exhibitions of the " Academia" of the 
 modern ItaUan poets. 
 
 Without doubt, the original purpofe of 
 thcfe theatres have little analogy, nor fliould 
 that at Vicenza have been brought in compa- 
 rifon, but upon the point of refemblance to 
 the antique. The building at Vicenza has 
 no external beauty, as it is lurrounded and 
 concealed by houfes, and it is much Icfs than 
 this at Oxford. 
 
 I could never perceive the perfeftion which 
 has been fo generally attributed to the eleva- 
 tion of the theatre. The contour towards 
 the ftreet is certainly beautiful. In the ftrip- 
 ed pU^fters ° Jones is copied in thofe, he has 
 made at Covent Garden, and the Loggia at 
 Wilton. Of Roman architecture the great, 
 if not the only remaining fpecimen, of the 
 whole external ruftic with ftriped pilafters, is 
 the amphitheatre at Verona. The front is 
 not happijy conceived, but the bafe is better 
 
 ' He has likewife introduced them at Marlborough 
 liQufc, St James's Park. 
 
 than 
 
ARCHITECTURE. 99 
 
 than the broken pediment, w ith its degene- 
 rate ornaments and petty urns. By the roof 
 the whole building is abfolutely deprefled — 
 fo overloaded as it is, with lead and gilding k 
 
 The chapel at Trinity College was built on 
 a plan re-modellcd or amplified by Sir Chrif- 
 topher Wren ; the proportions are correc^l, 
 and the elevation, as now feen from the 
 ftrcet, extremely light and elegant. But the 
 tower had been well fpared, for it is by no 
 /neans, a beautiful appendage p. 
 
 Sir James Boroughs, who gave a defignfor 
 Clare Hall chapel at Cambridge, is evidently 
 indebted to this at Trinity for his primary 
 idea ; w here he varied, he has given proof 
 of his tafte. He has added a ruftic bafe, 
 omitted the urns with their flames, and fub- 
 ftituted an o6lagon lighted by a cupola, for 
 the tower. Cambridge has no equal inftancc 
 of pure and claflical architedture. 
 
 * Of another building fo disfiguretl, an Italian author 
 remarks, that it looks like a huge cocked hat on the 
 head of a dwarf !" 
 
 °P Dr. Aldrich is fald (in Warton's Life of Dr. Ba- 
 thurd, p. 68-71.) to have fuggefted the firft thought. 
 Several letters between Sir Chrillopher and Prcfidcnt Ba- 
 thurft, prove how far the greater credit is due to him. 
 Ohapel 75 feet by 30, and 40 high. 
 
 H 2 The 
 
roo ARCHITECTURE. 
 
 The Garden Court at Trinity was built 
 likevvife according to Sir Chriftopher's direc- 
 tions, and was the firft Palladian ftrudture 
 feen in Oxford. The defign is fimple, com- 
 modious, and if a plan, now in agitation, 
 fliould be adopted, would be rendered uni- 
 form* 
 
 But for juft proportions, the Alhmolean 
 Mufeum claims a higher place than the 
 buildings before noticed ; as it is in a much 
 better tafte, and more in the laft ftyle of 
 Inigo Jones. Confidering that as the fum- 
 mit of Englifli architecbire, I prefer this ftruc- 
 ture to Wren's other works in Oxford, and 
 regret its unfavourable fituation. If the win- 
 dows were refitted with glafs and the whole 
 decorated, as it well deferves to be, we fliould 
 not fo much mifs the eaftern portico hid in a 
 narrow paffage made by the theatre. To de- 
 fcribe the contents, or give the hiflory of this 
 mufeum, is not my intention, as many things 
 are depofited there, about which the world 
 has long forgotten to inquire. 
 
 I will only obferve incidentally, that it was 
 the firft public inftitution of the kind, and in 
 
 ' JD'imenJions, — 60 feet by 25. 
 
 ' the 
 
ARCHITECTURE. loi 
 
 the infancy of the ftudy of natural hiftory in 
 England, was a great colleftion ; and though 
 far exceeded at this time by feveral others, is 
 refpe(5lable for an original plan. In its archives 
 are prefer ved what antiquaries will value 
 more highly ; the private MSS. and books of 
 Sir W. Dugdale and Anthony a Wood. The 
 library at Queen's College'' is fo well de- 
 figned, that it may be fairly attributed to 
 Sir Cliriftopher's fuperintending judgment ; 
 though given to his fcholar and alilftant, Ni- 
 cholas Kawkfmoor. 
 
 As the prefent quadrangle, which fo mag- 
 nificently conftitutes a part of the high ftreet, 
 has a general refemblance to the palace of the 
 Luxembourg at Paris, ma} It not have been 
 compofed from fome defign made by that 
 great m after in architefturc, during his vifit 
 
 J* Diincnfiona of L'lbfanes. — Library at Qncen's Collec;e 
 1 14 feet by 3 I, and 26 bigii. At AH Souls, 198 by 3-?, 
 and 40 liig^i. Trinity College, Cambridge, igo bv 40, 
 and 38 in lie'iglit. Blcnbcim 183-5 S^"9' ^^^'^ elt'K r 
 end a fquare of 28 by 20. Hey thorp 83 by 20, and 20 
 Iiigh Oriel College 83 by 28, and 28 liigh. Worcefrer 
 College 100 feet long. Caen Wood 60 by 21. Sbel- 
 i)urne Houfe J05 by 30, and 25 high. Thorndon (j^ by 
 20, and 32 bigii. 
 
 H 3 to 
 
102 ARCHITECTURE. 
 
 to France ? Every thing that Hawkfmoor has 
 done, is fo decidedly inferior to Queen's Col- 
 lege, whether his genius runs riot amongft 
 fteeples, as at Limehoufe and Bloom fbury, or 
 whether it aims at fomething regular, as at 
 Eafton Ncfton, that his claim to the whole 
 plan is very dlfputable. The Doric elevation 
 of the hall and chapel is grand and harmo- 
 nious, and worthy of Wren or Aldrich. 
 Though the whole was not finifhed till the 
 year 1739, the defign, at firft approved of by 
 the fociety, was ftriftly adhered to. About 
 that time, the garden court at New College ^ 
 appeared, much in imitation of Verfailles, 
 without the colonnade ; but with an hetero- 
 geneous addition of Gothick battlements, and 
 efcocheons incumbering: the architraves of the 
 windows. A fmgle effeft as fcen from, the 
 garden was intended and produced ; but it 
 has no other praife. The judicious builder 
 
 » In a poem entitled Oxonii Dax Poeticus, by M. Au- 
 bry, 8vo. 1795," the refemblance of thefc buildings tQ 
 Verfailles excites the following exclamation. 
 
 ** Ah mihi Verfalias nimis ilia referre videntur 
 Qua regis miferi liinina parte fubis. 
 Sontes Verfalias ! quae primae inccndia fjeva 
 Accendere, quibus Gallia adufta petit." 
 
 hurt) an ds 
 
ARCHITECTURE. 103 
 
 hufbands his imagination, and referves fome- 
 thing to delight the mind, which he can no 
 longer furprife. 
 
 The Clarendon Printing Office has an ad- 
 vantage of fituation upon a gentle afcent ; an 
 aid which the nature of Vanbrugh's architec- 
 ture particularly requires. Yet, as compofmg 
 the auguft groupe of buildings, which are 
 feen fo happily at the end of Clarendon ftreet, 
 where it is cluftercd with the theatre ; the 
 portico, without grace or proportion in every 
 other point of view, gains an accidental dig- 
 nity and propriety. By the thorough-light, 
 the whole archite(?lural mafs is relieved, and 
 becomes pi6lurcfque. As approached from 
 the Schools, it is all alike, huge, heavy, and 
 magnificently clumfy ; and we are no longer 
 tempted to dream of fymmetry and arrange- 
 ment. 
 
 Dr. Henry Aldrich, the accompliflicd dean 
 of Chrifl Church, was one of the moft per- 
 fedl architcfts of his time. His Elements of 
 Civil Architefturc ^ give ample evidence that 
 
 » This MS. had belonged to Dr. George Clarke, who 
 bequeathed it, with his hbrary, to Worcefter College. It 
 was puhlifhed and very ably tranflated by P. Smyth, LL. B. 
 Fellow of New College, large 8vo. 1790. 
 
 H 4 he 
 
1C4 ARCHITECTURE. 
 
 he was intimately converfant with the fcience j 
 and two beautiful edifices of their kind^ are a 
 very honourable proof of his excellence in 
 practice. He built Peckwater Court at Chrift 
 Church, in a chafte Ionic ftyle, and has made 
 the decoration fubordinate to the defign. 
 The bafe is ruftic, the three-quarter columns 
 which fupport the central pediments are cor- 
 redlly formed, the pilafters are plain, and the 
 windows drefied with architraves. He has 
 compofed the whole from the pureft inftances 
 of Palladio at Vicenza, judicioufly rejedling a 
 fuperfluity of ornament, by which the great 
 outline of the Venetian firchitecl was not un- 
 frequently eclipfed. The other building 
 which boafts the defign of Dr. Aldrich is the 
 parifli church of All Saints in Oxford 
 
 It is obferved with fome degree of truth, 
 and cenfure, that modern churches are a vile 
 compound, Italy having furnifhed the ground 
 plan, Greece the portico, and France or Ger- 
 many, the fpire." 
 
 The modern fpire is generally compofed of 
 
 ^ Dimenjions,'-^*;/! feet by 42, and 40 high. 
 » Murphy's Batallab. Tref. p. 16. 
 
 a rotunda 
 
ARCHITECTURE, ' 105 
 
 a rotunda or fpherical temple . fupportlng an 
 obelilk. Mr. Walpole calls it a monfter 
 in architefture and Mr. Pennant in his 
 London" fpeaks very pleafantly of an order 
 called the Pepper-box If V/ren him- 
 felf could not refcue his fteeples from fuch 
 deferved and contemptuous criticifms, their 
 caufe could expert little from Hawkfmoor 
 and Gibbs, in their fhare of the fifty new 
 churches, in which they exhibit a variety of 
 uglinefs. 
 
 Of the fpirc of All Saints it may be truly 
 faid, that it has fcvver objectionable parts 
 than almoft all of thofe alluded tp ; and the 
 church with its Corinthian portico, no lefs 
 than the accuracy of the internal proportions, 
 is uncommonly corre6l in compofition, and 
 elegant in efFecS. 
 
 The Univerfity has produced another arcJii- 
 tedl of merit, though not in the profelTion. 
 Pr. George Clarke of All Souls College, 
 
 y Dimcn/ions. — The fplre of St. Bride's, Fleet Street, 
 io 234 feet high ; and that of St. Mary le Bow exhibits the 
 live orders in different parts, and is 225 feet high. At 
 St. DQnftan's in tlie Eaft, the fpire refts upon the inter- 
 feCtior. of two arches. 
 
 N. 1660, O. 173 . 
 
 where 
 
io5 ARCHITECTURE. 
 
 where the great luminary of archite£lure. Sir 
 Chriftopher Wren ^ had hkewife ftiidied, was 
 affociated with Hawkfmoor in the plan of the 
 new quadrangle and Codrlngton's Library for 
 that fociety. The ftyle is original, more like 
 Gothick than Grecian, and though capricious 
 and irregular in the extreme, the whole efFeft 
 is far from unpleafing. Hawkfmoor univer- 
 fally miftook whim for genius, and a love of 
 ornament for tafte. But Dr. Clarke planned 
 the library which completes the fquare of 
 Peckwater at Chrift Church, already men- 
 tioned, and which is now the fuperb repofi- 
 tory of archbifhop W ake's and lord Orrery's 
 books, and of general Guife's pictures. It 
 confifts of one order of rich Corinthian co- 
 lumns, of three quarters, and confiderable 
 height and diameter. The idea of this man- 
 
 a N. 1632, O. 1723. His Defigns in three large foliq 
 volumes, are now preferved in the library of All Souls 
 College. The principal are St. PauFs, an intended palace 
 in St. James's Park, and Greenwich Hofpital. Dr. Clarke 
 gave Jones's Palladio, with his ^IS. notes in Italian, to Wor- 
 cefter College. Lord Burlington purchafed many of Pal- 
 ladio's defigns from the Contarini Collection at Venice, 
 among which was a Vitruvius fo noted. The duke of 
 Pevonfliire has a Paliadio with Jones's Latin notes. 
 
 ner 
 
ARCHITECTURE. 107 
 
 ner was fupplied by Bernini, who filled up 
 with apartments the grand colonnade, which 
 remained of the Bafilica of Antoninus at 
 Rome, which is now the Dogana or Cuftom- 
 houfe. In Dr. Clarke's firft plan, which I have 
 feen, he had placed a turret like that at 
 Queen's College in the center, the omiffioii 
 of which no one w^ill regret. One great cha- 
 rafter was intended by the architect, which is 
 that of magnificence ; it was beyond his ta- 
 lents, and heavinefs prevails. 
 
 In the library, hall, and chapel, at Wor- 
 cefter College ^, which are due both to his 
 munificence and his {k'lW, there is a greater 
 fimplicity, and more fucccfs. Yet the hall 
 and chapel had been more happily connected 
 by a portico, and the prefent narrow alley oc- 
 cupied by building. As a private gentleman 
 well verfed in architecture he muft yield, in 
 all points, to Dr. Aldrich ; but he had more 
 
 l> A poet in the Mufac Anglicanae, intending a compli- 
 ^i^nt, has told the plain truth. 
 
 folidaeque columns 
 Apparent, Tc(5liquc laud enarrabiL rchur."" 
 
 Athium Peckwatir. 
 
 DimenJiQHi. — Library 141 feet by 30, and 37 high. 
 
 fcicnce. 
 
io8 ARCHITECTURE. 
 
 fcience, if lefs tafte, than his contemporary 
 Lord BurUngton. Sir James Boroughs at 
 Cambridge, who Hkewife amufed himfclf 
 with thefe purfuits, if with refpcd: to tafte 
 only, was a fupcrlor competitor for fame. 
 
ARCHITECTURE. 
 
 SECTION VII. 
 
 GiBBS and Vanbrugh have difcovered 
 nearly equal ponderofity. Gibbs adhered 
 fcrupuloufly to the rules of Palladio, but 
 nature had denied him tafte ; and though very 
 much employed in his day, in public build- 
 ings, fcarcely one of them can boaft any de- 
 gree of fimplicity or elegance. His favourite 
 work was the New Library ^ at Oxford, the 
 firft application of Dr. Radcliffe's fund. In 
 a moft unfavourable fituation he has erefted a 
 ftrudure which required every advantage of 
 
 a The RadcliiFe Library is 140 feet high, and the cu- 
 pola 100 feet in diameter. It was finiflied in 1749, eleven 
 years after the firft llone was laid. The total expence was 
 40,000/. The Imperial Library at Vienna was built by 
 John Bernard Fifchers, in the center of whicli is a cupola 
 fupported by columns of fcaglola, with an ample area. 
 But the ikWl of the architedl: is principally fliown in break- 
 ing the extreme length by another colonnade in rooms 
 which are continued from the center. It has the air of a 
 Grecian temple, and is richly painted. 
 
 fpace 
 
no ARCHITECTURE, 
 
 fpace and elevation. The oblong fquafe in 
 which it ftands, is only three hundred and 
 ten feet by one hundred and feventy, and fo 
 ill adapted to receive a rotunda of one hun- 
 dred and tw^enty feet diameter, that it is ab- 
 folutely fhouldered by the oppofite colleges of 
 Brazenofe and All Souls. 
 
 The Schools and St. Mary's church com- 
 plete a fquare without the intervention of any 
 private edifice ; a circumftance to which it 
 owes an effeft of magnificeuQe which belongs 
 to none of the component buildings, were they 
 detached from the groupe. I have repeated 
 Mr. Walpole's opinion lefs happily, and I do 
 not think his judgment fevere. 
 
 If feen by moon-light the Radcliffe Li- 
 brary ^ lofes much of the heavy, deprefled ap- 
 pearance, it Ihows under the meridian fun. 
 1 have frequently furveyed St. Paul's, Lon- 
 
 ^ Gibbs bequeathed his books and drawings to this 
 library. It contains few others^ befide fome Oriental 
 MSS. In the area, are two Candelabra very ingeniouflv 
 compofed of marble fragments after the antique by Pira- 
 nefi at Rome. They were given by Sir R. Newdigatc* 
 With them might be placed a few of the befl: of the Arun- 
 del ftatues, when judicioufiy reftored, till a fuite of rooms 
 could be finifhed for them. 
 
 4 don. 
 
ARCHITECTURE. iii 
 
 don, under a fimilar point of view, and have 
 been furprifed by the fine proportions of the 
 colonnade furrounding the dome, which an 
 atmofphcre of thick fmoke had pofitively ob- 
 fcured in the day time ^ 
 
 The cupola of the RadclifFe Library not 
 refting upon the walls of the rotunda, but being 
 propped by confpicuous buttrefles, appears to 
 have funk from its intended elevation. Nor 
 is it, in the leaft, relieved by the reduplica- 
 tion of ill fhaped vafes, by which it is profufc- 
 ly furrounded. 
 
 The ruftic doors could well have fpared 
 their pediments, and the fmall fquare win- 
 dows under the large ones in the fecond or- 
 der, look meanly. This blunder was certain- 
 ly a beauty in the eyes of the archited:, for 
 he firft introduced it in St. Martin's church, 
 which he built in London ; and has repeated 
 it here. The double three quarter Corin- 
 thian columns are yet handfome, and if the 
 intermediate fpace, inftead of being fd often 
 perforated, had been occupied by windows, 
 
 *^ The Radcliffe Square is defcribed by Vad in his ac- 
 count of St. Peter's at Rome, " unifce alia fua magniti- 
 cenza una eftrema bizzaria-" 
 
 copied 
 
' ti2 ARCHITECTURE. 
 
 copied from thofe at Whitehall, fome dignity 
 of ornament had been introduced and a little- 
 nefs avoided, which now ftrikes every ob- 
 ferver. It may be inquired, whether this 
 building had not gained both beauty and 
 grandeur, if whole and infulated pillars had 
 fupported the architrave and rotunda. 
 
 At Cambridge, in the new building of 
 King's College ^, Gibbs has gained more credit 
 from a more jufter proportion, and his ab- 
 ftaining. from fuperfluous decoration. The 
 Doric portal in the center cannot be praifed ; 
 but the whole elevation as feen from the 
 fields, is very noble, and fuperior to any of 
 the fame ftyle of building in either univer- 
 fity. To all that is excellent in the archi- 
 tecture of the Senate Houfe, Sir James Bo- 
 rough has the better claim. The executive 
 part was fuperintended by Gibbs. 
 
 Mr. Walpole will not allow that any 
 
 d Dimenjions. — New building at King's College 236 feet 
 bv 46, and 50 bigh. 
 
 Senate Houfe, lOi feet by 42, and tbe beigbt 32 feet. 
 It has been called the largeft modern room in England, but 
 the armoury in the Tower fhould be excepted, which is 
 345 by 49, and 32 high within the walls. 
 
 6 man 
 
ARCHITECTURE. 213 
 
 man talks of one edifice of Gibbs In can- 
 dour, he Ihould have excepted the portico of St. 
 Martin's. It is ofto-ftyle and of large dimen- 
 fions, but in the worft fituation imaginable, 
 as well from the irregularity of the ground, 
 as the narrownefs of the ftreet. By no other 
 portico in London, could we be in the fmall- 
 eft degree reminded of the great architype, 
 in the Pantheon at Rome. The columns of 
 that before Carleton Iloufe ^re puny, and tot- 
 tering under the architrave. That of St. 
 George's, Hanover Square, has only half its 
 proportion of depth. From the fame cir- 
 cumftance, that of the New India Houfe, 
 although rich and highly finillied, has the 
 appearance of a corridore. The fame defed: 
 occurs at the Manfion Houfe, without a fm- 
 gle beauty to counterbalance it. 
 
 Gibbs, aware that he was cenfured for 
 want of grace, determined, according to his 
 own opinion, to obviate all obje6lions on that 
 account, in his defign for the New Church 
 in the Strand. He aimed at elegance, but 
 could not accomplifli even prettinefs. 
 
 The great art in a building of moderate 
 dimenfions is to proportion the decorations 
 
 I to 
 
114 ARCHITECTURE. 
 
 to the fpace they are dcftined to fill, that 
 they may not by their multiplicity encumber, 
 where they fliould adorn. Unobfervant of 
 this rule, Gibbs indulged his love of finery in 
 architedlure, and has crowded every inch of 
 fiirface with petty decoration. The body of 
 the church, not lofty in itfelf, is broken into 
 two orders, and the fpire is tapered like a 
 Chinefe pagoda, by a repetition of parts com- 
 pofed of members of Grecian architefture. 
 In fuch faults, the eye is offended by the 
 afFe<flation of beauty. 
 
 The new buildings of Magdalene and Cor- 
 pus colleges are now to be confidercd. 
 
 There is both fimplicity and beauty in 
 that at Corpus. The pediment is fupported 
 by four plain Ionic pilafters, the windows are 
 unornamented, and the bafe not ruftic, which 
 accords better with the whole. 
 
 It is faid, that the front of the new build- 
 ing at Magdalene College w^as defigned by 
 Mr. Holdfw^orth, a fellow of that fociety. 
 In a front which extends 300 feet, and is 
 about 50 in height, there are not lefs than 
 eighty windows, and w^hat is worfe, they are 
 all of the fame dimenfions. Inigo Jones, in 
 3 his 
 
ARCHITECTURE. 115 
 
 his model of archltedure at Whitehall, in a 
 fpace of 120 feet in length, and 80 in height, 
 has placed only fourteen window^s, which he 
 has made the vehicles of judicious orna- 
 ment. 
 
 Allowing the neceffity of rendering fo 
 many apartments commodious, and the dif- 
 ficulty of creeling a building of fufficient fizc 
 without breaking the furface into many parts 
 or perforations of no variety ; - here is certain- 
 ly nothing to praife but the afpect to the 
 paddock ; which gives the air of a nobleman*s 
 rcfidencc. It cannot boaft more than many 
 of thofc great houfes, where extent and a 
 multiplicity of rooms make the only amends 
 for the deficiencies of architecture. 
 
 Towards the old quadrangle is an arcade 
 or cloiiler of equal extent with the building, 
 which was intended in the original plan to 
 furround the fpacious area. Mr. Wyatt has 
 determined, that if the whole were gothiciz- 
 ed, a better efFed: would be produced. There 
 is little to hazard as^ to its prefcnt beauty, 
 every pretenfion to which is loft in fame- 
 nefs. 
 
 For about twenty years. Keen was the ar- 
 I 2, chitcdt 
 
it6 ARCHITECTURE. 
 
 chite<fl principally employed. He gave the 
 defign, and fuperintended the new building at 
 Balliol College, which is a handfome piece of 
 ftreet architecture ^. The proportions are juft^ 
 and the ornaments difpofed with tafte. 
 
 Dr. Clarke's defigns for the quadrangle at 
 Worcefter College, with the hall and chapel, 
 were confulted, and in a great degree follow- 
 ed by Keen, with confiderable improvement. 
 The Provoft's lodgings were entirely planned 
 by him, and are fmgularly commodious. 
 
 He built likewifc the RadclifFe Infirmary 
 from the model of that at Gloucefter, which 
 owes its very fuperior plan to Mr. Singleton,- 
 a private gentleman of that county. 
 
 As the next deftination of the RadclifFe 
 fund, the Obfervatory was defigned by him, 
 but had fcarcely ri fen above the foundations 
 at the time of his death in 1770. The idea 
 
 ^ The elevation of this building is particularly ftriking 
 as contrafted with the meannefs and irregularity of the an- 
 cient front of the college. It may be fuppofed to ex-. 
 clatm 
 
 Prifca juvent alios— rgo nunc mc denique natum 
 Gratulor, Ovid. 
 
 was 
 
ARCHITECTURE. iiy 
 
 was not happy, and was probably much bet- 
 ter in the drawing, than when executed. It 
 was materially altered, and completed by 
 Mr. Wyatt in 1786. No building in Oxford 
 is fo advantageoufly fituated, but the wings 
 are long and low, and add nothing, even by 
 contraft, to the lightnefs and elegance of the 
 center. The tower finilhes in a general re- 
 prefentation of the Temple of the Winds at 
 Athens ; but upon confulting Le Roy and 
 Stuart, the model will not be found to have 
 an exact correfpondence. I mention this cir- 
 .cumftance incidentally, and not as fubtrad:- 
 ing any thing from the merit of the applica- 
 tion. Whatever objections may obtrude 
 themfelves on the firft view of the elevation, 
 they are completely fuperfeded by the gran- 
 deur and beauty of the Obfervation Room ; 
 to the fmgular excellence of which, many 
 foreigners of taile and experience have given 
 an unanimous futFrage, 
 
 An obfervatory, to anfwer all aftronomical 
 purpofes, and to difplay at the fame time the 
 graces of architecture, appears to have been a 
 performance of confidcrable difficulty. The 
 firft, which was.ereCted at Greenwich by Sir 
 
 I 3 Jonas 
 
nS ARCHITECTURE. 
 
 Jonas Moore, Mafter of the Ordnance, is fo 
 lliapelefs and capricious, that it might be 
 eafily miftaken for the fummer houfe of a 
 whimfical man of wealth, in the vicinity of 
 London. What part of it could poffibly 
 have been correfted by Sir Chriftopher Wren ? 
 — yet his final correction and approbation are 
 faid to have been given ^ 
 
 The Obfervatory in Richmond Park, built 
 at the expence of his prefent majefty by Sir 
 WiUiam Chambers, is an elegant manfion, 
 fully appropriate to its original intention, 
 which is fufficiently pointed out by the light 
 rotunda and cupola on the roof. 
 
 At Oxford, it is more chiirafteriftic, that 
 the private refidence fhould be a fecondary 
 confideration. 
 
 A building entirely of Mr. Wyatt*s archi- 
 tefture next merits our attention. By the 
 munificence of the late Primate of Ireland a 
 beautiful gateway, in a part of Chrift Church, 
 called Canterbury Court, was finifhcd in 1778. 
 The order is Doric. Nothing in imagination 
 could attain to a more perfed: fimplicity, nor 
 (:ould we receive an equal fatisfaftion froni 
 
 ^ P^rentalla. 
 
 the 
 
ARCHITECTURE. 119 
 
 the utmoft effort of magnificence. In the 
 Doric column there is an appearance of ma- 
 jefty and firmnefs, not unappropriate, as far 
 as foUdlty is impUed. 
 
 It is probable, that the ingenious architect 
 did not purpofe a ftri<^l adherence to prece- 
 dent ; but following the example of the great 
 Italian fchool, has deviated from the antique 
 in fearch of new beauties, and greater excel- 
 lence. His Doric column is ftri6lly neither 
 Grecian, Roman, nor Italian. * 
 
 In the Temples of ^gina, Poefrum, and 
 the citadel at Athens the moft pcrfcdl ex- 
 amples of Doric, the guttae retain their pofi- 
 tion, the fluting is continued over the aftra- 
 gal, and the column invariably refts upon the 
 bafe, without an intermediate plinth. 
 
 The theatre of Marcellus at Rome has 
 plain columns with a fillet, and amongft the 
 ruins of the baths of Dioclcfian, it is intro- 
 duced above the termination of the fluting ; 
 but the latter inftance is of the decline of 
 Roman architecture. All the Italian archi- 
 tedts from Palladio to Viola, have invented a 
 
 8 Ionian Antiquities, v. ii. Ruins of Poeftum and 
 Stuart's Athens. 
 
 Doric 
 
120 ARCHITECTURE. 
 
 Doric ftyle of their own ; in one point they 
 agree, in contrariety to the Greek model, 
 their columns have tori and bafes like the 
 other orders. 
 
 The whole quadrangle rebuilt upon Mr. 
 Wyatt's plan is a very graceful accompani- 
 ment to this portal as the great feature, and 
 combines fimplicity with tafte. 
 
 The Library at Oriel College is the moft 
 perfed piece of architefture in Oxford, but it 
 has no advantage of fituation. The facade with 
 equal grandeur and fimplicity exhibits only 
 the Ionic order. All the parts are great and 
 commanding, the ornaments few, and the 
 whole harmonious. Mr. Wyatt has been lefs 
 happy in his defign of the interior ^. It will 
 be allowed, that the infide of this building 
 little correfponds either with the fimple ele- 
 gance or the jufi: proportions of the elevation. 
 The windows internally are not of a height 
 fuitable to that of the room ; the confequence 
 of which is, that a want of a proper quantity 
 of light is obfervable immediately on en- 
 trance. The fcagliola pillars w^ith huge white 
 Corinthian marble capitals appear much too 
 
 DimenJzons.^S^ feet by a8, and 28 high within the 
 walls, 
 
 large. 
 
ARCHITECTURE. iii 
 
 large, and elaborately ornamental for the re- 
 pefs, whofe plain entablature they fupport; 
 and raife in the mind a painful fenfe of the 
 poverty rather than fimpliclty of the whole, 
 •which coniifts of an imadorned portal be- 
 |:wcen two plain walls. A feries of table's 
 with flight mouldings on the outfide of the 
 ftrufture give the windows an appearance of 
 proportion, which on entrance, is lofl in a 
 great degree, and a gallery over them, in- 
 creafes the heavy appearance of the inli.de 
 wall. 
 
 At Exeter College a library of fmall dimen- 
 fions was built, a few years fmce, as I h-ave 
 been informed, from the defign given by the 
 prefent Public Orator ; which does credit to 
 the corre6lnefs of his tafte. 
 
 I; 
 
 I I muft now clofe my obfervations on the 
 architedure of the Univerfity of Oxford, with 
 the hope that they may be found to be neither 
 fuperficial nor unjuft. Free and unprejudic- 
 ed I avow them to be, and I oi¥cr them dif- 
 fidently, as the private opinions of an indivi- 
 dual, who has no ambition of forming the 
 tafte, or influencing the judgment of others. 
 
 The approach to the city of Oxford over 
 Magdalene bridge, built by Gwynne, is unique 
 6 in 
 
122 ARCHITECTURE, 
 
 in point of effe(ft,and thefirft Impreffion it com- 
 municates of the grandeur of the feat of the 
 Mufes. Whether it be a bridge or a caufeway, 
 the double columns ' are, at leaft, ufelefs, for 
 they add nothing to its fupport. I am aware of 
 Milne's having adopted them at Blackfriars ; 
 and I think not happily, for the original pur- 
 pofe of the pillars is not ornament, but fup- 
 port. The archited: of Magdalene bridge, it 
 will be allowed, had a moft impradlicable 
 ground to work upon, and his bridge at Wor- 
 cefter is a proof of his fkill, where he had a 
 lingle river only to crofs. England is famous 
 for that fpecies of architetSure. The bridges 
 over the Thames exceed in extent and magni- 
 ficence, not only thofe over the Seine, but in 
 any part of Europe. The modern bridges at 
 Rome are not beautiful ; and the boafled 
 Rialto at Venice has no merit but the fmgle 
 
 » We are reminded of Spenfer's bridge leading to the 
 palace of Venus. 
 
 ** It was a bridge y built in goodly wife 
 
 With curious corbs, and pendants graven fayr; 
 
 And arched all with porchc;, did arife 
 
 On ftatcty pillours, fram'd after the Doric guifc," 
 
 TaU of Sir Scudamore^ b. iv. c. ro. 
 
 arch. 
 
ARCHITECTURE. 123 
 
 afch. We have many provincial bridges of 
 fuperior lightnefs and cor»ftru6lion ; I will in-^ 
 fiance thofe only of Henly, Maidenhead, and 
 Richmond, over the Thames'". But the moft 
 pcrfedl, I have ever feen, is the Ponte Trinita, 
 over the Arno at Florence, of three arches 
 only, each fpanning one hundred feet. Such 
 exquifite proportion and fmiplicity are the 
 fummit of the art. 
 
 By its curvature, the high ftreet gradually 
 expands the fcenes of academic fplendour. 
 The fucceffion is not too fuddcn, nor does It 
 fuffer from the want of continuity or neat- 
 nefs in the private houfes. 
 
 For variety and magnificence of public 
 buildings no city in Europe can offer a com- 
 petition. In the Corfo" at Rome, there 
 are large palaces, which are proudly diftin- 
 guifhed from common habitations, and fo 
 frequent, that a refemblance will ftrikc every 
 Englifh vifitant. Refpefting the circum- 
 ftances of fpacc and commodious pavement, 
 
 ^ The finell Gothick bridge is that of one arch over 
 the Adigc at Verona, which ipans 213 Roman pahns, 
 about 140 Englilh feet. Jt was built by Fra. Giocoiido 
 m 1468. 
 
 w^hich 
 
,24 ARCHITECTURE. 
 
 which are fo effential to a favourable elevation 
 of the feveral buildings, and* the number of 
 them feen in the fame view, the High ftreet 
 in Oxford is greatly fuperior, if not in the 
 individual beauty of the component ftruc- 
 tures. 
 
 Before commerce had ufurped every inch 
 of ground in the bufy parts of the capital, the 
 feries of noblemen's palaces frorn Arundel 
 houfe in the Strand to Northumberland houfc 
 at Charing-crofs, as they ftood at the begin- 
 ning of the laft century, muft have had an air 
 of national grandeur, which is now no more. 
 
 Oxford is not only dlftinguifhed for beauty 
 as a city, but for the number and pleafantnefs 
 of its gardens and public reforts. The ca- 
 thedral length of trees" at Chrifh Church, the 
 bowers of Merton, the happy efFefh of mo- 
 dern gardening at St. John's, and of the ftyle 
 of the laft age, in Trinity and New College, 
 with the delightful retreats on the banks of 
 the Cherw^ell at Magdalene \ compofe envi- 
 rons of infinite amenity. The Englifh Aca- 
 demus enjoys its ftudious walks and fhades/' 
 
 ' To hunt for truth in Maud'IIn's learned grove." 
 
 Pope's Imit. Hor. Ep. 1. II. 
 
 which 
 
ARCHITECTURE, i2§ 
 
 ^vhich yield to thofe of Athens, only on ac- 
 count of the revolutions of our climate. 
 
 The fumptuous palace of Blenheim, and 
 the elegant villa at Nuneham, fo often ad- 
 mired and defcribed, are in the vicinity of 
 Oxford. After Mr. Gilpin, who pofleffes un- 
 queftionably the happy faculty to paint with 
 words, it w^ould be arrogant to attempt a 
 verbal delineation of fccncs which he has 
 examined with fo much fcience of "piciu- 
 refque beauty 
 
 The fyftem of modern gardening has been 
 employed in no fituations with greater advan- 
 tage, than in the grounds which are attached 
 to thofe fuperb manfions.. 
 
 Modern gardening, as a fcience, has had 
 perhaps too rapid a progrcfs for its eventual 
 perfed:ion ; and has been imitated with fuc- 
 cefs, no lefs various, than landfcape on canvas 
 by thofe painters who rather truft to fancy, 
 for defign and colouring, than confult nature 
 for original or correct architypes". 
 
 The 
 
 " Northern Tour. 
 " In Mr. R.epton's fyftem, the naked manfion, the 
 lhaven lawn, and Terpentine lake in the diftance, are re- 
 peated till they naufeate. — ^'Tsedet me hodiernaram haruni 
 
 formarum." 
 
126 ARCHITECTURE. 
 
 The iritroduftion of architedlure into garden 
 fcenes in England may date its origin in the 
 prefent century. Vanbrugh gave defigns for 
 temples at Eaftbury in Dorfetfhire, but he 
 could only repeat himfelf, and they are merely 
 parts of his houfes in miniature. 
 
 At Stowe, he indulged his fancy in a pro- 
 fufion of unmeatiing boxes, excepting the 
 Temple of Venus. 
 
 In the villas near Romc^ the fountains, 
 terraces, and flights of flairs (for the w^hole 
 fcheme of Roman gardens is artificial) em- 
 ployed fome of their moft famous architefts> 
 and great variety and tafte are difplayed, 
 which produce grandeur w^ithout heavinefs ; 
 and ftatuary, principally in fpecimens of the 
 antique, lends its aid to complete a magnifi- 
 cent whole. The difgufting conformity and 
 repetition fo effedlually ridiculed by Pope, no 
 longer pervade our gardens; but are now^ pe- 
 culiar to Germany and the Low Countries, At 
 the epifcopal palace at Wirtzburg, I could 
 
 formarum.'* Taile and nature however have found abb 
 advocates in Mr. Uvedale Price, and Mr. R. P. Knight, 
 the one in a poetical, and the other in profe effays, whofe 
 efforts may ftill reprieve the obfolete prolixity of fliade." 
 
 CoWfER, 
 
 not 
 
ARCHITECTURE. la; 
 
 not rcprcfs my aftonifliment at the coloffiil 
 cUftortions intended to reprefent ftatues, the 
 bowers of painted lime trees, and correfpon- 
 dent alleys buttoned with hundreds of flower- 
 pots, which compofcd thefe grotefque pleafure 
 grounds, peopled like the Elyfian fields, by a 
 multitude; but in defiance of claflic defcrip- 
 tion, in groupes, fmgle figures and bufts, be- 
 yond arrangement or number. 
 
 In fome of our extenfive domains dedicated 
 to pidiurefque beauty, where nature has been 
 moll indulgent, I have, been difappointed by 
 obferving numerous ftruftures of high pre- 
 tenfion as to ornament, fo ill fuited to the 
 genius of the place. We abound in eccle- 
 fiaftical and military ruins, which are truly 
 inimitable, and lofe all effed: when attempted 
 upon a fcale of inferior dimenfions. Why 
 are we fo ambitiouii of multiplying copies, in 
 which aJl character is funk in diminiihed 
 proportions? Why have we fiach an abun- 
 dance of grottos and huts, in a climate of 
 eternal damps? 
 
 Inftead of thefe monotonous embellifh- 
 ments, and imperfeet imitations of what we 
 already pofllefs, in number and originality, be- 
 yond other nations on the continent, let me 
 
 indulge 
 
i2i ARCHITECTURE. 
 
 indulge a faint hope, that tafte, in happier 
 times, may feleft a fpot, and opulence offer 
 her ftores to enrich it, with the genuine mo- 
 dels of claffic antiquity. The remains of 
 Athens, of Rome, of Ionia and Balbec, are 
 become national treafures, by the ingenious 
 and erudite labours of Britilh artifts°. No 
 longer content with accurate delineations 
 upon paper, or diminutive cork-models of 
 them, as feen in libraries of fuperior elegance, 
 the reftoration of thofe fuperb or beautiful 
 edifices, lliould dignify fome chofen fpot of 
 correfpondent compofition. In the fimilitude 
 of caftles and abbies, extent and maffivenefs 
 are infeparably ncceflary; vv^ithout them, all 
 effe£c dwindles into littlenefs; but the Gre- 
 cian fane may be rendered perfect in the 
 minuteft reprefentation of it. The exa6l 
 model of the Maifon Quarree at Nifmes, 
 called the Temple of Concord and Victory at 
 Stowe, built by the late lord Temple, when 
 viewed as prefiding over a noble valley, will 
 prove my alTertion, no lefs than the copy of 
 
 ' Stuart's Athens, 3 vols fol. Degodetz, Rome, by Mar- 
 ihall. Ionian Antiquities, 2 vols. fol. publiflied by the 
 Dilettanti Society. Wood's Balbec and Palmyra, dec. 
 
 the 
 
ARCHITECTURE. 129 
 
 the Temple of the Winds at Athens, at 
 Mr. Anfon's at Shuckburgh^, though unfor- 
 tunately placed. In the execution of fuch a 
 plan for a fchool of claffical architedlure, not 
 the flighteft deviation from the true model or 
 reftoration, formed from actual admeafure- 
 ment, fhould be tolerated. It fhould be feen 
 in the chaftnefs of the original, confonant in 
 every part. We might then begin to antici- 
 pate our emancipation from the Vanbrughs 
 and Borrominis of the prefent day. 
 
 A few years ago, prince Borghefe patronifed 
 Jacob Moor"^, who was the boaft of the Bri- 
 tifh nation, and then ftudying at Rome as a 
 landfcape painter, he not only felt the beauties 
 of Claude Loraine, but rivalled them. His 
 own portrait, with an accompaniment of foreft 
 
 p The Choragic Monument of Lyficratcs. Stiiait's 
 Athens, c. 4. pi. i — 3. Hie 06i:agon Tower of Andro- 
 nicus Cyrheftes. Stuart's Athens, c. 3. pi. i — 3. and the 
 arch of Hadrian at Athens, are all imitated in the grounds 
 of Shuckburgii. 
 
 ^ He was born at Edinburgh, and died at Rome in 1793, 
 where he had principally refided and fludied. He has re- 
 prefented himfelf Avit.h iiis coatjaken ofFand Ivingby liini, 
 and as rcfling under a fpreading li'ce, in a foreft. 
 
 K fgencry, 
 
I30 ARCHITECTURE. 
 
 fcenery, contributed by himfelf to the cham- 
 ber of painters in the gallery at Florence, is 
 an honourable teftimony of uncommon ex- 
 cellence. 
 
 Under Moor's direction, tb.e prince deter- 
 mined to remodel the ground adjoining to his 
 incomparable villa on the Pincian hill. The 
 gardens of the Medici and Albani villas, and 
 thofe called Boboli near the grand duke's 
 palace at Florence, are laid out in a ftiff 
 taftc, with walls of evergreens, ftraight alleys, 
 marble fountains, and crowds of ftatucs. Yet, 
 I am inclined to think, that this ftylc, now 
 obfolete in England, is beft adapted to Italy: 
 where a conftant and ftrong fun would foon 
 dellroy velvet lawns, and the broad fliade in 
 a flreet of clipped trees or covert walks is 
 more coincident with the local idea of luxu- 
 ry. Their perfeftly harmonifnig landfcapes 
 are found only in imagination and on canvas, 
 for the art of reducing a diftrii^i of country to 
 the rules of piclurefque beauty, as frequent 
 in England, is unknown to them. 
 
 Moor gave the firft fpecimen of an Englifli 
 garden to the Roman artifts, as defcribed in 
 Mafon's elegant didactic poem fo denomi- 
 6 • nated. 
 
ARCHITECTURE. 131 
 
 nated. The alleys and terraces dlfappearing, 
 the fountains no longer are forced into the 
 air, and the water liberated from marble 
 chefts, fprcads into a lake with irregular fliores. 
 Upon a fmall illand in this garden is the 
 temple containing a fine ftatue of ^fculapius''; 
 and another exquifite morceau of architecture 
 facred to Diana', in an appropriate iltuation, 
 each of moft correcl imitation. Other parts 
 of thefe ornamented fields exhibit the Roman 
 fcenes of old. A hippodrome, a villa in- 
 variably correfponding with the plan and fcale 
 given by Pliny and Vitruvius, and a mufeum 
 deftined to receive the ftatues found in the 
 city of Gabii (deferted even in the davs of 
 Horace ) realife the idea I have fketched of a 
 clafiic pleafure ground. Upon the very fitc 
 of the gardens of Sallufi: given to the Roman 
 people, to have an aftual infped:ion and re- 
 vival of fome of their original plans and em- 
 bellifliments, after a lapfe of two thoufand 
 years, atforded a fatisfa6lion which no deU- 
 neation could equal. 
 
 I copied the fubjoined infcriptlon on the 
 bafe of a ftatue of Flora, in proof that the 
 
 ' ASKAEnEini SOTHPI." 
 
 *' NOCTiVAGAE NEMORVM POTENTl." 
 
 K 2, modern 
 
132 ARCHITECTURE. 
 
 modern Romans are ftill mailers of Latin 
 compofition \ 
 
 VILLAE. EORGHESIAE. PINCIANAE. 
 CVSTOS HAEC EDICO. 
 OyiSQUIS ES. SI LIBER 
 LEGVM COMPEDES. NE HIC TIMEAS. 
 ITO QVO VOLES PETITO QVAE CVPIS. 
 ABITO QVANDO. VOLES. 
 EXTERIS. MAGIS. HAEC PARANTVR QVAW HERO. 
 IM. AVREO SECULO VBI CVNCTA AVREA 
 TEMPORVM SECVRITAS FECIT. 
 BENEMERENTI HOi>PITI. 
 FERREA3 LEGES PRAEFIGERE HERVS VETAT. 
 SIT HIC APvIICO PRO LEGE 
 PIONESTA VOLVNTAS. 
 VERVM SI OyiS DOLO MALO LVBENS SCIENS 
 AVREAS VRBANITATIS LEGE > FREGIRIT. 
 CAVEAT NE SIRI 
 TESSARAiM AMICITIAE SVBIRATVS VILLICVS 
 ADVORSVM FRANGAT. 
 
 ^ Upon an oppofite column are infcribed fome verfes 
 from Petronius Arbiter, (Satires, ch. 131) which are 
 ac];nirab]y defcriptive of rural fcenery and beauty. 
 
 SECTION 
 
ARCHITECTURE. 
 
 SECTION YII. 
 
 The Greeks are fald to have borrowed 
 archlte£lure from the AlTyrians, who had 
 previoufly acquired it from the Egyptians. 
 Athens, which was the earlieft, was Ukew^fc 
 the befi: fchool of architecture. The orders 
 w^hich are afcribed to Dorus and Ion, have a 
 date at leaft eight hundred years anterior to 
 the chriftian aera, but the Corinthian is more 
 modern \ 
 
 The 
 
 ^ The hiftory of archite6lure, like tlmtof the other arts, 
 marks out the progreffion of manners. Among the Dorians 
 it carried with it the auftcrity of their national chara6^cr, 
 which dlfplayed itfclf in their language and mufick. The, 
 lonians added to its original finiplicity an elegance, which has 
 excited the univerfal admiration of poderity. The Corir- 
 tliians, a rich and luxurious people, not contented with 
 foiiner improvements, extended tlic art to the very verge 
 ot vicious refinement. And thus (fo connedted in their 
 origin are the aits, fo fimilar in their progrels and revolu- 
 tions) the fame genius produced tliofe three chara6i;ers of 
 ftyle in architedure, which Dionvlius of Halic irnaflus, cn^ 
 of the mofl: judicious critics of Greece, remarked in its lan- 
 
 K 3 gunge. 
 
134 ARCHITECTURE. 
 
 The Romans were imitators of the Egyptians 
 and Greeks. Simplicity and mere ufefulnefs 
 charafterifed their national buildings in the 
 rude days of the republick ; — thofe erefted by 
 the Emperours were confpicuous for their 
 magnificence. They were moft fumptuous 
 and beautiful in the reign of Auguftus ; be- 
 came evidently inferior in that of Trajan ; 
 and declined far below mediocrity, even in 
 the third century of chriftianity. 
 
 Vv^e ovve to the Romans the invention of 
 the Tufcan and Compofite orders. The firft- 
 mentioned was the original ftyle of Italy 
 formed upon the Doric model, fo frequent in 
 Magna Grascia, before the introduction of 
 Attic architecture, but heavy and void of 
 grace in its proportions. Of the Compofite, 
 firft ufed in the Auguftan age, we obferve the 
 
 guage. The Dorians exhibited an order of building hke 
 the ftyle of their Pindar — like Efchylus — like Thucydides. 
 The Corinthians gave their archite6liire that appearance of 
 delicacy and effeminate refinement which chara^lerifes the 
 language of Tfocrates. But the Jonians ftruck out that 
 happy line of beauty, which partaking of the fimplicity of 
 the one without its harlhnefs, and of the elegance of the 
 other without its luxuriance, exhibited that perfection of 
 ilyle which is adjudged to Homer, and his beft imitators." 
 
 ^BuRGES3 f/z the Study of Antiqiutlcs, 
 
 more 
 
ARCHITECTURE. 135 
 
 more frequent Inftances confined to decoration 
 lavlllily employed, than in pure and claffical 
 architecture. 
 
 The zenith of Roman architecture was 
 under the aufpices of Vefpafian and his im- 
 m.ediate fucceffors, who completed the Temple 
 of Peace and the Colofaeum, or Flavian am- 
 phitheatre. Upon the eftablifhment of 
 chriftianity, the external magnificence was 
 facrificed to the internal decoration, and the 
 oblong fquare, the ground plan peculiar to the 
 ancient temples, being extremely fimple in 
 their interior, but fumptuous to view, was 
 gradually formed into the Greek and Latin 
 crofs, which is much more favourable to fu- 
 perftition than to beauty. The removal of 
 the imperial ^throne from Rome to Conftan- 
 tinople, involved at the fame time, and from 
 the fame caufes, the decline and fall, not only 
 of the empire, but of pure architefture. 
 
 Not earlier than the beginning of the fix- 
 teenth century, under the aufpices of Leo the 
 tenth, and the Medici family, architccls were 
 encouraged to apply themfelves to antique 
 models, and to meafure their proportions, 
 that they might defign the orders ^^ ith pre- 
 cifion. Bramante, Sangallo, and Michclag- 
 
 K 4 noulo, 
 
136 ARCHITECTURE. 
 
 noulo, ere6led edifices v/hich excelled thofe of 
 the Greeks, both in magnificence^ and regu-, 
 larity, in fuch a degree as to offer the beft ex- 
 amples to other nations. The commence- 
 ment of the church of ':: t. Peter may be re- 
 garded as the epocha of the revival of arch i- 
 tefture in Europe. 
 
 Since that time each country has fent its 
 native artifts to Rome to ftudy archite6lure, 
 who, as it might have been naturally expected, 
 were content to form themfelves folely in the 
 fchools of their new mafters, as it was much 
 more prad:icable to ftudy after in tire works> 
 and thofe which were ccnftantly before them, 
 than to purfae a painful and uncertain invef- 
 tigation of the monuments of antiquity. No 
 better reafon can be adduced, I prefume, for 
 
 ^ Several of the moft admired of the ancient temples 
 were not of great dimenfions. The temple of Jupiter at 
 Jackley near Alabar.da. lonicexaftyle feet by 94. 
 
 Peri fly le II columns on either fide. Ionian Antlq. v. i. 
 
 p. 58. 
 
 Temple of Fortuna Virilis at Rome. Ionic tetraftyle 
 54 8 by 28 8. Periflyle I columns, nine on either Tide. 
 Degodetz' Rome. v. i. p. 50. Pvlaifon Quaree at Nifmes. 
 Exailyle dO feet by 84. Cell 36 feet by 64. Periflyie f 
 columns, 11 on either fjde, 44 feet high, diameter 2 feet 
 9 inches, eight diametres. — Clerifleau Archit. de Nifmes. 
 
 the 
 
ARCHITECTURE. 137 
 
 the flow progrefs of true tafte in every coun- 
 try ot Europe during the firft century, after 
 the death of Leo the tenth. 
 
 Italy in the revival of clafiical architcfture 
 prefented an admirable model in St. Peter's 
 church, and inltances of that ftyle, in facrcd 
 edifices which were afterwards ereded in 
 Rome, were incrcafed to a great number, but 
 with a fuccefs decidedly inferior to their 
 archetype, and widely dcfcriminatcd from 
 each other. 
 
 The Italian m^anner was not early adopted 
 by the French in their churches ; for that of 
 St. Louis, de la rue St. Antoine, after a dciign 
 executed at Rome by Vignola, which v/as a 
 fignal for revolution in the form and dillri- 
 bution of ecclefiaftical architecture in Paris, 
 has no higher date than of the lafl: century. 
 The cupola of the Invalidcs by Maiifart, and 
 the whole ftructure of the church of ^t.- Ge- 
 nevieve by Sufflot, are feleded as the moft 
 perfeft proofs of their national proficiency. 
 
 In the Catholic ftates of Germany, I ob- 
 fcrved a few, but imperfeil, imitations of the 
 Italian ftj le, which dcferve httlc commenda- 
 tion. John Bernard Fifchcrs, even , in his 
 boafted work, the church of St. Charles 
 
 Borromco, 
 
138 ARCHITECTURE. 
 
 Borromeo, a monument of the piety and mag- 
 nificence of the Emperour Charles the fixth, 
 has evinced no {kill, and produced no beauty, 
 neither in the oval fhape of its cupola, nor in 
 the two arcades, the one vaft and the other 
 diminutive, nor in the two hiftoric columns, 
 fo placed as they are. 
 
 Of Inigo Jones, and our obligations to him 
 for the introduction of pure architecture, fome 
 mention has been made. His projected palace 
 of Whitehall, had it been completed under 
 his ow^n infpection and the patronage of his 
 royal mafter, would have rivalled many on the 
 continent. But of his fkill in facred build- 
 ings we have no grand inftance, fmce the por- 
 tico and front which he attached to the 
 Gothick of Old St. Paul's no longer exifts. 
 The church of St. Paul, Covent Garden, has 
 exquifite fimplicity, but no magnificence; and 
 has been both pralfed and blamed with as 
 much prejudice as truths In the opinions 
 
 of 
 
 e Critical Review of publick buildings, &c. 8vo. 1736. 
 p. 21. Walpolc's Anecdotes of Painting, 8vo. v. 2. p. 275. 
 This church is 125 feet by 50, and compared by Maundrel 
 to the moft perfe6t of the temples at Balbec, the dimenfions 
 of which are 225 feet by 120. Cell 130 feet by 85. 
 
 Diameter 
 
ARCHITECTURE. 139 
 
 of many critics the total abfence of ornament 
 is not compenfated by mere correftnefs of 
 proportions. The boaft and admiration of 
 England is the cathedral church of St. Paul*'* 
 We have even ventured to advance its claims 
 to an equality with thofe of St. Peter at Rome, 
 excepting for magnitude only. That fuch a 
 competition will be eafily maintained, candour 
 cannot allow, w^hilft in examining the objec- 
 tions made by foreigners of tafte, it finds that 
 they are founded in faft, as well as fupported 
 
 Diameter of the columns 6 feet; ocloAyle eight and a half 
 diameters high ; intercolumniation 9 feet ; perifty'e 14 on 
 either fide ; pediment 120 high. 
 
 The peculiar circumftance of St. Paul's is, that it was 
 finifhed by one architect in thirty-five years, from 1675 to 
 3710, under one bifhop. St. Peter's was 14^ years in 
 building, from 1503 to 1648, under nineteen Popes, and 
 by twelve architedis in fucccfiion. 
 
 Dimenjions. — St. Peter's length 729 feet, breadth 519. 
 Facade 364 feet, height 437. Outfide diameter of the 
 cupola i8g, inward diameter 108 feet. 
 
 St. Paul's length 500 feet, breadth 250. Fagade 180 feet, 
 height 340 feet; outward diameter of the cupola 145 feet, 
 inward diameter 100 feet. 
 
 The relative proportions of thefe churches have been ad- 
 mirably exemplitied by the architect Bonomi, who placed 
 one within the other, in a fcale which he exhibited at 
 bomerfet Houfe in 179S. 
 
 bv 
 
140 ARCHITECTURE. 
 
 by opinion. Let us attend to their ftatement 
 of deficiences in architeftjaral fcience difco- 
 verable in this grand edifice, not to infift on 
 thofe which are more dependant on tafte. 
 
 They affert^that theeffential and vifiblewant 
 of proportion in fome of the principal dimen- 
 fions is extremely derogatory to any praifc 
 which has been given to Sir Chriftopher Wren 
 for his underftanding the elegant precifion of 
 the antique, or even the excellent modern 
 fcyle, which exifted in his time, and which 
 he was fully enabled to confult and follow. 
 They inquire, v/hy the architrave and frize 
 are omitted above the arcades of the nave 
 and choir, vvhllft the entablature is complete 
 in every other part of the fabrick ? Why the 
 fummit of the arcade is elevated, as in the 
 Temple of Peace at Rome, above the capitals 
 of the pilafters, for the v^hole height of ar- 
 chitrave and half that of the frize ? Why has 
 the enormous cupola, which appears to over- 
 whelm the church, a height and exterior cir- 
 cumference fo difpropcrtioned to the other 
 dimenfions of the edifice ? And laftly, why is 
 the infide furface of the cupola made into an 
 im perfect cone, which throws the pilafters 
 out of their upright, and forces them to lean 
 
 towards 
 
ARCHlTECTUPvE. 141 
 
 towards the centre ? They contend that no 
 fimilar errors can be detcded In the rival 
 temple, nor will they allow the great Englifli 
 architect to emulate the fame of Michel- 
 agnuolo, and his fucceffors in that ftupendous 
 ftrud:ure. Acknowledging my incompetence 
 to decide upon the validity of fuch allegations, 
 I will only exprcfs the fatisfadiion I fliould 
 feel, were the queillon agitated by any of the 
 learned architeds who fapport the credit of 
 the Englifh fchool. 
 
 As to decoration, which muft be fuggefted 
 and regulated by tafte alone, it may be wiflied 
 that Sir Chriftopher Wren had not divided 
 the body of the church into tw^o equal orders, 
 inftead of adding an attick only, as at 
 St. Peter's, and that he had been more 
 fparing of fcftoons, which crowd the furface, 
 already broken into minute ruftic, to the very 
 fummit. Of the facade, and particularly of the 
 two hemifpherical porticos at either termina- 
 tion of the tranfept, too much cannot be faid in 
 praife. The vail: cupola, no lefs than the 
 other parts of the ftruftures in connexion 
 with it, when infpedcd from one of the an- 
 gular points of the building, acquires a greater 
 harmony of parts, as the extreme length is 
 
 fore- 
 
142 ARCHITECTURE. 
 
 fore-fhortened, and blends more accordantly 
 with the whole. 
 
 It is well known, that the firfi: defign 
 which he gave for this cathedral was more 
 approved by its great author; and it has 
 apparently fome advantages over that which 
 was finally adopted, after many interferences 
 and deviations, made at the inftance of thofe 
 who directed this fumptuous work, Amongft 
 other points of fuperiority may be noticed, 
 that the whole fabrick confifted of one order 
 only, inftcad of an equal divifion into two. 
 and the grand portico projected with a fpace 
 and elevation not unequal to that of Agrippa 
 added to the Pantheon at Rome^ 
 
 But the fame of Sir Chriftopher Wren, as 
 an archited: of true tafte, is fecurely eftablifh- 
 ed by an elegant church of St. Stephen Wal- 
 broke, to which even foreigners confent to 
 allow an unqueftionable praife. He has not 
 
 « Dimenjions of the intended chnrch — Height 300 feet, 
 diameter of the Cupola 120, length 430, breadth 300, 
 Portico, ocloflyle, of 8| diameter, length lao, height 45. 
 The cupola was not rifmg from a rotunda, as at prefent, 
 but fupported by fmall buttrefTes. Plates of the plan and 
 elevation have been publifhed, and the model is uiil (how a 
 at St. Paul's. 
 
 omitted 
 
ARCHITECTURE. 143 
 
 omitted a fingle beauty of which the defign 
 was capable, but has applied them all with 
 infinite grace. 
 
 We may conclude from its perfeftion, that 
 he was not cramped and overruled in his ori- 
 ginal idea, which he had completed in his 
 own mind previoufly to the commencement 
 of the ftrufture ; for nothing like an after 
 thought, or fubftitution of one part for ano- 
 ther, can be difcovered in the whole. The 
 cupola ^ refts upon Corinthian columns of the 
 fineft proportions. 
 
 The library at Trinity College, Cambridge, 
 exhibits more grandeur than any in Oxford ; 
 an effe6l which it owes as much to propriety 
 of fituation, as to the excellence of defign ^. 
 It has been objefted to Greenw^ich Hofpital, 
 that it confifiis of two palaces exactly repeated, 
 and appearing as wings without a body. 
 
 The Ranger's houfe is too infignificant to 
 terminate fo magnificent an area, and would 
 be well removed for the colcffal ftatue of 
 Naval Victory 230 feet high, as propofed by 
 
 Dimenfions. — Ground plan 75 feet by 56; height of 
 the cupola 58, diameter 38. 
 
 S 190 feet by 40, and 38 high. 
 
 Flaxman. 
 
au ARCHITECTURE. 
 
 Flaxman. Bernini's Doric colonades at 
 St. Fetcr^s are not greatly faperior to thofe at 
 Greenwich ^. That the firft mentioned torm 
 a circle is a circumftance of advantage, which 
 is amply compenfated by the rich perfpedlive 
 by which the others are clofed. 
 
 Preferved in the archives of All Souls Col- 
 lege are the plans and elevations of a palace 
 intended to be erecSed in St. James's Park. 
 From ihefe, it appears to have fewer faults 
 than Hampton Court, Marlborough-houfe, or 
 Wincheftcr palace, but no excellence to caufe 
 regret, that it has never been built. 
 
 The monument* is more lofty than the 
 famous hiftorical columns of the ancients, but 
 can offer no other point of comparifon. Much, 
 Indeed, it lofes by its unfavourable fituation ; 
 had it been raifed in the center of Lincoln's 
 Inn Fields, its elevation would have been un- 
 
 ^ Each of the colonades is 20 feet lii-ii, and 34.7 feet 
 long, with double columns, as at St. Peter's. 
 
 ^ The monument was begun in 1671, and finiilied in 
 1677. ^^^^ high, and contains 28,196 feet of folid 
 
 Portland ftone. The Antonine column at Rome is 175 ; 
 the Trajan 117 feet ; and that ereclcd by Arcadius at Con- 
 flantinop eot the fame height, when perfe£l. Ail the ancient 
 pillars ftood in the center of a forum or magnificent fquare. 
 
 interrupted^ 
 
ARCHITECTURE. 145 
 
 interrupted, and the cvtAit it was intended to 
 commemorate, equally recorded. How often 
 .is architedture doomed to fuffer from the ob- 
 ftinacy of fuperllition, or the local prejudices 
 of mankind ? 
 
 By the farcaftic wit of Svvlft, the cenfure 
 of Pope, and the elegant criticifm of Wal- 
 pole, Blenheim was long condemned to be 
 fpoken of, if without contempt, rather as a 
 monument of the gratitude than of the tafte 
 of the nation I. But Blenheim, fmce its envi- 
 rons have been fo magnificently embelliflied> 
 under Browne's direction, has acquired a new 
 charafter. Its firft panegyrlft was Sir Jofliua 
 Reynolds, whofe accurate judgment has been 
 confirmed by the moft accomplillied critics 
 of pi6lurefque beauty, Gilpin and Price, The 
 numerous turrets rifing pyramidally Icflen the 
 ponderofity without a diminution of the grand 
 efFed: of extent and folidity, which fliould be 
 peculiar to a palace, built as a record to ages. 
 
 In this obfervation I beg to be underftood, 
 as not confounding architeftural merit with 
 the prefent piclurefque efFeft, produced long 
 fmce by a newly created landfcape. When 
 Vanbrugh imagined and completed Blenheim, 
 
 ' **CanclldIsautem animis voluptatem pra;buerlnt in con- 
 fpicuo pofita, quae cuique magn',fica merito contigerunt.'* 
 
 L It 
 
145 ARCHITECTURE. 
 
 it had little advantage of correfponding fcc- 
 nery, but was deeply inveloped in formal 
 plantations, labyrinths, and topiary works of 
 box and yew. 
 
 Of Caftle Howard, his next confiderable 
 work, the points of excellence are ftill fewer ; 
 and there is an infinite littlenefs of parts per- 
 petually interrupting the intended effed: of a 
 whole fo greatly affifted by magnificent en- 
 virons. 
 
 Architecture flourifhes only under the pa- 
 tronage of States, or of their moft enlightened 
 and opulent individuals. About the com- 
 mencement of the prefent century, two no- 
 blemen, the earls of Pembroke and Burling- 
 ton, were not only patrons, but eminent pro* 
 feflbrs. The reverence lord Pembroke fhow- 
 ed to the genius of Inigo Jones, and the 
 inventions of lord Burlington, had an aufpici^ 
 ous influence in correfting the heavy and un- 
 claflTical manner which frequently difgraced 
 the ftruftures of the laft age, and of im.part- 
 ing fomewhat of Italian grace to Englifh 
 manfions. Lord Burlington's moft celebrat- 
 ed work,, both for beauty and originality, is 
 the affembly-room at York. 
 
 In his own cafino at Chifwick, he has 
 adopted the general idea of that built by Pal- 
 
 ladio 
 
ARCHITECTURE. 147 
 
 ladlo, near Vicenza, and called the Villa Ca- 
 pra or Rotonda^. Withinlidc, much is fa- 
 crificcd to external fymmetry, both in the 
 
 ^ In April 1796, when at Vlcenza, I walked to the 
 Rntonda, a villa of the Marchefe Capra, a mile froin the 
 city gates, and one of the moft celebrated works of the 
 great reflorer of architecStiire. Nothing can exceed 
 both the plan and elevation, in fimplicity, and commodi- 
 cufnefs. There are four porticos, four falas, or large par- 
 lours, with as many fmaller adjoining, four ftaircafes, all of 
 which communicate witli the gallery of tlie cupola. Above 
 is the fame diftribution of lodging rooms, and on the 
 ground floor, of offices. Though not an inch of fpace is 
 unoccupied, convenience is never facrificed. The rotunda 
 Is 29 feet in diameter, the falas 24 feet by 15, and the 
 length from one portico to another is 66 feet. As it is 
 fituatcd upon an infulated acclivity, and confequently ex- 
 pofed, the coins of tlie houfe are very judicioufly made to 
 anfvver to th.e four cardinal points. Each portico is fup- 
 ported by llx Ionic columns; the whole is conftrudled of 
 brick, but incrufted with " intonaco'* as hard as marble. 
 The floors are likewife made of a compoft of pounded 
 brick with the befl: flaked lime and fmall pieces of marble 
 burned, not fo as to difTolve in water, but to break witli 
 cafe, and thickly (luck in either at hazard or in figures. 
 When rolled with a heavy roller the fioor becomes highly 
 polifhed, fo as to refemble porphyry or verd antique. The 
 marquis fliewcd me. the whole with the greateft politenefs. 
 He faid, that his houfe was originally built for the fummer 
 refidence of four brothers of his family, with dill:ind apart- 
 ments; and dire6led mv attention to four original portraits 
 of the great Italian archite6ls Palladio, Scamozzi, Delia 
 Valle, and Sanfovino ; the firft mentioned is by Titian. 
 
 L :i pofition 
 
148 ARCHITECTURE. 
 
 pofition of the doors and windows, and in the 
 fizc and proportion of the rooms. 
 
 By the judicious addition of two wings, 
 and the exquifite tafte which pervades the 
 improvements lately made, Chifwick has 
 acquired that which w^as originally deficient, 
 and commodioufnefs is now added to archi- 
 tectural beauty ^ 
 
 Palladlo's rotunda above mentioned, has 
 excited a defire of imitation, and an ambition 
 of improvement, which has failed, from a 
 violation of the fimplicity which confers all 
 its excellence on the original. The houfes at 
 Mereworth and Footfcray in Kent, and at 
 Nuthall in Nottinghamlhire, vary from their 
 archetype with imperfect fuccefs. The four 
 porticos, which conftitute their decoration, 
 are ill adapted to our climate, and the filling 
 them up with apartments, as in fome of thefe 
 
 i The connoifTeur will here contemplate all that is ex- 
 quifite in the Palladian archite6lure, and all that is fafci- 
 nating in the Gothick ftyle at Strawberry-hill, diftant only 
 a few miles. The noble architedl:, who purfued the iludy 
 of Englidi antiquities with fo much fclence and grace 
 withheld from his own work the merit of a perfecl imita- 
 tion. Strawberry-hill is yet the happieft attempt of the 
 kind, as the numerous Chinefe blunders, called ** Go- 
 thick" by their inventors, will fufficiently prove. 
 
 inftanccs. 
 
ARCHITECTURE. 149 
 
 inftances, is little lefs than a folccifm in archi- 
 t€(Sure. 
 
 To the earls of Orford and Lciccfter, we 
 owe two edifices, at Houghton and Holkham 
 in Norfolk, which greatly exceed both in 
 tafte and magnificence any that were created 
 in the reign of George II. Riply, fo feverely 
 fatirifed by Pope, and who loft all credit in 
 his portico at the Admiralty, gave the firft 
 plan of Houghton, and methodifcd the fre- 
 quent alterations which were fuggefted by 
 Lord Orford and his friends. A very fplendid 
 pile is the efFed: of their joint confultations. 
 Lord Leicefter is faid to have imagined the 
 whole of his palace at Holkham in his own 
 mind, unaflifted by architefts. Some credit 
 is yet due in the execution to Brctingham, 
 but more to Kent, who defigncd the noble 
 hall terminated by a vail: ftaircafe, producing 
 in the whole, an impofing effe6l of grandeur 
 not to be equalled in England. There is, 
 however, much more of the French than the 
 Palladian ftyle in both thefe celebrated build- 
 ings ; particularly in the corridores and their 
 appendages. 
 
 Burlington-houfe in Piccadilly, the noble 
 owner was content to allow the praife of de- 
 figning to Kent; but its chief excellence is due 
 
 L 3 to 
 
150 ARCHITECTURE. 
 
 to the accompaniment, which was planned by 
 that claffical peer. A more airy and ele- 
 gant colonnade will be feldom feen, even ia 
 Italy. 
 
 James, who had gained no great credit in 
 fome cf the fifty churches voted by Parlia- 
 ment in queen Anne's reign, had been em- 
 ployed by the duke of Chandos to build his 
 houfe at Cannons, where he fet tafte and ex- 
 pence equally at defiance. He fucceeded 
 much better in that which he defigned for 
 Sir Gregory Page, upon Blackheath. The 
 laft mentioned was completed from a plan in 
 which fome deviations were made, from that 
 of Houghton. It is mortifying to the vanity 
 of architects to refled;, that fo few years have 
 elapfed fmce the erection of thefe fumptuous 
 buildings, and the difperfion of their materials 
 by piece-meal. 
 
 Wanftead-houfe in Epping Foreft, to which 
 foreigners affign more architectural merit than 
 to moft others of our noblemen's refidences, 
 was built from a defign of Colin Campbell, 
 the compiler of the Vitruvius Britannicus 
 
 where 
 
 ^ Vitruvius Britannicus by Colin Campbell, vol. i. 
 publifhed 1715 ; 2d 1717 ; 3d 1755 ; 4th by Woolfe and 
 
 Gandorj 
 
ARCHITECTURE. 151 
 
 where he is charged with having affumed to 
 himfelf the exclufive credit of many defigns, 
 to which he had flight pretcnfions. 
 
 The prefent reign has been aufpicious to 
 refinement in archltefture, and as we have 
 become more converfant with the antique 
 and Roman models, by means of many fplen- 
 did publications, a ftylc has been introduced 
 which is formed rather on that of the tem- 
 ples of Athens and Balbec fo elucidated, than 
 of Palladio and his fchool, allowing the 
 French manner to have been previoufly fu- 
 pcrfeded. 
 
 Adams may be confidered as the architect 
 who firft adopted this innovation. The houfe 
 he built for lord Scarfdale in Derbyfliire (al- 
 though confidcrably improved by Bonomi) 
 abounds in parts collcifled from the fineft re- 
 mains of Palmyra and Home, and is truly a 
 compofition of elegance and grandeur. 
 
 Shelburne-houfe in Berkeley-fquare, has a 
 
 Gandon 1767 ; and vol. v. 177 1, in Imperial folio. Woolfe 
 and Gandon were both clafTical archltedts. Woolfe built 
 lord Shrewfbury's at Heythrop, and Gandon gave a mofl 
 corre6l and elegant dcfign for the county hall at Notting- 
 ham, of the Ionic order. 
 
 L 4 decorated 
 
152* ARCHITECTURE. 
 
 decorated fimplicity, yet rich in cfFed:, and 
 feveral very noble apartments. Of the fame 
 defcription is the houfe at Luton in Bedford- 
 Ihire, which, had the whole plan adopted by 
 the late Lord Bute been carried into effect, 
 would have been equalled by few of the re- 
 fidences of our nobilltv, in all that fhould 
 charafterife a fplendid manfion. The library 
 is fcarcely exceeded in England. In the front 
 of Lord Buckingham's at Stowe, a certain 
 flatnefs is relieved by an angular point of view 
 where the portico becomes jnajeftic. 
 
 The Adelphi in the Strand may be clafled 
 with our public works. Many faults have 
 been deteded by critics, as that the petty or- 
 naments have been multiplied to exuberance, 
 and that no ftyle has been adhered to in 
 particular. Confidered as ftreet architecture, 
 the whole wants folidity, and the application 
 of the plaller to imitate ftone has certainly 
 failed. 
 
 Pall^idio, who invented, and. fo happily 
 adopted it in the palaces which he built at 
 Vicen^a, had the advantage of climate, and 
 two centuries expofure to the air has done it 
 but little detriment. But in England, and in 
 a great city, th*s fubftitution had to refift the 
 
 efFefts 
 
ARCHITECTURE. 153 
 
 tffeAs of an atmofphere perpetually charged 
 with damps and the fmoke of fea coal. 
 
 At Roehampton, Sir William Chambers 
 built a villa for Lord Befborough, in which 
 the portico is Angularly correct and elegant ; 
 and a fuperb manfion for Lord Abercorn at 
 Dudingftone near Edinburgh. By thefe he 
 would have eftabliflied his fame, had he not 
 defigned and undertaken Somerfet-houfe, one 
 of the moft magnificent of our public build- 
 ings. In the conftruftion and diftribution of 
 the fubterrancous rooms he has difplayed an 
 admirable fkill, and as public accommodation 
 was chiefly to be confulted, few will deny 
 that end to have been completely anfwered. 
 In point of architeftural merit fome defi- 
 ciences may be obferv^ed. Had the front re- 
 tired from the ftrect, and the antique altars 
 and urns been totally omitted, or, at leaft, 
 more fparingly placed above the cornices as 
 finiftiing ornam.cnts, there had been more 
 dignity. Of the grandeur and true efFed: of 
 the front above the Thames, as it is ftill un- 
 finiihcd, we can judge only in part. It has 
 long fmcc eclipfed the Adelphi in that un- 
 commonly rich architectural view between 
 the bridges, of Blackfriars and Weftminfter. 
 
 Another 
 
154- ARCHITECTURE. 
 
 Another public building applied to a dif- 
 ferent purpofc, but of confiderable merit in 
 its particular ftylc;, was built by Dance. Few 
 prifons in Europe have a more appropriate 
 plan and conftruftion than Newgate. 
 
 At the Bank, much caprice appears to have 
 been indulged. In the original building 
 there is nothing remarkable, but the wings 
 and corridore added by Sir Robert Taylor 
 would have better fuited a lawn than a ftreet. 
 No foreigner, from the external elevation of 
 the great magazine of national wealth, could 
 poffibly guefs that fuch was its deftlnation. 
 Mr. Soane's maffive wall with horizontal 
 llripes, inftead of ruftic work, and his gateway, 
 finiftied by farcophagi, inftead of a pediment, 
 would not much help him in his conjec- 
 ture. 
 
 The new buildings at Lincoln's Inn, as far 
 as they are completed, add little to Sir R. 
 Taylor's fame as an architedl. 
 
 For truly claffical defign, in which no or- 
 nament is applied, but from an antique ex- 
 ample, the chapel of Greenwich hofpital, as 
 reftored by the Athenian Stewart, has no 
 rival in England, I might almoft add, in 
 Italy. So pure a tafte and fo charadleriftic a 
 
 magnificence 
 
ARCHITECTURE. 155 
 
 magnificence fhould be confulted and adopt* 
 ed in all ecclefiaftical ftruftures, that may be 
 hereafter crefted upon the Grecian model. 
 
 In external decoration Holland has fhewn a 
 richnefs of fancy, although much lefs claffical 
 than that of Stuart. The embellifhments with- 
 infide of Carleton houfe and thofe of Drury- 
 lane • theatre are very creditable proofs of his 
 Ikill ; but of the colonnade in Pall Mall the 
 efFed: is puerile, for with all its pretenfions, it is 
 merely a row of pillars, w^hich are unneceffary 
 to any purpofe, as they fupport nothing. 
 The houfes defigned by him w^hich front the 
 Green Park have ornaments of too florid a 
 ftyle for ftreet architecture. 
 
 Without entering into a particular detail 
 of thofe architects and their works, who con- 
 ftitute the Englifh fchool, I cannot omit a 
 few names and places, which will not decline 
 a competition with thofe of other nations of 
 Europe, excepting only Italy. The domeftic 
 architecture both of France and Germany, 
 even in the manuons of the higher nobility, 
 is inferior to our ow^n. Moft of the German 
 palaces which I have feen, are very large, very 
 white, and very ugly. The Germans have 
 but one idea of magnincei^ce; which is mag* 
 3 nitude ; 
 
155 ARCHITECTURE. 
 
 nitude ; where they have attempted ornament 
 in architedlure, it is a mere curhng up of 
 fmall and difcordant parts multipUed to abfo- 
 lute confufion, and more capricious than the 
 worft examples of Borromini. Such may be 
 obferved in every capital of the German 
 Hates, and it is not uncandid to include thofe 
 of Schoenbrun and Belvldere, near Vienna, in 
 this remark. 
 
 What has been termed ftreet archite<^lurc, 
 is in Germany upon a gigantic fcale, which 
 gives a truly noble air to their cities, particu- 
 larly to the eye of an Englifhman, who has 
 been accuftomed to confider each houfe as 
 feparately inhabited. But our love of indi- 
 vidual houfes, and comparatively fmall apart- 
 ments, impoveriflies our ftreet views, by a 
 famenefs and repetition of diminutive edifices, 
 fo much alike, that it may be faid of them 
 
 ■ facies non omnibus una 
 
 Nec diverfa tamen. Ovid ^ 
 
 From this cenfure muft be exempted feve- 
 ral magnificent houfes in the great fquares ; 
 
 " The windows being ufually plain oblong perforations, 
 without a finiihing ornament, lofe as much of real efFe6t as 
 the human countenance would do, without eye-brows. 
 
 yet, 
 
ARCHITECTURE. 157 
 
 yet, upon exammation of the architeftural 
 members of which others are compofed, a de- 
 ficiency of fymmetry will ftrike the moft ca- 
 fiial obferver. One inftance of many, are the 
 three quarter pillars in Stratford-place. 
 
 In moft of the provincial towns in England 
 ibme public building attracts our notice, and 
 the w^hole archited:ure of the city of Bath is 
 fmgularly beautiful. Wood, who built Prior 
 Park for Mr. Allen, the friend of Pope, and 
 Buckland for bir John Throckmorton, was 
 the original architeft of moft of thofe ftruc- 
 tures which embelllfh that city in fo high a 
 degree. 
 
 ■ To his defigns and to thofe of his fcholars, 
 may be attributed the parades, the circus, the 
 crcfcent, and the new affembly-room. We 
 have there dedicated to the public, edifices of 
 as fplendid an appearance as that of the Ita- 
 lian palaces, in which their cities abound. 
 
 Payne has been employed at Worfop Ma- 
 nor, W'^ardour Caftle, and Thorndon, all of 
 w^hich are fumptuous, rather than beautiful. 
 
 In the northern counties, Carr has defign- 
 ed fevcral noble refidences ; particularly that 
 at Hare-wood for Mr. Lafcelles, which has a 
 grand elevation. He has built likcwife a 
 
 maufoleum 
 
J58 ARCHITECTURE. 
 
 maufoleum for the late marquis of Rocking- 
 ham, in Yorkfhire. 
 
 Hiorne, who died prematurely °, exhibited 
 much genius in the county feffions houfe 
 and prifon at \Yarwick, and was fmgularly 
 happy in his imitation of the Gothick of the 
 fifteenth century, in the church at Tetbury, 
 Gloucefterllilre, and in a triangular tower in 
 the duke of Norfolk's park at Arundel. 
 
 But to no individual architeftwilltheEnglifh 
 fchool be fo much indebted as to Wyatt, for 
 purity and beauty of ftyle. Mr. Walpole has 
 judicioufly deprecated any farther attempts at 
 refinement, and confiders the Pantheon as the 
 acme of the art. Perhaps this very able ar- 
 chited: has not furpaffed his firft claim to 
 celebrity. 
 
 Two buildings, lately completed by him, 
 have afforded a wider fcope for his genius, 
 than private houfes could have given. They 
 are a maufoleum for Lord Darnley at Cobham 
 in Kent, and another for Lord Yarborough at 
 Brocklefby in Lincolnfhire. 
 
 The elevation of the new Trinity-houfe on 
 Tower-hill by Jeffrey Wyatt, his brother. 
 
 At Warwick, JEt. 45. 
 
 would 
 
ARCHITECTURE. 159 
 
 would have been ftlU more elegant, if it had 
 not been overcharged with medallions and 
 bas-reliefs. 
 
 At Dulwich is a cafino by Nafh, in which 
 he has introduced a new ftyle of country 
 houfe, by combining the advantages of an 
 Englifh arrangement, with the beauty of a 
 Palladian plan. If fo claffical an idea Jfliould 
 be adopted in other inftances, there will be 
 lefs caufe for cenfuring fo many architedlural 
 deformities as thofe w^hich are repeated in the 
 environs of London, where it is feldom con- 
 fidered by the opulent who employ architedls, 
 " that tafte, and not cxpencc, is the parent 
 of beauty." 
 
 Indeed, the ambition of producing novelty, 
 fo confpicuous in the prcfent age, does not 
 promifc well for the national architeilure. — 
 A happy imitation is of much more value than 
 a defeftive original ; and to copy excellence 
 with fpirit and charadler, is a teft of no infe- 
 rior ability. 
 
 PART 
 
PART THE SECOND, 
 
 SCULPTURE, 
 
 Omnes tacito quodam fenfu fine uUa arte aut ratione, quse 
 fintin artibus et in pi6turis et in fignis et in aliis operibus, 
 recla ac prava dijudicant." 
 
 Cic. de Orat, 1, iii. p. 15Q. 
 
 M 
 
PART THE SECOND. 
 SCULPTURE. 
 
 SECTION L 
 
 It is the opinion of the learned ^WinckehnannL 
 ,'that the art of fculpture originated amongft 
 the Egyptians, the Etrufcans and Greeks^ in- 
 dependently of each other ; and that their 
 lirft attempts were introduced and charadlerifed 
 by their public wcrfhip, or political eftabliih- 
 ments. 
 
 The invention of fculpture preceded that 
 of letters, and probably that of painting, as it 
 is the eaficr art. By the Etrufcans and Greeks 
 a rude imitation of the human figure was at- 
 tempted; long after fome rcfemblancc to it 
 
 Monumenti Antlchi Incditi tla Giovanni Winckel- 
 mann, Roma. 1767, c i. p. i. 
 
 M z had 
 
i64 SCULPTURE. 
 
 had been formed by the Egyptians, both in 
 clay and marble. 
 
 The thirty deities worfhipped in Greece, 
 which were feprefented by fquare ftones, re- 
 mained in the city of Phasra in Achaia ; and 
 were remarked by Paufanias^ in his journey 
 through that province. 
 
 The Venus at Paphos was defignated by a 
 column, and even Cupid and the Graces, in 
 the early ages, were fimply oblong pieces of 
 marbled 
 
 In a fliort tiniie, artifts arofe who ventured 
 to engraft a head upon thefe blocks, and to 
 diftinguifli by features, the one from the 
 other. Of this pradice, the firil inftances 
 are of Jupiter Priapus and Terminus, and 
 when thefe types of divinities were multi- 
 plied, and the heads of philofophers and 
 heroes were fo placed, that defcription of 
 ftatue was called terminal" or Hermsean." 
 
 As thefe rude ftatuaries became more fkil- 
 ful, the heads acquired an air and character 
 from bolder defign and higher finifliing ; other 
 parts of the body, particularly the arms and 
 feet, wxre marked out, whilft the trunk re- 
 mained fquare and unfculptured, or covered 
 
 ^ Pauf. 1. vii. p. 599. ^ Id. 1. ix. p. 761, 786. 
 
 with 
 
SCULPTURE. 165 
 
 with a hard drapery of ftrait and ftiff plaits. 
 The feet were clofe and united, and the other 
 parts, defcribed as they were, could not fug- 
 geft any idea of a<flion. It is reported by 
 ApoUodorus^, who had probably feen it, that 
 the Palladium of Troy had the feet clofely 
 joined to each other ; that the rudiments of 
 fculpture amongft the Greeks and Egyptians 
 had a pofitive rcfemblance in the firft forma- 
 tion of bodies in their ftatues, proves no more, 
 than that the original defigns were the fame 
 in ali nations. But if, at the fame period, 
 that the Egyptians could efFed: a certain de- 
 gree of refemblance to the human form, the 
 Greeks could only make their blocks of mar- 
 ble fmooth and fquare, fuch inability evinces, 
 that they were not of the Egyptian fchool of 
 fculptur<^. 
 
 Homer's defcription of the fliield of Achilles 
 gives us reafon to believe, that fculpture had 
 attained to confiderable perfeftion when he 
 compofed the Iliad. We may infer from hh 
 filence in refpefl to painting, that fculpture 
 was proceeding towards its zenith, before the 
 invention of the fifter art in Greece. 
 
 L. iii. p. 20. a. 
 
 M 3 
 
 To 
 
i65 SCULPTURE. 
 
 To their contemporary introduction two 
 obftacles occurred, the ufage of pubHc wor- 
 ftiip, and the greater difficulty of one than of 
 the other. As the art of fculptural dcfigu 
 was infpired by the defire of reprefenting their 
 divinities, the ancients, if the artifts were un- 
 known, perfuaded themfelves, that thefe effi- 
 gies had fallen down from heaven. To no 
 effort of the painter, even when the walls of 
 temples were adorned with pictures, did they 
 attribute fo great a degree of fandity. Confi- 
 dering painting as the more difficult tafk, 
 becaufe the objects approach nearer to the 
 real appearance of things, they require to be 
 enlivened and made fenftble bv the mana?;e- 
 ment and eaiy gradation of light and ihade, 
 that though they are depicted upon an opake 
 furface, they may prefcnt the rcfleilion of a 
 rnlrrour. In the reprefentation of nature, the 
 grand requifites are invention, dcfign, and 
 colouring. Sculpture is exempt, from the laft 
 mentioned^ the difficulty of which is fuch as 
 to exceed the talents of the majority of paint- 
 ers. If the Greeks had no knowledge of 
 light and lhade before the time of Apollo- 
 dor us % the mafter of Zeuxis, the priority of 
 
 * Plutarch, p. 6i6, 
 
SCULPTURE. 167 
 
 the invention of fculpture is a plain fad:. 
 Painting therefore may be confidel-ed as more 
 difficult than fculpture, in the fame degree as 
 mere invention is more eafy than execution, 
 after truth and nature. One of the chief ad- 
 vantages claimed by fculpture is, that it brings 
 nature embodied to our view, as the objed: is 
 vifiblc and of a palpable form on all fides, 
 which alfo includes a difficulty of reaching 
 perfection, from the power given of infpeft- 
 ing it in every point. The painter can cor- 
 real and effiice his faults, whilft thofe of the 
 ftatuary are irreparable, and his moft promif- 
 ing work may be fpoiled by the flightcft de- 
 viation from his model. 
 
 The art of fculptural defign made a flow 
 progrefs in Egypt, from the fevcral circum- 
 Itances of their never departing from the like- 
 ncfs of the Ethiopic features of the natives^ to 
 reprefent ideal beauty, their having been re- 
 ftridled by their government, which was con- 
 folidated with tlieir religion to one unvarying 
 relemblancc of their gods, priefts, and mo- 
 narchs-, and laftly- from their artifts having 
 
 f Euftath. ad Odyfs. A. p. 1484. Hefych. 
 £ Diod. Sic. 1. c. p. 44. 
 
 M 4 been 
 
l6S SCULPTURE. 
 
 been employed in fculpture merely as a trade 
 that they had learned from their fathers, and 
 which they were obliged to follow^. 
 
 Yet, there were two epochs, or rather two 
 manners, to be diftinguifhed in Egyptian fculp- 
 ture : the firft retained its primitive difcrimi- 
 nation till the annihilation of their ancient go- 
 vernment, which profcribed innovation or 
 variety ; nor does it appear that prior to the 
 conqueft of the Egyptians by the Greeks, that 
 any memorable alteration had taken place. 
 Perhaps the fecond manner is not purely 
 Egyptian, but a conceit in fome of the Romar^ 
 emperours, particularly Hadrian, to have fta- 
 tues made with certain of the Egyptian cha- 
 ra<?leriftics. 
 
 In their genuine ftatues we fhall feek in 
 vain for difpqfition of parts or attitude, fo;- 
 mufcles, veins, or contractions. Their deities 
 are all of them uniform and alike. Whether 
 ereft, fitting or kneeling, their backs are con- 
 llantly propped up by a pilafter. The male 
 deities have their hands and arms ftretched 
 and clofely ftuck to their fides, and their feet 
 are not parallel, but in the fame line, one 
 advanced before the other. In the female 
 
 ^ Diod. Sic 1. c. p. 68. 
 
 fissures 
 
SCULPTURE. 169 
 
 figures we may obfcrve, in thofe at leaft 
 which are upright, that one hand is laid upon 
 the breafts. They are draped, but not a fingle 
 fold can be difcovered; the clothing is lb exadt- 
 Iv adapted to the body, that it can be known 
 only by examining the neck and legs. The 
 other fex are naked, excepting a kind of fquare 
 apron. 
 
 Notwlthftanding this total failure of at- 
 tempt to imitate the human figure, animals 
 of exquifite workmanflilp were formed by 
 thefe fculptors, in which correftnefs in defign- 
 Ing the bones and mufcles, and even an elegant 
 contour and gradation in every part, will be 
 allowed to cxift. The Lions at the foot of the 
 Capitol, thofe at the fountain of the Acqua 
 Felice, and the great Sphynx in the Borghefe 
 gardens at Home, are excellent fpeclmcns. 
 In defigning their double animals, the Egyp- 
 tians were more confiftcnt than other nations, 
 and fnowed more ilcili in putting them toge- 
 ther. For the Sphynx, which is fimply a 
 hiunan head attached to the body of a brute, 
 is an invention more confonant to the oeco- 
 nomy of nature, than thofe of the Greeks or 
 Romans ; — a Centaur can fcarcely be fup- 
 pofed to have exifted v;lth fuch a repetition 
 
 of 
 
ip SCULTTURE. 
 
 of part?, all the licence of fable being allowed, 
 Peviations from the firft manner had not fully 
 prevailed during the Perfian dynafty, but be- 
 long to the age of Alexander and the Ptole- 
 mies, who introduced the fciences, together 
 with the arts of Greece. A very ftriking dif- 
 ference will be obferved, not only in the mode 
 of placing the arms, but in the diftingui filing 
 of the outer from the inner veftment in the 
 draper}-, as well as the very high finifhing of 
 the heads. 
 
 Of the fecond manner, or that adopted by 
 the Romans about the reign of Hadrian, I 
 Will notice only the leading peculiarities. 
 Thefe artifts were fo ambitious of making 
 ftatues in the true tafte of Egypt, that they 
 procured even their materials, bafaltes and red 
 granite, from that country ; and confidering 
 the moft antique fpecimens as their models, 
 were particularly careful to affix the Egyptian 
 attributes. But the Antinous, although in 
 the difguife of an Egyptian, will be found by 
 an attentive obfcrver to be a Grecian, in the 
 whole form of the head, its oval contour, the 
 corred:nefs of the profile, the fulnefs of the 
 chin, and the fuavlty of the mouth. Such 
 i,> the refemblance in every known ftatue of 
 
 him 
 
SCULPTURE. 171 
 
 ium by the Greek maftcrs, the far greater 
 number of which have been difcovered in the 
 palaces and villa of Hadrian, who commanded 
 that his favourite fliould be deified in Egypt, 
 where he died'. 
 
 After the Egyptian works of art, the moft 
 ancient are thofe of the Etrnfcans. The firft 
 emigration to Etruria, was that of the Pelafgi^, 
 a people of Arcadia, w ho brought w^ith them 
 the ftyle of art at that time prevalent in 
 Greece ; which is evident from the Pelafgo- 
 Greek character obfervable on the Etrufco- 
 pelafgic Greek gems and monuments, from 
 which origineil manner they departed in no 
 inftance^ About fix centuries after that 
 event, a fecond and principal fcttlement 
 was made by the Greeks, three hundred 
 years before Herodotus, who fixes the date in 
 the tim.e of Lycurgus of Sparta. Tliefe later 
 •icolonifts introduced the art of writing, and in 
 proccfs of timc;, taught the Etrufcans their 
 
 i Faufan. 1. viii. p. 617. k Herod. I. p. 28. 
 
 ^ Scarabs! of the fame early Pelafgo-Greek work are 
 found all over Greece and Egypt. At Ardca were vafes, 
 paintings, and charadlers, in the fame flyle, but by Greek 
 artiils. Pliny, 
 
 fculpture 
 
1^2 SCULPTURE. 
 
 fcLilpturc and defign, together with their na- 
 tional hiftory and that of their deities, in 
 which they eventually attained to great ex- 
 cellence. Figures now feen on the moft 
 antique fpecimens of Etrufcan art correfpond, 
 generally fpeaking, with the old mythology of 
 Greece. 
 
 A league made by the Argivi, agalnft the 
 Thebans,and the expedition of the feven againft 
 Thebes, prior to the Trojan war, are the moft 
 remote and renowned events recorded in their 
 annals. No memorial of this war is preferved 
 upon any monument of Grecian art, however 
 ancient, but the names of five of the fiven 
 heroes are infcribed on a gem, in the Etruf- 
 can charafter"". This circumftance may be 
 admitted to prove that the colonifts in Etruria 
 praftifed arts unknown or difufed in the mo- 
 ther country, during fo eventful a period, 
 when the contentions of its chief ftates were 
 carried on with unremitted violence". 
 
 The Etrufcan ftyle is deficient in grace and 
 
 This gem, which is one of the moft ancient known, 
 was in the colle^lion of baron Stofch, fold to the klncr of 
 
 o 
 
 Pruffia, and now in his cabinet at Drcfden. 
 
 ° Thucyd^ 1. i, p. 5. 
 
 charadcriftic 
 
SCULPTURE. 173 
 
 characleriftic expreffion, fo that the perlbns 
 reprcfcnted were marked only by the attri- 
 butes they bore, whether on their earthen 
 vafes or their patera3 of bronze. A leading 
 diftinftion between the firft and fccond man- 
 ner, both of defign and fculpture, is, that the 
 hair was difpofed in minute rows of curls, as 
 that of Hercules, in a bas relief on a fquare 
 altar in the mufeum of the Capitol, and the 
 ikin of the Ihe-wolf in the fame collcftion, 
 caft in bronze when the Etrufcans exercifed 
 the arts at Rome°. 
 
 Their drapery falls unlverfally into ftriated 
 or ferpentlnc folds, which hard manner fomc 
 even of the Crreck fculptors adopted in their 
 figures of the deities, with reverence to high 
 and venerable antiquity, as well as to diftin- 
 guifli them from mortals. Several connoif- 
 feurs have aflcrted that fome of the vafes fo 
 called were not Etrufcan; m.any, however, 
 which are genuine exhibit fmall figures, as 
 intaglios, relievos, and groupes. In Rome, 
 there is not a fmgle Etrufcan ftatuc extant, 
 for by ftatues only could the judgment be 
 
 <^ Dionyf. Halic. 1. i. p. 64. Cic Divlnat. I. ii, c. 20. 
 Orat. 3. in Catilinam. 
 
 directed 
 
174 SCULPTURE. 
 
 direfted to a certain point of decirion, by 
 v.'hich a complete fyftem might be formed of 
 the dcfigns of thefe af tifts. 
 
 So much has been premifed refpefting 
 other nations before we treat of the Greeksj 
 amongft v/hom the origin, progrcfs, and de- 
 cline of the arts may be more fatisfadlorily ' 
 traced, by inquiring into their rehgious fyftem j 
 and hiftory. 
 
 In order to confidcr the arts of defign 
 amongft the Greeks, and to account for their 
 excellence in pourtraying the human figure, 
 we muft apply the ideal to the objefts of our 
 fenfes, and the general form to the indivi- 
 dual ; combining them alfo w\ith our idea of 
 ^' the beautiful," as it is difperfed throughout 
 tiniverfal nature. When wt have attentively 
 examined that fpecics of beauty in parts which 
 is peculiar to the human form, we may deter- 
 mine with precifion what are the outlines 
 and lineaments which, in a whole, compofe 
 
 the beautiful." Unity and fnnplicity are 
 the true principles of reafoning upon the 
 exiftertce of ^'^ the beautiful" in any obje6l; 
 and when thefe are connedled by proportion 
 and harmony, the effed. is the fublmie." 
 We frequently miftake the perfe6l for the 
 3 fimply 
 
SCULPTURE. 175 
 
 fimply beautiful, which may be reduced to 
 certain principles in pra6lice, but can be 
 fcarcely defined''. 
 
 The Greek fculptors, who excelled in beau- 
 ty of contour, chofe the feafon of youth for 
 the bell models of their deities, in oppofitiou 
 to fomc of. the great modern matters, wdio 
 have reprefented the mufcles and veins in 
 ftatues of every period of life. In youth, the 
 aerial and the folid form feem to exill in the 
 fame bodv. Hence arofe an abftracl and 
 metaphyfical notion of an ethereal being fub- 
 ftantiated and clothed m a bodily fliape, but 
 without partaking of the grofs materiality or 
 debility of human nature'^-. 
 
 Beauty, therefore, is of two fpecies, ideal or 
 abftracl, and individual or perfonal. But Na- 
 ture tails in her end, from the accidents to 
 which humanity is liable; ib that we rarely fee 
 a form perfect in all its parts. There arc 
 heads and expreihon of countenance to be 
 
 p Cicero (De Finibus, 1. ii. g. 4.) makes Cotta obferve 
 thnt it is more eniy to lay what the divinity is not than 
 what he is" — an obfervation which may be apj)liec] to " the 
 beautiful" in the arts, as being more eafily felt, than de- 
 fined. 
 
 ^ Cic. Nat. Deor. 1. i. c. 17, 
 
 daily 
 
176 SCULPTURE. 
 
 dally feen^ which may rival the Florentine 
 Niobe or the Vatican Apollo, but it is only 
 partial beauty. To remedy this defe6l> the 
 Greek ftatuarles, propofing to themfelves ob- 
 jefts of worfhip fupcrior to nature, always 
 reprefented them in the fpring tide of life and 
 eternal youth. As the individual model could 
 not be found, they applied themfelves to the 
 ftudy of feleft parts in various bodies, and com- 
 pofed from them a more perfc6l form. The 
 gymnaftic exercife?, efpecially thofe in Sparta, 
 in which women publickly engaged, exhibited 
 the moft fymmetrical human figures unen- 
 cumbered by drapery> from whence the beft 
 examples might be fclecfted. Thefe fpedlacles 
 offered a large field to be fcrtilifed by the 
 imagination^ 
 
 Proportions which approach neareft to per- 
 feftion conftitute the beautiful, and are found 
 only in the aflemblage of what is remarkable 
 in many difficult objects. Man cannot ima- 
 gine any thing beyond the beauty of nature, 
 and her defeats are difcoverable by him only 
 from an attentive comparifon of individuals 
 w^ith each other. For fuch examinations the 
 cuftoms of the Greeks allowed them frequent 
 
 ' Ariflophan.. Pac. v. 761. 
 
 opportunity. 
 
SCULPTURE. J77 
 
 opportunity. Not only the public games 
 i above mentioned, but their dances both comic 
 i; and lerious, prefented to them a true picture 
 ' of the paffions, which their artlfts have fo 
 I happily ftudied, and expreffed with fo much 
 ardour and truth. They were by thefc 
 means enabled to difcover and compare the 
 fpecific beauty exclufively appropriate to ei- 
 ther fex. Notwithftanding the infinite varie- 
 ty of indivadual character from which they 
 borrowed fingle ideas, there refulted a whole, 
 the parts of which had an exa6l correfpond- 
 ence, and all the fymmetry of perfeded na- 
 ture. The laft ornament of fculpture is efFed:, 
 I which, like the polifli of a column or the luf- 
 j tre of a diamond, fhould appear as a part in- 
 I feparable from the whole, to which it gives 
 1 an air of inftantaneous production, w^ithout 
 ; betraying the traces of the chiiTeP. 
 \ After this flight fketch of the abftrad 
 or ideal forms, I fhall add fome obfervations, 
 
 ' Corpus homlnis pulchriim eft in quo non eminent 
 I venae, nec ofia numeiantur. Dial, de corrupt* Eloquent. 
 ■ Pliny, 1. 36. T. 2. p. 651. '* Pythagoras Rhcginus ex 
 
 Italia,. primus nervos et venas expreffit, capillumque dill- 
 
 gentius." 
 
 1 I, N mors 
 
lyS SCULPTURE. 
 
 more in detail, of certain parts of the human 
 body and their requifites to conftitute beauty, 
 in the opinion of the ancients. In minutely 
 examining thofe members of the human fi- 
 gure by which alone expreffion or aftion could 
 be communicated to the mind of the fpefta- 
 tor, an opinion will be hazarded, as well of 
 what determines the beautiful and the defi- 
 cient in beauty, as of what diftinguifhes the 
 antique from the modern. 
 
 The primary parts in dcfign are the head, 
 the hands, and the feet^ In the head, eflen- 
 tial beauty depends on the profile, particularly 
 on the line which defcribes the forehead and 
 the nofe, in which the leaft concavity or rife 
 increafes or lefl^ens beauty, in its degree. The 
 nearer a profile approaches to a right line, it 
 is the more majeftic in one, and the more 
 lovely in the other fex; to prove this propofi- 
 tion, we may only remark its oppofite. 
 
 The forehead to be handfome ihould be 
 low, an axiom fo decidedly followed by the 
 
 ' It is afTerted by fome authors, that ten times the length 
 of the head is the jull: proportion of the human figure. 
 Others fay nine, or even eight times. The Apollo Belvi- 
 dere and the Venus De' Medici have more than the pro- 
 portion of ten faces. 
 
 Grecian 
 
SCULPTURE'. 179 
 
 Grecian fculptors, that it now infallibly diim, 
 tinguifhes the antique, from the modern head. 
 This axiom is founded on the tripartite divi- 
 lion of the human countenance, as well as of 
 the whole figure by the ancients; fo that the 
 nofe fliould occupy exactly one third part of 
 the face. When the forehead is high the 
 w^ant of proportion Is eafily difcovered by con- 
 cealing it about a finger's breadth, at the roots 
 of the hair. That deficiency in f^^mmetry 
 was remedied by the Greek w^omen, who wore 
 a diadema or fillet, and w^e have the authority 
 of Horace (no mean judge) that a low fore- 
 head was a principal conftituent of female 
 beauty". 
 
 But, to its completion, ringlets of hair 
 forming an a¥ch round the temples, and co- 
 inciding to perfect the oval of the face, were 
 indifpenfable. A forehead fo rounded was 
 peculiar to the Greek female, and art readily 
 adopted the luxuriance of nature. This 
 fliape of the forehead was confidercd as fo 
 generally requifite to beauty, that in no ideal 
 head fliall we difcover the locks falling in 
 angles on the temples ; a fmgularity which 
 affifts in the detedlion of modern heads en-* 
 
 ' » Infignem tenui fronte Lycorida.'^ Od. 1. i 33. 
 
 N z grafted 
 
i8o SCULPTURE. 
 
 grafted upon antique ftatues. By the artlll:.<^ 
 of the la£er ages this obfervation was either 
 not made, or not adhered to. 
 
 The eyes vary in largenefs as well in nature 
 as in art, which is obfcrvable in the reprefen- 
 tation of their deities and heroes. Jupiter, 
 Apollo, and Juno, have the eyelids acutely 
 arched in the centre, and narrow at their ex- 
 tremities. In the heads of Minerva the eyes 
 are as lar2:e as thofe of the forementioned 
 deities, but the arch is lefs elevated; in thofe 
 of Venus the fliapc of the eye is not fo full, 
 and the lower eyelid a little raifed, which 
 produces an air very chara6leriftic of that 
 goddefs. Some of the Roman artifts, as if 
 ambitious of improving on the antique, have 
 reprefented the eyes fo orbicular, that they 
 feem to ftart from their fockets, which may 
 be obfervcd in the Ifis, at Florence. The 
 pupil is rarely marked in genuine antiques, 
 though many Greek as well as Roman heads, 
 in imitation of the Egyptian, have eyes made 
 of jewels or glafs to refemble the natural iris. 
 By examining many heads, it will be found 
 that the ancients did not defcribe the eyes 
 uniformly; and it may be concluded, that the 
 fculptors in marble did not mark the pupils 
 
 before 
 
SCULPTURE. i8i 
 
 before the age of Hadrian, when it was gene- 
 rally done. 
 
 In the heads of ftatues, efpecially the ideal, 
 the eyes appear to be more deeply fet than in 
 nature, which gives them an air of aufterity 
 rather than of fweetnefs. But thefe larger 
 ftatues were ulually placed diftantly from the 
 fight ; and if the eyes had proje6led as in na- 
 ture, all efFe£l of light and fliade w^ould have 
 been loft. Pindar" defcribes beauty as refiding 
 in the eyebrows. It is formed by the regu- 
 larly thin arch made by the hair, fuch as I 
 have witneffed to be univerfal amongft the 
 women of Scio, the Chios of antiquity, and 
 others of the Greek illands. This ftrong con- 
 tour of the eyebrows is exprcfled with great 
 force, being merely a projeftion of the bone, 
 particularly in Niobe and her daughters, at 
 Florence. When the fublime" in ftatuary 
 yielded to the graceful" by rounding and 
 foftening the parts which were originally 
 marked out with fevere preclfion, even the 
 eyebrows were fculptured with more delicacy, 
 in order to give greater foftnefs to the whole 
 air. This circumftance is remarkable in the 
 
 Nem. 8. v. 3. 
 
 N 3 
 
 Mercury 
 
i82 SCULPTURE. 
 
 Mercury of the Vatican, fo long mlflaken for 
 Antinous. 
 
 Theocritus^ appears to have had a tafte for 
 eyebrows joining over the nofe, as is common 
 in Turkey, where the wom.en encourage them 
 to meet by various arts. In nature, I could 
 not but confider them as a deformity, which I 
 frequently noticed at Conftantinople ; and the 
 fculptors of Rome were of the fame opinion, 
 for though the eyebrows of Auguftus wxre 
 naturally joined, they corrected that defect in 
 his ftatues : an air of difdain is exprefled by 
 the fwelling of the noftrils, as in the Belvi^ 
 dere Apollo, whilft the general character of 
 ferenity is given in the forehead. The chin 
 acquires beauty from its folid round form, and 
 as it contributes to the apparent convexity of 
 the cheeks, which in many heads, not merely 
 ideal, but taken from models in real life, feem 
 to be difproportionately large. Yet the chin 
 of the far-famed Venus of Medicis"" is pofi- 
 tively fquat and deprefled. Nor is the dim- 
 
 y Idyll, 8. y. 72. 
 * The cxa6l height of the Venus de Medicis is four 
 feet, eleven inches, and five lines. 
 
 Ipfa Venus pubem quotics velamena ponit 
 Prote^itur laeva femircdufta manu." 
 
 Ovid. Art, Am. K ii. v. 614. 
 
 pie. 
 
SCULPTURE. 183 
 
 pie, feigned by the poets to have been made 
 by the little finger of Cupid, to be confidered, 
 according to the practice of the antique, as 
 adding to beauty. 
 
 In adjufting and defcribing the hair infi- 
 nite care was taken by the ancient mafters, 
 as being not only in itfelf effentially beautiful, 
 but as heightening and relieving it in the firft 
 degree. 
 
 As they exerted all their talents in the 
 workmanfliip of the hair, there are many fpe- 
 cimens of variety in the different cpochas of 
 Greek fculpture. In figures of the moft an- 
 tique ftyle it is minutely curled ; loofe and 
 eafy when the arts were at their zenith, and 
 curioufly plaited or coiled round a fingle bod- 
 kin, at their decline. The Deities were dif- 
 tinguiflied by a peculiar form and manner in 
 which the hair was difpofcd, particularly that 
 of Jupiter, which was never varied. Phidias 
 formed his Jupiter upon the model of Ho- 
 mer % and ncglcdted no clrcumftance of the 
 
 hair. 
 
 3 Plutarch mentions, tliat when Paulus Emillus vifitcd 
 the temple of Olympia, he exclaimed, **lhc Jupiter 
 
 N4 ♦•of 
 
 •J. 
 
i84 SCULPTURE. 
 
 hair. Three did:ln6l manners of defcribing 
 the hair are noticeable in the ftatues of 
 Apollo. It is tied in a knot above the crown 
 of the head ; it is raifed above the ears to the 
 fummit of the forehead, or it is loofely curled 
 all over. The hair of Bacchus is as long, 
 more foft in its appearance, and lefs curled 
 than that of the Delphic god ^ By clofe 
 Ihort hair over the brow, a full neck, and 
 fmall head, the ftatues of Hercules are uni- 
 formly recognized. That of Satyrs and 
 Fauns, young or old, is rough, with the ends a 
 little bent, in imitation of the fkin of goats, 
 of whofe nature they were faid to partake. 
 The hair of Mercury is not long, but thickly 
 crifped and curled. 
 
 When it w^as collefted in a double knot 
 
 of Phidias is the true Jupiter of Homer, Acicrov 
 " 'fm y§a,(psLov Oi/.£cov" — Lucian. Macrobius, Sat. 1. v. c. 15. 
 Valerius Max. Mem. 1. iii. c. 7. Virgil, in his imita- 
 tion of the Jupiter of Homer, does not defcend to the 
 particulars of his beard, hair, and eyebrows, for which omif- 
 fion he has the cenfure of Macrobius, but the praife of 
 Scaliger. 
 
 ^ Ovid Met. 1. iii. p. 421 ; Tibull. 1. i. Eleg, iv. v. 33 ; 
 and Martial, 1. i. Epig. 125. 
 
 and 
 
SCULPTURE. 1S5 
 
 and tied in the middle, on the crown of the 
 head, it denoted virginity. Mr. Townley has 
 a fine head of Diana fo diftinguifhed. The 
 form of the crefcent might have fuggeft- 
 ed the primary idea of attiring the head 
 in a manner to refemble it — or it may be 
 imitative of flames, and appUcable to the 
 veftal fire. 
 
 An attention equal to that with which they 
 formed the head, the Greek fculptors ihew^ed 
 in the extremities of the human figure. 
 Both in the hands and feet they employed 
 confummate fkill. Very few hands are pre- 
 ferved. Thofe of the Medicean Venus are 
 reflored as far as the elbow, but among an- 
 tiques the befl fpecimens are a hand of one of 
 the fons of Niobe, at Florence, and of both 
 the figures compofing a groupe of Mercury 
 and a Nymph in the garden of the Farnefe 
 palace at Rome. In male figures an eflential 
 quality of beauty was the full and elevated 
 chefl ; in the other fex uniformity and com- 
 pa6lnefs. The anterior trunk of the figure 
 was never diftended by corpulence or reple- 
 tion, but made to rcprefcnt that of a man 
 awaking from a placid and found fJecp. 
 
 The 
 
i86 SCULPTURE. 
 
 The feet of the Laocoon (for expreffion of 
 pain), the naked foot of the Venus Callipyges, 
 and the fandals of the Belvidere Apollo, are all 
 exquifite in their fcveral modes of appropriate 
 beauty. 
 
 SECTION 
 
SCULPTURE. 
 
 SECTION II. 
 
 I SHALL not exceed the limits I have pro- 
 pofed by offering a fummary view of the dif- 
 ferent aeras and fchools of fculpture in Greece, 
 enumerating only their moft famous mafters, 
 with critical remarks on the fpecimens which 
 ftill remain. 
 
 In the earlieft a^ra of fculpture in Greece 
 three fchools of defign were eftablifhed ; in 
 the ifland of jEgina, at C orlnth, and at Si- 
 -cyon. This laft city was ftyled the mother 
 of the arts as Dipasnus and Scillides, and alfo 
 their difciples had flouriflied there ; and after 
 feven generations, Ariftocles, the brother of 
 Canacus, likewife a fculptor of eminence, pre- 
 fided over the fame eftablifliment with undi- 
 minifhed fame\ The fchool of ^gina 
 traced its origin to Daedalus of fabulous hif- 
 
 * Plin. 1. XXXV. c. 40. L. xxxvi. c. 4. 
 ^ Paufan, 1, v. p. 437. 
 
 tory, 
 
i88 SCULPTURE. 
 
 tory, and his contemporary Smilis made two 
 ftatues of Juno, one for her temple at Samos, 
 and the other for that at Argos ^ 
 
 From thefe aufpicious dawnings of the arts 
 three diftind: fchools arofe, one of which was 
 peculiar to Ionia, the others were fixed in 
 Greece, at Athens, and at Sicyon, each of 
 them fhining with nearly equal fplendour for 
 feveral ages. 
 
 At the head of thefe artifts is placed My- 
 ron, whofe ftatues of bronze attracted the 
 admiration of Greece, particularly a Difcobo- 
 lus noticed by Quinftilian % a repetition of 
 which in marble is now in the colleftion of 
 Mr. Tovs-nley. Phidias was the difciple of 
 Eladas and Ageladas ^, the probable contem- 
 poraries of Myron, and who fiourifhed in the 
 fixteenth Olympiad. We collect from Quuic- 
 
 c'ld. 1. vii. p. 531. ^ Cicero in Verrem, iv. c. 43. 
 
 e Quid tarn diilortum et elaboratum, ut eft ille Dif- 
 cobolos Myronis. Si quis tamen ut parum redlum iin- 
 probet opus, nonne ab intelleclu abfuerit? in qua vel 
 praecipue laudabilis ell: ipfa novitas ac difficultas." — Quincl. 
 1. ii. c. xiv. p 64. Plin. xxxiv. c. 19. 
 
 ' Antholog. 1 iv. c. xxii. p. 334. 
 
 tilian 
 
SCULPTURE. 1S9 
 
 til'ian = that he excelled in imparting a celef- 
 tiat dignity to his figures of the Deities 
 (Minerva at Athens, and Jupiter Olympus at 
 Ells), particularly in thofe wrought in ivory, 
 many of which were lefs than the natural 
 lize. He caft llkewife in bronze. In the 
 fame age lived Polyclctus, an artlfi: of exqui- 
 fite grace and moft correal finiflilng; the latter 
 quality was the eftccl of his fmgular diligence. 
 To the human figure he gave more than hu- 
 man bca'Jty, but failed in exprcffmg the ma- 
 jeHic charader of the gods ^\ 
 
 The works of Egefias were known by their 
 hardnefs and liiblimity of manner 
 
 The arts of defign in Greece fluctuated 
 with the \'arying fortunes of the feveral ftates 
 in which they wx'rc profcfTed ; but they re- 
 iiularlv accomoanicd Athens throurfi all her 
 vlciffitudcs. Whether triumphant or de- 
 preffed, in the progrcfs of the arts we may 
 mark her frequent changes with an almotl 
 hlftorical cxactnefs. The vlcl(;ries of The- 
 mlftocles rendered that renowned city the afy- 
 
 £ (^lincr. I xii. c. 10. 
 Id. Piin 1. nx/iv. p 651. I 2.. IlarJouini. 
 ' Qiiindl. ut Supra, 
 
igo SCULPTURE. 
 
 lum of phllofophy and genius, and the liberty 
 fo honourably acquired, extended the fame, 
 whilft it excited the emulation, of the Ionian 
 and Sicilian colonifts, with great fuccefs. 
 This happy epocha may be placed about fifty 
 years after the defeat and expulfion of the 
 Perfians ^. 
 
 Of the fchool of Phidias the mofl diftin- 
 guilhed were Alcamenes of x\thens, and Ago- 
 racritus of the ifland of Faros. Their rival 
 (kill was exerted in finilhing a ftatue of Ve- 
 nus, and the palm was partially adjudged by 
 the Athenians to their own citizen K 
 
 Polycletus of Sicyon was the competitor 
 with Phidias in an undertaking of more gran- 
 deur and confequence than his ufual works. 
 The inhabitants of Argos employed him for 
 a colofTal Juno, compofed of gold and ivory, 
 rather in emulation of, than to imitate, the 
 Olympic Jupiter of Phidias. Two figures in 
 bronze by Polycletus, reprefenting the cane- 
 phoras, or nymphs bearing in bafkets the lym- 
 bols of Ceres to a facrifice, were taken from 
 the Thefpians by Verres, and brought to 
 
 ^ Diod. Siciil. 1. xii. p. 72. ^ Paufan. 1. p. 81. 
 
 6 Rome. 
 
SCULPTURE. 191 
 
 Rome. They were efteemed beyond any 
 bronze figures exifting at that time. 
 
 Such was his Ikill, that he completed the 
 perfed: figure of a man, which ferved as a 
 model to his fucceflTors, and was confidered 
 by Lyfippus as the acme of the art 
 
 Whilft Phidias in gold and ivory, and Po- 
 lycletus in bronze, engrofiied to themfelves 
 every excellence, Scopas acquired a fcarcely 
 inferior celebrity for his ftatues in marble. 
 The groupe of Niobe at Florence was attri- 
 buted by Pliny to Scopas or Praxiteles, for he 
 does not decide Againft the pretenfions of 
 the latter we may adduce the fimplicity of 
 drapery in the daughters, which evidently 
 chara6lerifes an age immediately preceding 
 that of Praxiteles. With greater probability, 
 therefore, Scopas was the artift. 
 
 The fineft fragment of Greek fculpture 
 now in England, is a head of Niobe (a repeti- 
 tion of that at Florence, but of very fuperior 
 
 fii Polycletus Sicyonius fecit et qnem canona artifices 
 cant, lineamenta artis ex eo petentes, velut a lege qua- 
 L.ni. — Plln. 1. XXXV. c. 19. Cicero (de claris Orator, 
 e. 86) confounds the Doryphores with tliis flatue. 
 Anthol. L iv. c. g. 
 
 work" 
 
J9a SCULPTURE. 
 
 workmanfliip) which was brought from Rome 
 by Lord Exeter, and by him prefented to 
 Lord Yarborough. 
 
 The laft fculptor coeval with Phidias was 
 Ctefilaus, who jointly with him and Polycle- 
 tus finilhed one of the three Amazons de- 
 figned to decorate the temple of Diana at 
 Ephefus, and the ftatue of Pericles commend- 
 ed by Pliny. He allows to Ctefilaus° the 
 lingular felicity of giving a more noble air to 
 his heroes, even than that which they pof- 
 feffed. Abbate Wirickelmann ^ with that 
 confummate erudition with which he ex- 
 amines thefe fubjed:s, contends againft the 
 received opinion that the Mirmillo or dying 
 Gladiator in the Capitol, was the performance 
 of this fculptor. 
 
 Of the firft ftyle of the Grecians, fo re- 
 markable for fimplicity and boldnefs, the asra 
 was circumfcrlbed to the limits of fifty 
 years, a period during which the arts had 
 
 ** Plin. 1. xxxiv. c. 19. Mirum In hac arte ell, quod 
 viros nobiles nobiliores fecit." 
 
 P Mon. Ined, cap. iv. p. 71. MafFei Raccolt. di Stat. 
 Tav. Ixv. 
 
 arrived 
 
SCULPTURE. 193 
 
 arrived at their meridian of fublimity 'i. The 
 ;l fucceeding age introduces Praxiteles, who 
 
 I may be called the father of the fecond man- 
 i ner, and whofe works were difcriminatcd by 
 il their flowing outline and delicacy of finifli- 
 ; ing. The elevation of Thebes ^ by Epami- 
 
 nondas ^ above the other ftates of Greece, pro- 
 ! duced a complete change in her whole lyf- 
 j tem ; but as foon as the Athenians recovered 
 I! their former fplendour, the arts, which had 
 ! ever kept pace with it, revived with un- 
 
 abated vigour. Many works of Praxiteles are 
 
 II noticed by the hiftorians and poets. His Venus 
 of Gnidus in marble, attracted then no lefs 
 admiration than what the Medicean has fmce 
 done in the modern world ; and his Apollo in 
 
 li bronze, called from the lizard on the trunk 
 
 ^ The names of Policies, Cephifodorus, Leocares, and 
 I Hippodotus, are refcued from oblivion by Pliny. The bafe 
 infcribed of the Ganymede of Leocares Is flill prefervcd in 
 ; the Medici colle6lion. 
 
 , ' Quind^. 1. xii. c. 10. *' Ad veritatem Lyfippum et 
 Praxitelem acceffuTe optime affirmant." Plin. 1. xxxiv. 
 p. 726, ut fup. Praxiteles quoque in marmore felicior 
 ideo et clarior eft. Fecit tamen ex asre pulcherrima 
 opera." 
 
 ' Dionyf. Halicarn. 1. i. p. 3. 
 
 o of 
 
194 SCULPTURE. 
 
 of the tree againit which he refts, Sauroc- 
 tonos," is ftill the molt curious in the Villa 
 Albani, one of the firft repofitories in Rome. 
 Praxiteles finifhed likewife a fmall ftatue of 
 Cupid breaking his bow and the fkin of the 
 lion thrown over the trunk \ which was fa 
 eftcemed, that it was frequently copied in 
 marble. P'ourteen repetitions of this figure 
 are known to exift, the fineft of which is pre- 
 ferved in the capitol at Rome. jNIr. Townley 
 has one which is very beautiful, and two 
 others of confiderable merit are in the collec- 
 tion at Wilton, and at Sir R. Worfley's in 
 the llle of Wight. A faun in the Pio-Cle- 
 mentine Mufeum m the Vatican is fuppofcd 
 to be a very excellent antique copy of the 
 bronze by Praxiteles. 
 
 In the fame co!lc<?don is a repetition of the 
 Gnidian Venus'. But the moft elaborate 
 male-ftatue remains unappropriated, and the 
 fculptor of the Belvidcre Apollo has ekided 
 
 ' CaHiRi-atus. 
 
 ^ Scopas made another Venus which was draped, and 
 Pliny afierts that it was more excellent than that of Phi- 
 dias at Gaidus. Aiithol. Epig. An-tipatri et fextum ab ipfo 
 Eveni. 
 
 the 
 
SCULPTURE. 195 
 
 the clofeft invcftigation of the Roman anti- 
 quaries. The name of Apollodorus of Athens 
 appears on the phnth of the Venus of Me- 
 dici, which has been dcteAed as a modern 
 forgery. 
 
 Not long after Praxiteles had fignallfed 
 himfelf in ftatuary, but particularly in bronze, 
 appeared Lyclppus, whofc great merit was 
 the having followed nature more fcrupuloufly 
 than his immediate predeeeflbrs. If, as Pliny 
 ftates, his works were fo numerous as to 
 amount to fifteen hundred, we have the more 
 to re«[;ret that thev were all of bronze, and 
 Irretrievably deftroyed \ 
 
 No authentic document remains, by which 
 the age of Agefander, Polydorus, and Atheno- 
 dorus might be certified, but there are proofs, 
 that Lifippus fiouriflied under the dominion 
 of Alexander To thefe firft mentioned ar-. 
 tifts is the Laocoon afcribed by Pliny % and 
 Winckelmann ^ conjeftures that Agefander 
 was the father of the others, and finifhed the 
 
 ^ Plin. 1. xxxiv. torn. ii. p 6.; 6. 
 y Diodor. Sicul. 1. xvii. p. 579. ^ Plin. 1. xxxvi c. 4. 
 » Mon. Ined. p. 79, 
 
 O 2 La^cocn, 
 
196 SCULPTURE, 
 
 Laocoon which is the moft difficult figure, 
 whilft thofc of the two youths w^ere left to 
 his fons. 
 
 In reply to thofe who would infmuate that 
 this ftatue is of a more recent date than the 
 compofition of the ^Eneid, he obfervcs, that 
 the hair of the two young men exaftly re • 
 fembles that of the fons of Niobe or the 
 wreftlers at Florence, the criterion of a much 
 earlier tsra. 
 
 Notwlthftanding the ancient attcftations 
 of its fuperexcellence, it has been a queftion 
 agitated in the learned world, whether the 
 groupe was formed upon Virgil's defcription, 
 or that it fupplied the poet with the fiftion. 
 But the efFecl to be produced in either ap- 
 pears to ha\ e originated in diftincl principles, 
 of the one fimply commifcration of torture, 
 of the other extreme horror. 
 
 In the a<re of the fculntors of the Laocoon, 
 Appolonius and Taurlfcus are conjec^^ured to 
 have fiourifhed ; for their precife date is not 
 known. They finifhed that very celebrated 
 groupe novv' at Naples, and called, the Far- 
 nefe Bull." Dirce is rcprcfented in the ad: 
 of being bound to the herns of the enraged 
 animal, in order to precipitate her into the 
 
 fea 
 
SCULPTURE. i97 
 
 fea by Zethus and Amphlon, the fons of An- 
 tiopa, who is like wife there ; and a fiftU 
 jigure of a }^oung man fitting in horror of fo 
 cruel a pimifliment, completes the rival 
 groupe of the Laocoon ^. The antique parts 
 are in a fnnilar ftyle to it, but the reftora- 
 tions are numerous, and in fome inftances 
 vmaccordant. Upon an infcription, now ob- 
 literated, was traced the name of another 
 artift, Menecrates ; and wc arc told, that this 
 vaft mafs of fculpture was formed out of a 
 fmgle block, in the ifland of Rhodes. Greece, 
 after the death of Alexander the Great, lapfcd 
 into a ftate of dependence little better than 
 llf\rery. Every territory was impoverifhed 
 J^nd laid wafte by the exorbitant impofition of 
 taxes, or continuance of war. Under the 
 oppreffion of their once favoured country the 
 arts were neglefted and nearly annihilated, 
 
 ^ Plin. 1. xxxvi. c. 5. 
 
 The anju^^uc groupes feltlom exceeded four or five 
 figures, excepting the Niobc, which is compofed of fixteen. 
 Cardinal Polignac, about 1730, dlfcovered amongft forfie 
 ruins, fuppofed to have been tlic palace of Marlus, twelve 
 female flatues without heads. Lambert Sigifbert Adam, 
 a French fculptor then at Rome, converted them at once 
 into Achilles amidft the daugliters of Lycomedes, 
 
 o s haa 
 
iQg SCULPTURE. 
 
 had they not found refuge in Afia, in the 
 
 patronage of the Seleucidse ^ 
 
 Men of talents in every profeflion, fought 
 in Egypt the encouragement afforded them 
 by Ptolerny Soter, who exhibited a m.unifi- 
 cence worthy of Alexander, his predeceffor in 
 that kingdom. 
 
 Soon after the arts had banilhed themfelves 
 from Greece, liberty infpired her laft heroes, 
 Aratus and Philipomanes, to attempt her re- 
 ftoration. Mutual jealoufy prevented that 
 glorious end, and rccourfe being had to the 
 Komans againft the Macedonian Philip, he 
 was defeated and compelled to cede the pro- 
 vinces he had unjuftly ufurped. 
 
 One hundred and ninety-four years before 
 Chrift, the Rom^an conful Quintus Flaminius 
 proclaimed at Corinth univcrfal liberty to 
 Greece ; and the public tranquillity confe- 
 quent on that event, introduced one of the 
 piofi: memorable asras of the arts. 
 
 Immediately, upon their arrival, Calliftra- 
 tus, Athenaeus, and Policies, wxre the moft 
 admired mafters of fculpture. Policies dif- 
 tinguiflicd himfelf by a ftatue of the Herma- 
 
 ^ Polyb. 1. xvii. p 9J^. 
 
 phrodite, 
 
SCULPTURE. 199 
 
 phrodite, now in the Borghefe Villa at Rome. 
 Apollonius the Athenian made the Torfo of 
 Hercules in the Belvidere, which was efteem- 
 ed by Michel-Agnuolo fupcrior to any per- 
 feA ftatue difcovered, at that period, in 
 Rome. 
 
 But the reftlefs genius of the Grecians in- 
 cited them to acts by which they loft the 
 liberty they ftrovc to defend, before aggref- 
 fion had been made by the Romans, to whom 
 the Achaean league had adminiftered a plau- 
 fible caufe of offence. L. Mummius, the 
 conful, was directed to lay fiege to Corinth. 
 The capture of a city fo famed as a repofitory 
 of all that was perfed: in the arts, provoked 
 the avarice of the Roman conqueror, who re- 
 ftrained no excels of predatory violence. By 
 tranfporting fo many fuperb works of tafte to 
 Rome to grace his triumph, he excited the 
 admiration of his fellow citizens, the confe- 
 quence of which was an infatiable ardour of 
 polTeffnig them. Thus the daemon of ap- 
 proptTation exhaufted the temples, and pil- 
 laged the flirines of the moft venerable anti- 
 quity, and eventually transferred the feat of 
 the arts from Athens to the ^rrovvinri; metro- 
 polis of the w^orld. 
 
 O 4 *' Giatcia 
 
200 SCULPTURE. 
 
 Grascia capta ferum vidlorem cepit, et artes 
 Intulit agreili Latio/* 
 
 HoR. Ep. I. ii. p. I. 
 
 Sicyon at the fame time had been ravaged 
 by M. Scaurus, and Sparta by Murasna and 
 Varro ; fo that to the Greeks the moft ex- 
 cellent painting and ftatuary, with the power 
 of reftoring thefe arts, fo long their boaft and 
 their delight, were loft for ever. Nor was 
 the fate of the arts in Egypt more fuccefsful. 
 The cruelties of the feventh Ptolem.y had 
 driven them from his court, and after the de- 
 feat of Antiochus and the Seleucidae, they 
 found in Attains, king of Pergamus, a fole but 
 very munificent protestor. The death of 
 Attains, with the immediate alienation of his 
 territory to the Romans, contributed much tq 
 the total extinction of the arts in Greece, 
 which was complete when Auguftus disfran- 
 chifed Athens, and difperfed the citizens, 
 on account of their attachment to M. An- 
 tony \ 
 
 In the defolation of Athens all Greece was 
 jnvolved. Thebes, Sparta, and Mycene, re- 
 
 ' Dio, Caff. 1. liv. c. 7. 
 
 tained 
 
SCULPTURE. 201 
 
 tained little more than their names ^ Sylla 
 had depredated three of the richeft and moft 
 facred temples, that of Apollo at Delphos, of 
 ^fculapius in Epidaurus, and of Jupiter at 
 EJis. Magna Graecia and Sicily had fliarcd 
 the general calamity in an equal extent^. 
 
 After this melancholy view of fallen Greece 
 we may find fome fatlsfad:ion in direding our 
 minds to the introduftion of the arts at 
 Rome, and to the liberal encouragement 
 which men of talents experienced even from 
 their haughty and rapacious conquerors. 
 
 Pafiteles (a name which has been con- 
 founded with Praxiteles) was a native of Ca- 
 labria, and caft in filver Rofcius, the cele- 
 brated a6lor, as an infant lying in a cradle, 
 and entwined by a ferpent, a fituation of dan- 
 ger from which his nurfe is faid to have pre- 
 
 « Paufan, 1. ix. p, 727. Appian. Bell. Civ. 1. ii. 
 P 232. 
 
 f Strrbo, I. vi. p. 272. The palace of Attalus abound- 
 eil in the finefl (latuary, as Is mentioned by Pliny, all of 
 which was brought to Rome ; and the pillage of fculpture 
 made by Veires when prsefecl of Sicily to enrich his gal- 
 lery, was a principal charge of crimination by Cicero, in 
 his fpirited oration againft him. Liv, 1. xxv. c. 40. Ju- 
 venal, Sat. viii. V. 87. 
 
 fcrved 
 
I 
 
 202 SCULPTURE. 
 
 ferved him ^, Nearly about the fame time, 
 Archefilaus and Evander were in great requeft 
 at Rome. By the profufe and wealthy Lu- 
 cullus, Archefdaus was patronized ; and both 
 thefe artifts had gained celebrity by their 
 works in chalk, modelled probably from the 
 fineft antiques, as well as being fpecimens of 
 their own invention. A Venus, made for 
 Julius C£efar, and the reftoration of a head of 
 Diana for a ftatue, the original work of Ti- 
 motheus, the contemporary of Scopas, by the 
 command of Auguftus, are noticed by Pliny 
 as their chief w^orks, and afcertaln their aera 
 and their fame. Horace alludes to the fupe- 
 rior ftyle of Evander in bas-reliefs ^\ 
 
 s Cicero de Divlnat. I. i. c. 36. Plln. 1. xxxv. c. 45. 
 
 Such was the profufion of the Romans after their con- 
 fular government was extingui{lied, that a ftatue of Vic- 
 tory in the Capitol was ere6ied of maffive gold, and weighs 
 ed laolh. A pearl valued at 1000/. EngliQi money was 
 cut in two, to make ear-rings for the ftatue of Venus in 
 the Pantheon. M. Antony gave one half to ClCopatra, 
 who fwallowed it diflblved in vinegar. 
 
 ^ menfave catillum 
 
 Evandri manibus tritum dejecit.'' 
 
 PIoR. .Serm. 1. i f. iii. v. 91. 
 
 6 
 
 Among 
 
I SCULPTURE. 203 
 
 I Among the monuments of fculpture made 
 at Rome, in thefe laft days of her republic, 
 and certainly4)y Grecian artrils, are the two 
 ftatues of the Thracian kings, as prifoners at 
 Ja triumph, in grey marble. Thefe were 
 kings of the Scordifci, a rude people, W'ho 
 were defeated by M. Licinius Liicullus, the 
 :)rother of the magnificent fenator. Exafpe- 
 rated by their repeated perfidy, he commanded 
 their hands to be cut ofiT, a circumftance of 
 icruelty reprefented in the marble which now 
 remains in the mufeum of the capitol. 
 
 The ftatue of Pompey ', now in the hall of 
 the Spada palace, but originally Itanding in 
 Ithe Curia or bafilica of Pompey, in which 
 I.Caefar affembled the fenatc, and at the bafe 
 |iof w^hich he fell, affords a fingular proof of a 
 i deviation from the known cuftom of the 
 Romans, who reprefented their living heroes 
 \ln armour''. But the great triumvir is fculp- 
 tured as a deified hero, naked and of coloffal 
 j proportions, 
 
 i Diodorus Siculus, I. i. p. 45. 
 ^ ^' Grasca res eft nihil velare : at contra Romana ac 
 militaris thoracas addere." Plin. 1. xxxiv. c 10. 
 
 Abbate 
 
204 SCULPTURE. 
 
 Abbate Winckelmann very ingenioufly fug- 
 gefts, that the ftatue denominated Clncinna- 
 tus at Verfailles, and another called Marcus 
 Agrippa at Venice, are of an sera diftinft from 
 that of thofe celebrated Romans, and not the 
 portraits of the perfons to whom they have 
 been fo long attributed. In faft, that they 
 are in a much earlier ftyle, he fliov^s with fuf- 
 ficient evidence K 
 
 We muft now confider the arts as tranf- 
 planted into Rome, although profefled, al- 
 moft exclufively, by Greeks, for the very op- 
 preflbrs and depredators of Greece becamx 
 their moft liberal patrons. C^efar, when in a 
 private ftation, had made an extenfive col- 
 lection of pictures, intaglios and fmall figures 
 in ivory and bronze, which he dedicated by 
 a public benefaftion, when, as dictator, he 
 built a temple to Venus Genetrix. His mag- 
 nificent Forum is an inftance of his defirc to 
 promote the grandeur of the imperial city ; 
 and he may be faid to have left the love of 
 the arts, as a kind of heritage, to the Romans"'. 
 Auguftus merited the eulogium of Llvy, who 
 
 1 Monum. Ined. T. i. p. 88. 
 « Plin, 1. xxxvii. c. i. Suetonius. Jul. c. 28. 
 
 honours 
 
SCULPTURE. ICS 
 
 honours him as the reftorer of the temples of 
 the Gods. He alTembled from every part of 
 (ireece the ftatues of the deities of the moft 
 genuine workmanfhip, with which he em- 
 belUilied Rome, whilft he encouraged a pre- 
 vaihng mode of figuring eminent perfons of 
 cither fex in ftatuary, as portraits, which were 
 placed in the public edifices", or religloufly 
 prefer ved in their own. It is w^orthy of 
 remark, that of this Emperor two ftatues 
 only are allowed to be real portraits ; one in 
 the Mufeum of the Capitol holding the prow 
 of a fliip° in reference to the viftory at Ac- 
 tium, and the other was formerly in the Ron- 
 donini coUeftion at Rome. 
 
 Cleopatra, fo unfortunately famous for her 
 beauty and profufe magnificence, cherifhed 
 the arts in Egypt. She gave a ftatue of 
 Venus to Julius Caifar to furnifli the temple 
 he was then building at Rome ; with Marc 
 Antony flie fharcd the fpolls of Greece and of 
 Pergamus, and to the Attalian Library, w^hich 
 flie procured from him, were added fome of 
 
 " Id. Calig. c. 34. v/hcrc he aflerts that Caligula threw 
 down the flatues of eminent men erecled bv Aiip-uftus in 
 the Forum. 
 
 " Maffei Raccolt. di Stat. Tav. .6. 
 
 the 
 
%oG SCULPTURE. 
 
 the fineft works, both of fculpture and paint- 
 ing, which exifted at that time. Two fta- 
 tues, fald to reprefent this gorgeous queen, of 
 which that in the Belvidere is the more cele- 
 brated, are rather imperfectly authenticated^. 
 
 Thecondud: of Auguftus towards theGreeks, 
 after he affumed the imperial government, was 
 moderate and difcreet, and fuch was continued 
 by his immediate fucceflbrs till the reign of 
 Caligula. By him was difpatched Memmius 
 Regulus with a command to colled: from 
 every city the ftatues w^hich had been confi- 
 dered as its peculiar boaft. With fo much 
 exadnefs were thefe orders obeyed, that the 
 fineft pieces of art were brought to Rome, in 
 a profufion by which his palaces were crowd- 
 ed, and many were diftributed in his numer- 
 ous villas. Not even the Olympian Jupiter 
 at Elis, compofed of gold and ivory, by Phi- 
 dias, would have been preferved from the 
 adive rapacity of Regulus, but that the artifts 
 had afiured him it would not bear removal "i. 
 
 To the ^era of Claudius is referred a beau- 
 tiful groupe in the V'illa Lodovifi at Rome, 
 
 ? Mon. Ined. T. i. p. 90. 
 Jofephus Ant. Jud. 1. xix. c. i. 
 
 ' long 
 
SCULPTURE. 2C7 
 
 long confidered as rcprefenting the tragic ftor/ 
 of P^tus and Arria, which has been patheti- 
 cally told by Pliny Junior in his epiftles, by 
 Tacitus and Catullus. Different opinions are 
 maintained bv the connoiffcurs. Maffei 
 affirms it to be Menophilus and Dercttina the 
 daughter of Mithridates king of Pontus''; and 
 Gronovius', more plaufibly, that it alludes to 
 the ftory of Macarius and Canace, the chil- 
 dren of (Eolus. We are informed by Paufa- 
 rias^, that from the temple of Delphos only, 
 five hundred ftatues were tranfported to Rome 
 by the infatiable Nero, wdio employed Zeno- 
 dorus to caft a coloffal ftatue of himfelf in 
 bronze, one hundred and ten feet high. Two 
 very remarkable ftatues now exifting at Rome, 
 the Belvidere Apollo, and that ufually called 
 the Gladiator in the Villa Borghefe, are fup- 
 pofed to have been part of this fpoil. By the 
 total filence of Pliny refpecting thefe fmgular 
 fpecimens, we are thrown upon conjecture; 
 and in this omiffion he paffes over the ftatues 
 
 ' Amm. Marccll. i. i6. 
 ^ Thefaur. Ant. Grasc. T. 3. tab. xxx. 
 ^ Paufan. 1. x. p. 813. Id. 1. viii. p. (94. Strabo 1. x. 
 P- 459' 
 
 of 
 
ao8 SCULPTURE. 
 
 of Pallas by Evodius, and of Hercules by Ly- 
 cippus, which are particularly fpecified as 
 having been brought from Grecian cities". 
 
 Nero, when in poffeffion of thefe exquifite 
 antiques, Ihowed the perverfion of his tafte by 
 covering thofe of bronze with gilding, and 
 fome even of marble are known to have been 
 fo disfigured by his ridiculous profufcnefs. 
 
 With refpeCt to the ftate of the arts in this 
 age, we arc enabled to decide favourably by 
 the infpedlion of the triumphal arch of Titus, 
 and the frize of the temple of Minerva, in 
 the Forum built by Pomitian. 
 
 In the particular kind of fculpture applied 
 to bas-reliefs and trophies, the artifts may be 
 diftinguiflied by fuperior elegance and fkill, 
 which is evinced by many beautiful remains. 
 Of fuch magnitude were the archite (Sural 
 plans adopted by Trajan, that men of talents 
 in every defcription of art were invited to 
 fimalife themfelves, under his mAinificent 
 patronage, in every region of the empire. 
 The fumptuous edifices which he erected, ap- 
 
 " Pliny mentions a llaCue of Alexander tlie Great by 
 Lycippus, 1. xxxix. c. 19. Valois des richelTes du Temple 
 Delphos. Mem. Acad. Infc. T. 3. 
 
 pear 
 
SCULPTURE. 209 
 
 pear to have exhaufted the powers of human 
 conftru6lion, of the extent and vaftnefs of 
 which we can now form conclufions only by 
 their ruins. His bridge over the Danube, 
 his triumphal arch at Ancona^ his Forum, 
 the fite ;of which is now marked out by the 
 hiftorical column, raife his fame, as an en- 
 courager of the arts, far beyond his prede- 
 ceflbrs. 
 
 Under the aufpices of Hadrian, the fuc- 
 ceflbr of Trajan, the arts maintained a pro- 
 greffive degree of excellence. He was emi- 
 nently accompliflied, not only as an admirer, 
 hut was himfelf an artilT:. Every province in 
 Greece enjoyed his munificence, and the 
 temples of Jupiter at Athens which he re- 
 ftored"", and that of Cyzicum, on the fhores of 
 Propontis, which he built, w^cre ftupendous 
 monuments of imperial fplendour. Having, 
 for eighteen years, been engaged in vifiting 
 the moft diftant parts of the Roman empire, 
 he refolvcd to conllruct his villa at Tivoli ; 
 in which not only exaft models of the moft 
 celebrated buildings he had fecn, fhould Le 
 created, but that they Ihould be furnifhed 
 
 ^ Paufan. 1. v. p, 406. 
 
 P with 
 
2fo SCULPTURE. 
 
 with originals, or the fineft copies, of the 
 moft admirable ftatues. His correc^l judg- 
 ment in all works of art contributed more to 
 the abfolute fuperiority of this collediion, than 
 the mere power of expending unlimited trea- 
 fures to procure it. 
 
 It -was by Hadrian that the fafliion of 
 having portraits in ftatuary was fo generally 
 extended amongft the noble and opulent 
 citizens of Rome. In his own villa at Ti- 
 voli, v/ere placed, by his command, the ftatues 
 and bufts not only of all his llvin^g, but of his 
 deceafed friends". Of his favourite Antinous, 
 in various charaClers, there are infinite repeti- 
 tions. That mofl valued, was found on the 
 Efquiline hill, and was placed by Lrco X. in the 
 Vatican ; but it has lately been defcribed as 
 Mercury, by a critic of fingvilar erudition'"'. 
 Another was found about 1770, in the Ther- 
 m:e Maritimas of Hadrian, near Oftia, by Mr. 
 Gavin Hamilton, late of Rome. It repre- 
 fcnts Antinous, in the mythological charac- 
 ter of Abundance, and is now in the collediion 
 of the Hon. J. Smith Barry, at Beaumont in 
 
 y Zephilin. Epit. Dion.. Caff. Hadrian, p. 24^. 
 2 Abb. te Vifconti Mus. Pio-Clcm. T. i. p. 9--10. 
 
 Chelhire, 
 
SCULPTURE. 211 
 
 Chefhire. By the urbanity and kind com- 
 munication of Mr. Townley, I am enabled 
 to add in continuation of thefe remarks fome 
 extracts from the genuine letters of Mr. Ha- 
 milton, relative to his difcovery of ftatues. 
 
 Some curiofity will be excited, to inquire 
 the names of thofe artifts who were fo con- 
 ftantly employed, and fo amply patronifed by 
 Hadrian. Thofe only of Ariftaeus, Papias, and 
 Zeno, occur on the plinths of fragments dif- 
 covered amongrft the Tiburtine ruins. 
 
212 
 
 SCULPTURE. 
 
 SECTION III. 
 
 We are now advancing rapidly to the 
 decline. Of the two Antonlnes, M. Aurelius 
 appears to have been the greater friend of the 
 arts. His equeftrian ftatue in bronze in the 
 area of the Capitol, is the firft now exifting 
 in the world, and defies the competition of 
 the modern artifts\ This laft epoch includes 
 the reigns of Trajan, Hadrian, and the Anto- 
 nines, and terminates within that of Com- 
 modus. It was moft remarkable for the cha- 
 racter and high finifliing of heads intended as 
 portraits, particularly of the imperial bufts, as 
 of M. Aurelius, Commodus when young, and 
 of Lucius Verus. The minute labour iliewn 
 in the hair is ftrongly contrafled by the bold 
 effect of the antique. 
 
 a The equeflrlan ftatue of M. Aurelius was found in 
 the pontificate of Sixtus IV. { 147 i^io 1484 ) on the Caslian 
 hill near the prefent cburcli of St. John Lateran, who 
 placed it in that aiea. Paul III. about 1540, removed it to 
 arc? of the Capitol, under the dire6lion of Michelagnolo. 
 
 A ftatue 
 
SCULPTURE. 313 
 
 A ftatue faid to be of that degenerate 
 monfter Commodus, in the chara<R:er of a 
 young Hercules, is in the Belvidere. The 
 fuperior finifliing of the hair is a decifive 
 proof, according to the judicious Winckel- 
 mann, that it is a genuine Hercules of much 
 higher antiquity^. 
 
 But the total debafement of fculpture, in 
 which caufe none of its priftine elegance 
 could be traced, is moft apparent in the bas- 
 reliefs of two triumphal arches ere6led at 
 Rome in the reign of Septimius Scverus. In 
 comparifon v/ith the ftate of the arts under 
 the Antonines, the mofi: unpraclifed eye will 
 inftantly difcover a lamentable inferiority, not 
 that the arts declined fo fuddenly, from a 
 fcarcity of thofe who profelfed them. For 
 many portraits in marble, both of this em- 
 perour and his favourite minifter Plautianus'', 
 afford a convincing proof, that though the 
 fculptors were many, yet that the art was in 
 decay. 
 
 The fevcral authors who have purfucd this 
 
 ^ Mon, Ined. c. iv. p. 99. 
 *^ Gibbon's Roman Hift. V. I. p. 201. Herodian I. iii. 
 p. 122, 129. 
 
 P 3 inquiry 
 
214 SCULPTURE. 
 
 Inquiry with the moll: ample and critical in- 
 veftigation are undecided in fixing the exact 
 period of the extindion of the arts at Rome. 
 Some allow no proofs of their exiftence later 
 than the Gordians, and by others they are ex- 
 tended to the reign of Licinius Gallienus> 
 in the 268th year of Chriftianity. Why 
 the profeffion of the arts fliould, in a great 
 meafure, ceafe, feveral caufes may be given. 
 Veneration for their anceftors had filled moll: 
 of the Roman houfes with ftatuary, which 
 difgraced the efforts of later times by an evi- 
 dent iuperiority. Their number, as well as 
 their excellence, precluded any encouragement 
 of artifts, who were deficient both in fcience 
 and execution. It is aflerted by Caffiodorus, 
 that the number of ftatues in Rome nearly 
 equalled that of its inhabitants, at a period of 
 the moil extenfive population. 
 
 When Conftantine determined to eftablifli 
 at Byzantium, another capital of the Roman 
 world, he pillaged the old metropolis of its 
 moft valuable ftatuary, to embellilli a rival 
 city. Thofe cities of Greece which were 
 contiguous fupplied, of courfe, an eafy prey. 
 Im.plicit credit perhaps is not to be given to 
 an author of fuch queftionable veracity as 
 
 Cedrenus. 
 
SCULPTURE. 215 
 
 Cedrcnus. From him we learn, that Con- 
 ftantine had colledied the Olympic Jupiter or 
 Phidias, the Gnidian Venus of Praxiteles, and 
 a coloiTal Juno in bronze from her temple at 
 Samos, not to dctai] more of his catalogue"*. 
 Thefe, according to the amplifying Nicaetas, 
 were broken in pieces or melted down at the 
 furrender of the Eaftern empire and its me- 
 tropolis, in 1204, to the French and Vene- 
 tians. The four bronze horfcs in the Duomo 
 of St. Mark at Venice, vv ere prefcrved^ from 
 deftruftion, and tranfported in trium.ph. 
 .From the reigns of the firft Byzantine cm- 
 perours to the immediate fucccilbrs of Thco- 
 dofms, wc. may perceive a ray of their former 
 genius ftill animating the Greek artifts. The 
 hiftoricai column of Arcadius rofe in no very 
 unequal emulation of thofe of Trajan and 
 Antonine at. Romc\ *But, from many epi- 
 grams of the Anthologia, it is evident that 
 able artifts were to be found; and it may be 
 candid to fuppofe, that fuch praife was not, 
 in every inftance, extravagant or unmerited. 
 
 Ceclrcn. Hift. p. 322. 
 ^ Gibbon's Rom. Em p. v. ii. p. 240. 
 ^ Conftantinople, Ant. and Mod, 4to. p. 11^, 
 
 P 4 At 
 
2i6 SCULPTURE. 
 
 At the fame time that Rome was laid wafte 
 by the Goths, the works in bronze by the 
 artifts at Conftantinople were held in confi- 
 derable eftimation. 
 
 In the conclufion of his hiftory of the de- 
 cline and fall of the Roman empire, the eru- 
 dite Gibbon has given a perfpicuous and fuc- 
 cind: account of the four feveral caufes to 
 which the ruins of Rome may be afcribed^. 
 During the fifteenth century, Petrarch, and 
 Poggius, the celebrated Florentine rhetori- 
 cian and lawyer, very eloquently deplore this 
 deftruition, and particularife the dilapidation 
 by which they were furrounded in their view 
 of the imperial city, after niany centuries of 
 injury fuftained from the Goths, the zeal of 
 the primitive chriftans, the civdl wars of her 
 own nobility, and the wafce of materials, or 
 the gradual decay of ti*me. 
 
 Poggius alTerts, th^t fix perfedl ftatues only 
 remained, of all the former fplendour of the 
 miftrefs of the world ^. Four were extant in 
 the baths of Conflantine; the others, that now 
 
 E Gibbon's Rom. Hifl. v. xii. p. 400. 8vo. 
 ^ De varietate Fortunae, p. 20, 
 
 on 
 
SCULPTURE. 217 
 
 en the Monte-cavallo, and the equeftrian 
 ftatue of M. AureUus. Of thefe five were of 
 marble, and the fixth of bronze. 
 
 To underftand or appreciate juftly thefe 
 works of ancient art, appears to have been a 
 qualification of which the natives of Rome 
 were in no refpeil ambitious"; indeed to the 
 fame Poggius whom I have mentioned, wx 
 are indebted for the cultivation of tafte, and 
 the fuccefsful refearches made foon after this 
 dark period. To thefe circumftances may be 
 traced the revival of the arts in Italy ^. He 
 was the firft coUeitor in his own country, 
 and what the circumfcribed fortune of an in- 
 dividual could not effeft, the magnificence of 
 his prince moft amply fupplied. Incited by 
 his earneft recomm.endation, the great Cofmo 
 de Medici acquired a love of the arts, and 
 formed the beginnings of a cabinet. His 
 fucceflbrs, as if with hereditary emulation, 
 
 ^ Invitusdico, nufquam minus cognofcltur Roma, quam 
 Romae. Poggii Epift. Fam. 1. 6 2. 
 
 ^ He fent a monk to the ifland of Chios to colledl mar- 
 bles, of whom he complains, in one of his letters, as hav- 
 ing diUngenuouIly purloined them. 
 
 have 
 
ai8 SCULPTURE. 
 
 have exerted every power of wealth or infiu* 
 ence to render it the envy of Europe. 
 
 An inveftigation of the remains of Roman 
 grandeur, fo long and feduloufly purfued, w^as 
 rewarded by frequent difcoveries of the fineft 
 antique fculpture; and the artifts of the mo- 
 dern fchool eftablifhed at Florence, gave the 
 firft proofs of their ingenuity in reftoring and 
 adapting thefe precious fragments. 
 
 Of the age of the magnificent Leo the 
 tenth, fo interefting to the lovers of literature 
 and the arts, and of the enlightened indivi- 
 duals of the family to which he belonged, a 
 mofl: accurate and elegant hiftory is now in 
 the poffeffion of the pubUck^ As a colleftor 
 of fuperior judgment and fuccefs I will only 
 advert to cardinal Ferdinand de Medici, in 
 the garden of whofe villa on the Trinita di 
 Monte at Rome, the Venus, the groupe of 
 Niobe, and many other ftatues, were placed, 
 and engrofled the admiration of Europe. 
 
 Many curious particulars relative to the 
 firft difcovery of thofe antiques, in the fix- 
 teenth century, which have retained a fuperior 
 
 * Rofcoe's Life of Lorenzo de Medici 2 vols 410, 1797. 
 
 degree 
 
SCULPTURE. !2i9 
 
 degree of excellence, and are unrivalled by 
 any which have been fubfequently brought 
 to light, are given by the Roman anti- 
 quaries'''. A concife detail of fome of the 
 more remarkable may not be uninterefting, 
 in a feries of inquiries which have fa(3:s for 
 their object, rather than opinions, as they re- 
 late to the hiftory of fculpture. 
 
 I. The equeftrian ftatue of M. Aurelius 
 was found in the Pontificate of Sixtus IV, 
 (147 1 to 1484) on the Coelian hiJl, near the 
 prefent church of St. John Lateran, wdia 
 placed it in that area. About the year 1540, 
 it was removed to the Capitol, under the di- 
 redlion of Michelagnola. 
 
 II. The Torfo of Hercules in the Vatican, 
 was found in the Campo de Fiori, in the time 
 of Julius II. 
 
 III. The groupe of the Laocoon was dif- 
 covered in the vineyard of Gualtieri, near the 
 baths of Titus, by Felix de Fredis, in 1515, as 
 
 Ficoroni Gemme Cetterate, including Notices of Dif- 
 •overies- Flaminius Vacca, *' Memorie di varie anticliita 
 trovate in diveiTi loughi dl Roma," 22 pages, printed at 
 the end of Nardini's Roma Autica, and in Montfaucon. 
 
 6 recorded 
 
120 SCULPTURE. 
 
 recorded on his tomb in the church of Ara 
 Coeh. 
 
 IV. In the reign of LeoX. the Antinous, or 
 Mercury according to Vifconti was found 
 on the Efquihne-hil], near the church of 
 St. Martin. 
 
 V. Leo was likewife fuccefsful in recover- 
 ing from obhvion the Venus called de Medi- 
 cis. It was found in the portico of OcSavia, 
 built by Auguftus, near the theatre of Mar- 
 cellus, in the modern Pefcheria." Re- 
 moved to the gallery at Florence by Cofmo III. 
 1676. 
 
 VI. The coloffal Pompey of the Spada- 
 palace, was found during the pontificate of 
 Julius III. (1550 to 1555) near the church of 
 St. Lorenzo in Damafo. 
 
 VII. The Hercules and the group of Dirce 
 Zethus and Amphion, called II toro/' now" 
 at Naples, were dug up in the baths of Cara- 
 call a, and placed in the Farnefe palace about 
 the middle of the fixteenth century. 
 
 VIII. The Apollo Belvidere and the Gla- 
 diator of the Villa Borghefe, were taken from 
 
 • Mufeo Pio-Clem. T. i. pi. 9, 10. 
 
 under 
 
SCULPTURE. 221 
 
 under the rums of the palace and gardens of 
 Nero at Antium, forty miles from Rome, 
 when the Cafmo was made there by Cardinal 
 Borghefe, during the reign of Paul V. (1605 
 to 16:31.) 
 
 IX. Soon afterward, the keeping Faun, 
 now in the Barbarini palace, was found near 
 the maufoleum of Hadrian. 
 
 X. The Mirmillo Expirans, or Dying Gla- 
 diator of the Capitol, was dug up in the gar- 
 dens of Saluft, on the Pincian-hill, now the 
 Villa Borghefe. It v/as purchafed by Bene- 
 did: the fourteenth of Cardinal Lodovifi. 
 
 XI. The fmall Harpocrates and the Venus 
 of the Capitol were found at Tivoli in the 
 fame reign. 
 
 XII. The Meleager, once in the Picchini 
 collection, now in the Vatican, was found 
 near the church of St. Bibiena. 
 
 Thefe chronological notices of the difco- 
 very of ftatues might be continued to a far- 
 ther extent ; but to make a mere catalogue 
 entertaining, is no eafy tafk. 
 
 Whilft the ardour of colleAing antiques 
 was in its full zenith, the great rivalfhip was 
 carried on between the pontiffs and thofe 
 cardinals who enjoyed their favour, cither 
 
 from 
 
ftaut SCULPTURE. 
 
 from motives of favouritifm or conlangui- 
 nlty. 
 
 It would be indulging a latitude of defcrip- 
 tlon far beyond the limits of thefe pages, to 
 offer even a bare enumeration of the collec- 
 tions w^hich now exift at Rome. When I 
 faw them in the year 1796, fo vaft was the 
 alTemblagfe, fo infinite the variety, and fo near 
 the approach to excellence, that I found it 
 much more ealy to admire than to feleft. 
 Some ftatues in each collection, are yet con- 
 fidered with a higher degree of praife by 
 thofe who are eminently qualified to de- 
 cide. 
 
 Let me here be allowed to remember with 
 pleafure the liberal admittance which every 
 vifitant will find in Italy to thefe fuperb re- 
 pofitories of the arts, uninterrupted by petty 
 objections or exorbitant demands of money. 
 The permiffion given to ftrangers, particularly 
 to artifts, who are fuffered to copy or make 
 drawings from ftatuary, by the modern 
 polfeflfbrs, is truly commendable ; and emu- 
 lates that greatnefs of mind difplayed by thofe 
 who dedicated baths, theatres, and gardens, as 
 public academies to the Roman people. 
 
 The 
 
SCULPTURE. 253 
 
 The ftudy of the antique is facilitated by 
 every poffible mode. Not only by the eafy 
 accefs to the ftatues, and the ready informa- 
 tion of men who have inveftigatcd the fubje6l 
 with erudition and clafiical tafte ; but it is 
 brought nearer to us by numerous engravings 
 of fpirit and accuracy relative to each col- 
 leftion ; which are frequently elucidated by 
 critical effays on the fubjecft''. 
 
 It will be neceflary to take a general view 
 of the progrefs made in amafling thefe trea- 
 fares of antiquity in Italy, before other na- 
 tions of Europe acquired a fimilar talle for 
 the arts, and were ambitious of tranfporting 
 to their own cabinets the monuments of 
 Greek and Roman fplendour. 
 
 As the city of Rome and its immediate 
 
 « ^des Earbarlnse, fol. 1647. Vv^ifT. Aldrovandi Statue 
 di Roma, i2mo. 1558. JVIon. Medices, 159c, di Do- 
 menico r\Iontelatici. Villa Borghefe, 8vo. 1700, Do- 
 menlco de RofTi Raccoita di fiatue antiche con le fporitioni 
 de P. A. Maffei, fol. 1704.. P. Lucatelli Muf. Capitoli- 
 num, 4to. 1750. Mufeum Florentinum, fol 1740. Rac- 
 coita di Statue Pirancfi. Monuinenti Inedite (Villa x'\l- 
 bani). Winckelmann, 2 vols. fol. 1767. 
 
 vicinity 
 
5t24 SCULPTURE. 
 
 vicinity contained the far greater number of 
 tliefe curiofities, the ecclefiaftical authority 
 ■was exerted in a prohibition of alienating any 
 piece of fculpture, whilft the liberal price 
 paid by the cardinals co-operated with the 
 fear of cenfure, and was the caufe, that 
 almoft all of great value, wxre retained in 
 Italy. 
 
 Of foreign princes, the firft who afpired to 
 form a collcclion was the magnificent Francis 
 the firft, to decorate his palace of the Louvre. 
 He fent to Rome Francefco Primaticcio, a 
 very diftinguiihed painter of hiftory, who ac- 
 quitted himfelf with fo much fkill and ad- 
 drefs, that he returned with 125 ftatues, bufts, 
 and mutilated figures. But the beft of this 
 colledlion were not antique. Barozzi was 
 employed to caft and make models from the 
 Laocoon, the Venus, and other ftatues then 
 recently difcovered, which he performed in 
 bronze with the ftrength and beauty of the 
 originals. 
 
 Prince Henry and his brother, afterward 
 Charles I. of England, commiffioned Sir Henry 
 Wootton, their refident at Venice, but obtained 
 few antiques. Their colled:ion confifted princi- 
 pally 
 
SCULPTURE. aatj 
 
 pally of fmall bronzes exquifitcly copied by 
 the Florentine artifts. The earl of Arundel 
 at the fame time, with equal expcnce and 
 more judgment, had began his collection of 
 antiques, a minute account of which will be 
 attempted in the fequel. 
 
 Philip IV. of Spain was induced by the 
 great Velafquez to purchafe marbles from 
 Rome. Under the direftion of that celebrat- 
 ed painter the firft ftatues of any merit were 
 brought into Spain p. 
 
 In Germany, no acquifitions of this kind 
 had been made till a much later period 
 
 The Belvidere, in the palace of the Vati- 
 can, was the firft repofitory of fculpture ; and 
 w^as originally built by Julius II. the imme- 
 diate predecelTor of Leo X. in whofc ponti- 
 ficate it could boaft, if not the Apollo," the 
 " Laocoon/' the torfo of Hercules," and 
 
 V The Palace of St. Idelfonfo has been enriched by the 
 Odefchalchi, and the coUedlion of Chriflina, queen of 
 Sweden, and by Mengs's Etrufcan Vafes. 
 
 ^ In tlie Elecloral Palace at Drefden are feme fine Sta- 
 tues. The late king of Pruffia purchafed Cardinal Polig- 
 jiac's Marbles and Baron Stofch's Gems, and furnifhed a 
 gallery, from the anti(pe, entirely from French artifls. 
 
 Q the 
 
!L25 SCULPTURE. 
 
 the Antinous/' Cardinal Ferdinand de 
 Medici procured the ''Venus/' the '' Wreft- 
 lers," the dancing '' Faun/' the '' Niobe/' 
 and many others, which have been trans- 
 ferred from his Vilia^, to the gallery at Flo- 
 rence. 
 
 By Cardinal Alexander Farnefe, the heir 
 of Paul III. were preferved the " Hercules/' 
 and the grand groupe of '' Dirce/' both of 
 which are removed to Naples. 
 
 Paul V. began the Borghefe colle^lion, now 
 one of the finefl and mofi: fele<5t in Ptome, 
 It contains the '' Gladiator/' a charadler dif- 
 puted by the learned Winckelmann \ 
 
 The Barbarini marbles were procured by 
 Urban VIII. of which the moft celebrated 
 are the lleeping '' Faun/' and the bufts of 
 
 Marius" and '' Sylla." Many have been 
 difperfed. 
 
 The Mattel colled;ion was remarkable for . 
 the number and excellence of the bas-reliefs, 
 and the bronze Eagle, w^hich Giulio Romano 
 delighted to copy in red chalk. 
 
 Cardinal Alexander Albani, the nephew 
 
 * It is reported, that a great part of this collcdlion will be 
 oSered to fale in England in the courfe of the next year. 
 
 of 
 
SCULPTURE. 227 
 
 of Clement XL completed a gallery at his 
 Villa; in which are exhibited many pieces 
 of fculpture, equally perfe<5l and curious. 
 Amongft them is feen the Apollo Sauroc- 
 tonos," the fineft bronze ftatue in Rome. 
 
 During the reign of Benediil XIV. various 
 difcoveries were purfucd vvith fpirit and fuc- 
 cefs ; particularly in the fite of the ftupendous 
 villa of Hadrian at Tivoli. 
 
 That munificent Pontiff determined to ap- 
 propriate one wing of the palace of the Cam- 
 pidoglio to their reception. The Mir- 
 millo," or dying Gladiator, the Venus," 
 and the Agrippina/' will attradl immediate 
 notice. 
 
 Pope Ganganelli (Clement XIV.) had made 
 a colle<5lion of fuch marbles as were found 
 during his Ihort poffeflion of St. Peter's 
 chair ; and had dcfigned a mufeum in the 
 Vatican. His intentions have been very am- 
 ply fulfilled by Brafchi (Pius VI.) and the 
 repofitory of the additions to the Bclvidere, 
 is difllnguifhed by their joint names ^ Tivoli 
 
 r Mufaeum Pio-Clementliium. The mai bfes have been 
 partly pubhflied by the Abbate Vifconti, the prefent libra- 
 rian at the Vatican » 
 
 Q. ^ has 
 
SCULPTURE, 
 
 has been found to be an almoft inexhauftible 
 mine ; and has contributed greatly to this 
 new mufeum. 
 
 The ftatue of Tiberius," the comic poet 
 " Paufidippus/' and a groupe of ^' Eiiulapius 
 and Hygeia/' are the moft remarkable. One 
 of the rooms is fdled with animals only ; 
 many of which may vie with thofe w^hich 
 for fo long a time have engroffed the praifc 
 of connoiil'eurs % 
 
 Thefe preliminary obfervations on the hif- 
 tory of fculpture, may at leaft ferve to intro- 
 duce and elucidate our principal fubje6l — the 
 flrft dawning of claffical tafte in England. 
 The fmgular height to which that tafte has 
 attained by the talents and liberality of thofe 
 who hav^ graced their country with many of 
 the moft pcrfed: and genuine of antique re- 
 mains, is an allowed proof of national fupe- 
 riority. It is a favour, which thofe who un» 
 
 The five celebrated animals of antiquity f according to 
 Lord Orford) are the Bctrbarini Goat, the Boar at Flo« 
 rence, tlie Matrei Eagle, tliat at Strawberry Hill, found 
 near the baths of Caracalla in 1742, and Mr. Duncombe's 
 Dog. Mr. Townley has a groupe of dogs and an eagle 
 which riv^ tbeiii. 
 
 derftand 
 
SCULPTURE. 2t9 
 
 dcrftaiid and value the arts, are proud to ac- 
 knowledge. 
 
 In the reigns of James and Charles L 
 Thomas Howard, earl of Arundel, ill-requited 
 for the fervices of his illuftrious family in the 
 caufe of the Stuarts, paffed many years of his 
 life on the continent ; and indulged his ge- 
 nius in the more elegant purfuits of literature 
 and the arts. Endowed' by nature with 
 tafte and difcernment, he became the patron 
 of learning and ingenuity, and happily pro- 
 jected the improvement of his own country, 
 by propofing the ftudy of the elements of 
 claflical architecture, and the arts of defign. 
 Upon his return to England, his palace on the 
 banks of the Thames, and his country retreat 
 at Albury in Surrey, were rcfortcd to by men 
 of talents, who were inftructed by his con- 
 fummate judgment, and fupportcd by his 
 
 « The improvement of the buildings in Weflminftcr 
 was committed to Lord A. and Inigo Jones (Rymer's 
 Foedera, v. xviii. p. 97), and in 1618 other peers were in- 
 cluded with him in a commiffion to reduce to uniformity 
 Lincoln's Inn PU-lds, &c. Inigo Jones's defigns of Covent 
 Garden and Lincoln's Iim Fields are now in Lord Pern- 
 Iproke's pofTeEon at Wilton. 
 
 Q 3 munificence. 
 
^ SCULPTURE. 
 
 munificence. He maintained Francifcus Ju- 
 nius and Oughtred the mathematician ; he 
 patronized Inigo Jones and Vandyke ; he 
 brought over Wencellaas Hollar ^ the firft 
 engraver of merit, and encouraged him in 
 England ; and he employed Nicholas Stone, 
 Le Seur, and Fanelli, the firft who practlfed 
 their art of fculpture in this kingdom. It 
 was from the example and recommendation 
 of Lord Arundel, and a very inferior caufe, 
 the envy of the favourite Villiers, that 
 Charles I. w^as originally induced to ftudy 
 and encourage the arts. His tafte was refined 
 and elegant, and, doubtlefs, he found his 
 propenfity to follow them perfeftly natural. 
 But fuch were his primary inducements. 
 
 When Lord Arundel determined to colle6l 
 a gallery of ftatuary, he retained two men of 
 letters for that purpofe. The ingenious John 
 
 ^ The three mofl complete colledllons In England of 
 Hollar's works are thofe in the pofTeffion of his Majcfiy, 
 the Duke of Portland (Lord Oxford's), and that made by 
 the prefent Duke of Norfolk. Hollar engraved two fmall 
 views of Arundel Houfe, and a view of London from the 
 top of it — fo rare, that they produced eleven guineas at a 
 fale in 1799. He engraved likewife Arundel Caflle, and 
 Albury in Surrey. 
 
 Evelyn 
 
SCULPTURE. 231 
 
 Evelyn was fent to Rome, and William Perry 
 undertook a hazardous journey to the Greek 
 illands and the Morea. In the iflands of Paros 
 and Delos, his indefatigable refearches had 
 been rewarded with ample fuccefs, when, on 
 his voyage to Smyrna, he was ftiipwrecked 
 on the coaft of Afia oppofite Samos, and 
 efcaped only with his life At Smyrna he 
 acquired many marbles of extreme curiofity 
 and value, particularly the celebrated Parian 
 chronicle. Still the jcaloufy of Villiers was 
 adlive to interrupt Lord Arundel's purfuit, 
 and the delight of his retired hours. Sir 
 Thomas Roe, then embaffador at the Porte, 
 and confequently obedient to the minifber, 
 was directed to purchafe beyond Perry's abi- 
 lity ; and to withhold from him every affift- 
 ance in his diplomatic capacity, which he dar- 
 ed not openly to refufc. The king had com- 
 
 " Sir T. Roe's Letters, fcl. p. 594. ** Neither am I 
 (fays the Dakc of Bucks) as you rightly conjcdlure, fo 
 fond of antiquity, &c." Sir T. Roe gives very honour- 
 able teftimony of Mr. Perry's perfeveiancc and ability, 
 
 495. He hath vifited Pergamo, Samos, Ephefus, and 
 other places ; and hath raked together two hundred pieces, 
 'ill broken and none entyre." 
 
 Q 4 manded 
 
132 SCULPTURE. 
 
 mandcd Sir Kenelm Dlgby, prevloufly in 
 16^8, when admiral of a fleet in the Levant, 
 
 ^ Abraham Vander-Dort was the keeper of King 
 Charles I.'s cabinet at Whitehall. He compiled a cata- 
 logue of the pidures and ftatues, the MS. of which is m 
 the Adimolasan Mufeum at Oxford. Vertue copied it ; 
 and from that copy it was publiflied by Bathoe, 4to. 1757. 
 It appears that tire royal collection was numerous and va- 
 luable, but nothing can be more vague and undefined than 
 the defcriptions as " an emperor's head — a woman's head — • 
 a Venus's bodv, &:c." In the gallery at Somerfet Houfe 
 120 pieces of ftatuary appraifed at 2327/. 3.*. In the Gar- 
 den 20 appraifed at 1165/. 14^. In the Palace at Green- 
 wich 230 at 13,780/. 13?. 6i/. and at St. James's 29 at 
 656/. Among the ftatues, the copy of the Borghefc Gla- 
 diator (now at Houghton) fold for 300/. Apollo 120/. 
 One of the Mufes 200/. Dejanira 200/. &c. Thefe 
 prices, great as they may appear for the time, were given 
 by foreign agents employed by Cardinal Mazarine, for his 
 i..ilace at Paris. Don Alonzo de Cardenas, embaffador to 
 Cromwell, bought pi6lures and ftatues, which when land- 
 ed at Cornnna were conveyed to Madrid upon eighteen 
 mules. Chriftina of Sweden ?nd the Arch -Duke Leo- 
 pold, governor of Flanders, were coriftderable purchafers. 
 
 from 
 
 Not 
 
SCULPTURE. 233 
 
 from the ruins of the Temple of Apollo at 
 Delos y. 
 
 Lord Arundel having affembled in his gal- 
 lery his various acquifitions from Greece and 
 Home, a period of his gratification arrived ; 
 and he was driven from his elegant retire- 
 ment by the civil commotions, which were 
 buriling into a flame of avowed hoftility. 
 He had adopted the following arrangement 
 of his marbles. The ftatues and bufts were 
 placed in the gallery, the Infcribed marbles 
 were inferted into the wall of the garden of 
 Arundel-houfe, and the inferior and muti- 
 lated ftatues decorated a fummer garden, 
 which the earl had made at Lambeth. We 
 learn from catalogues, that the Arunde- 
 lian colledion, when entire, contained 37 
 ftatues, 12,8 bufts, and ^50 infcribed marbles, 
 exclufive of farcophagi altars and fragments, 
 >nd the ineftimable gems. 
 
 Not one of thefe princes ofFered to give up tliefe acquifi- 
 tions to Charles II. who perhaps did not regret it, as he 
 had neither the virtue nor the tafte of his father. Chrif- 
 tina's purchafes with the Odefchalchi colle6lion of ftatues, 
 Sec. were refold to Philip V, of Spain for the palace of 
 St. Idelfonfo. 
 
 y Complete Gentleman, p. 107. 
 
 In 
 
SCULPTURE. 
 
 In 164Z Lord Arundel left England, never 
 to return, and died at Padua in 1646. 
 
 It is faid that he took his colledlion with 
 him, but it is more probable, that his gems, 
 cabinet pidhires, and curiofities only, fufFered 
 removal to Antwerp. 
 
 Of the fate of this colledion, in the highefl 
 degree venerable to the Englifli connoifleur, 
 I have no apology to offer for a very minute 
 account ^ 
 
 When Lord Arundel died, he made an 
 
 * The very honourable notice taken of the earl of Arun- 
 del in lord Orford's Anecdotes of Painting (vol. ii. p. 124 
 to 133), precludes the ncccffity of encomium ; but I have 
 flated fome facSts more fully, and others are collected from 
 the fame fources. 
 
 In 1640, when at Dover, he made his v/ill, v^hich is 
 given at length in the Anecdotes of the Howard Family 
 by the late duke of Norfolk (8vo. 1769), and is a very 
 manly and energetic compofition, particularly when he 
 implores Charles I. to do juftice to his children, by the 
 memory of his grandmother Mary Queen of Scots. He 
 mentions Iiis own monument to be ereded in the fepul- 
 chral chapel at Arundel, upon which was a female figure 
 to be reprefented as fitting, and to be carved by Francefco 
 Fanelii, and the infcription to be written by his very learn- 
 ed librarian Francifcus Junius. His intention was not 
 fulfilled. 
 
 equal 
 
SCULPTURE. t3S 
 
 equal partition between his elder fon and fuc- 
 celTor, and Sir William Howard, tTbe unfor- 
 tunate Vifcount Stafford. 
 
 Henry, earl of Arundel (the reftored duke 
 of Norfolk) fucceeded to the elder lhare, and 
 being much under the influence of the learn- 
 ed Selden (who had been honoured by the 
 friendlhip of earl Thomas) was perfuaded to 
 give the infcribed marbles to the Univerfity 
 of Oxford. Evelyn, who had been inftru- 
 mental to the original colIe<flion, added his 
 fufFrage. The fame nobleman prefented part 
 of the library of the kings of Hungary to the 
 Royal Society ; and many very valuable MSS. 
 to the library of the College of Arms. 
 
 In the general confifcation made by the 
 parliament, the piftures and ftatues remain- 
 ing at Arundel- hoiife were in fome meafure 
 IncKided. Many were obtained by Don 
 Alonzo dc Cardenas, the Spanifli ambalTador 
 to Cromwell, and fent into Spain, with the 
 wrecks of the royal colleftion. 
 
 Arundel-houfe and gardens were converted 
 into ftreets about the year 1678, when it 
 was determined to difpofe of the ftatucs by 
 fale. It was propofed by the agents to fell 
 che whole colledively, but no purchafer 
 
 could 
 
»36 SCULPTURE. 
 
 could be found. A divifion Into three lots 
 was accepted, i . Of thofe in the houfe ; 
 5. of thofe in the garden ; and 3dly, of thofe 
 at Lambeth, 
 
 The firft, principally confifting of bufts, 
 was purchafcd by Lord Pembroke, and are 
 at Wilton. The fecond was bought by Lord 
 Lemfter (the father of the firft earl of Pom- 
 fret), who removed them to his feat at Eafton 
 Nefton in Northamptonfhire. The price 
 was only 300/. For the laft lot in Cuper's 
 Gardens, near Lambeth, no purchafer ap- 
 peared till 1717; when Mr. Waller, of the 
 poet's family, gave 75/. and conveyed them 
 to Beaconsfield in Buckinghamfhire. Mr. 
 Freeman Cook had afterward half of them, 
 which are at fawlcy Court, in that coun- 
 
 Upon the recommendation of Lord Bur- 
 lington, who had invited him from Italy, 
 Guelfi, a fcholar of Camillo Rufconi, vras 
 employed by Lord Pomfret to reftore the im- 
 perfeil ftatues and torfo's. His heavy figure 
 
 ^ Some fragments fmce difcovered in digging founda* 
 tions for houfes in the Strand were fent to Worfop Ma- 
 nor. Dr. Ducarcl procured etchings to be made from 
 them. 
 
 on 
 
SCULPTURE. 237 
 
 on the monument of Secretary Craggs in 
 Weftminfter Abbey is a difgraceful proof, 
 how httle qualified he was as an artift for fo 
 important a talk. He mifconceived the cha- 
 rafter and attitude of almoft every ftatue he 
 attempted to make perfect; and ruined the 
 greater number of thofe he was permitted to 
 touch. 
 
 Mere workmanfliip is a very infufficient 
 quaUfication in him who would regain the 
 perfection of any antique fragment. Yet 
 even this Guelfi did not pofTefs. 
 
 In the year 1 755, Henrietta Louifa, Coun- 
 tefs Dowager of Pomfret, prefented the whole 
 of them to the Univerfity of Oxford, whofe 
 gratitude was exprefTed in an oration by 
 Mr. T. Warton, then profeflbr of poetry. 
 They were configned to an unoccupied room 
 of the fchools, w^here they remain, in a ftate 
 very unworthy of them. It is faid, that 
 the late Lord Litchfield once intended to 
 refcue them from their prefent oblivious 
 ftation, and to build a receptacle in which 
 they might be difplayed to advantage \ 
 
 ' For this purpofe the late Dr. F- Randolph, of Alban 
 Hall, Oxford, bequeathed icoo/. 
 
 3 I know 
 
238 SCULPTURE. 
 
 I know not by what means Dr. Mead be- 
 came poflefled of Lord Arundel's favourite 
 bronze head of Homer, which is introduced 
 into his portrait by Vandyke ^ At Dr. 
 Mead's fale it was purchafed by Lord Exe- 
 ter, who gave it to the Britlfh Mufeum"^, 
 
 The Cameos and Intaglias, amongft which 
 is the celebrated marriage of Cupid and 
 Pfyche, were retained by a divorced duchefs 
 of Norfolk, and bequeathed by her to her 
 fecond hufband, Sir John Germaine. His 
 widow. Lady Elizabeth Germaine, gave them 
 to her neice Mifs Bcauclerk, upon her mar- 
 riage with Lord Charles Spencer, from whom 
 they have pafled to the prefent Duke of 
 Marlborough. His grace has done them 
 ample juftice, in having them drawn and en-^ 
 
 « At Workfop Manor are two portraits of the earl and 
 lady Alathea Talbot, his countefs, by Paul Vanfomer, 
 1 61 8. Lord A. is reprefented fitting, dreiled in black, 
 with the order of the Garter hanging from his neck. 
 He points with his Marflial's baton to feveral ftatues near 
 him. Lord Orford (vol. ii. p. 5, 8vo.) omits thefe por- 
 traits. Amongfl: Vertue's limnings of the Howard Fa- 
 mily at Norfolk-houfe, are copies of them. 
 
 It is engraved in the quarto edition of Pope's 
 Oflyffey. 
 
 4 graved 
 
SCULPTURE. 239 
 
 graved by Cipriani and Bartolozzi, in the 
 firft ftyle of thofe excellent artifts ^ 
 
 Sir William Howard, when afterv/ard Lord 
 Stafford, fucceeded to a houfe built for his 
 mother, the Countefs of Arundel, by Nicholas 
 Stone in 1638. It ftood near Buckingham 
 Gate and was called Tarthall. The fecond 
 fliare of Lord Arundel's curiofities was de- 
 pofited there, and was fo valuable, as to 
 produce at a fale in 1720, 885:?/. us. and the 
 houfe was foon afterward levelled with the 
 ground. 
 
 An ebony cabinet painted by Polenburg 
 and Van Baflan w^as purchafcd by the earl of 
 Oxford for 310 /. This fmgle article Is men- 
 tioned only to convey an idea of the general 
 value of the colleftion. 
 
 The Marmora Oxonienfia V' a very ex- 
 penfive work, was publifhed in 1763 by Dr. 
 Chandler, the very learned and ingenious 
 traveller into Greece and Afia Minor. He 
 
 profcffcs 
 
 o Printed at the private expence of the duke of Marl- 
 borough, and never pubUfhed. A copy in two volumes 
 v/as fold at an aucSllon in 1798 for 86/. 
 
 ^ The particulars of the curiofities fold, and of the money 
 they produced, are taken from the Howard Anecdotes. 
 
 Pidures 
 
246 SCULPTURE. 
 
 profefles to have been greatly affifted In his 
 account of the ftatues and their characters, by 
 Mr. Wood, the celebrated traveller to Balbec 
 and Palmyra. 
 
 It appears, that Mr. Wood was better 
 verfed in architecture than in ancient fculp- 
 ture. The drawling of the ftatues is, in re- 
 peated inftances, extremely faulty and incor- 
 
 Pidures 812 i8 o 
 
 Prints 168 17 4 
 
 Drawings 299 4 7 
 
 Japan 698 11 o 
 
 Gilt and other Plate 462 i o 
 
 Cryflal Vafes , 364 3 o 
 
 Agate Cups 163 16 o 
 
 Jewels and Curiofities 2467 7 10 
 
 Medals 5<5 10 ^ 
 
 Odd lots of Plate 170 6 7 
 
 Cabinets and China ....1256 19 O 
 
 Houfehold Furniture ^^99 3 ^ 
 
 Several other lots 738 13 2 
 
 Total.. 8852 II o 
 
 We can fcarcely calculate the real value from this ac- 
 count, for connoifTeurs were very few in 1720, and low 
 prices were taken. What would fuch a colle6lion produce 
 in 1 800, with any analogy to Gales, as they are now con- 
 duded ? 
 
 reft, 
 
SCULPTURE. 241 
 
 reft, and will bear no comparifon with fimllar 
 works of Italian engravers. 
 
 Every lover of the arts feel a real fatlf- 
 faftion in anticipating the early application 
 of the affluent fund eftabliflied by Dr. Rad- 
 clilFe for the embellifliment of the Univer- 
 fity, to an edifice fuiteible to the reception of 
 thefe valuable remains. A gallery, fo con- 
 ftrufted as to exhibit them in fucceffion, 
 without offering a crowd to the firft view, 
 w^ould do honour to one of the national feats 
 of learning and tafle. 
 
 We have in this age many fculptors who 
 are fully competent to the refloration of the 
 Arundel marbles, and v/ho could corred: the 
 errors, and fupply the inability of Guelfi. 
 Amongft our Airtuofi, already the pofTefTors 
 of fome of the fincft relics of Grecian art, 
 thofe might be found who would contribute 
 their opinions, as to the original deilination 
 of fragments ; and when they were allured, 
 that their bcquefts would not ilmre tlic 
 prcfcnt oblivion of the Pomfret Benefac- 
 tion, might be induced to complete a mu- 
 fc um worthy of Home and Florence. 
 
 Wc fliould then, to ufe the exprcfUon of 
 Peacham, tranfplant old Greece into Eng- 
 
 R land/' 
 
£42 SCULPTURE. 
 
 land." The younger {Indents of the nni- 
 verfity would be encouraged to cultivate the 
 arts in fcicncc and prad:ice, or would learn 
 how to appreciate them ; and thofe who 
 vifit Italy would be no longer confpicuous 
 only for their ignorance of the fubje^ts they 
 profefs to admire. We might then affert 
 our claims, and be allowed them. 
 
 Nos etiam habeinus erudites oculos^" 
 
 For the foregoing obfervations upon an- 
 cient fculpturc I am much indebted to the 
 criticifms of Abbate Winckelmann, but 
 chiefly to the recollection of converfations 
 wath men of tafte, when I furveyed the an- 
 tiquities of Rome in 1796. It was in that 
 portentous moment which immediately pre- 
 ceded the ruin or difperfion of fo many of 
 them. Modern virtuofi muft be content to 
 follow the unfteady light held out by Pliny^ 
 as to the early hiftory of the arts of 
 Greece;, but the trueft judgment of them 
 may be formed upon the tafte and precifion 
 of the elegant QuinClilian. 
 
 Mr. Gilpin has remarked that animated 
 
 * Cicero, Epifl. ad Attlcum, 
 
 adion 
 
SCULPTURE. 243 
 
 aftion in ftatues is the acme of the art, as 
 in the Laocoon, the Gladiators^ and the Pan- 
 cratiafts at Florence. The Apollo Belvi- 
 dere, &c. are in aftion, which circumftance 
 is productive of grace. The Lyaocoon finds 
 more admirers amongft real judges. It is 
 the more genuine work of Greek artifts." 
 The late prefident of the E^oyal Academy 
 obferves, ''of the many thoufand ftatues 
 which we have, it muft be confeiTed, that 
 their general chara6lcr is bordering, at leaft^ 
 on infipidity." Such critiques carry a high 
 authority, but may be juft only in a limited 
 degree, and be more applicable to Roman 
 portraits, than to ftatues of Grecian fimplicity 
 and fmgle aftion. 
 
 The Medicean Venus does not exprefs 
 ftrong emotion, yet has been feldom thought 
 infipid. Perhaps the repofe of the paffions, 
 after all, is moft conformable to the pov/crs 
 of fculpture, where the attention is fuftered to 
 dwell upon the reprefentation without being 
 hurried through it by the violence of the ac- 
 tion, or prejudiced againft it, by the horror 
 of the objccl. 
 
 It will be allowed that no circumftance 
 has tended fo much to improve the national 
 
 R z ftvle 
 
244 SCULPTURE. 
 
 ftyle of dcfign and painting, as the introduc- 
 tion of fo many genuine antiques or correft 
 copies of them into England. Although fo 
 few exiftcd here, when Richardfon wrote his 
 very ufeful effays on painting, he declares 
 that the genius who hovers over thefe ve- 
 nerable rellques, may be called the father of 
 modern art^." 
 
 ^ Richardfon's Works, p. 233. 
 
 SECTION 
 
SCULPTURE. 
 
 SECTION IV. 
 
 THE EARL OF ARUXDEL*S COLLECTjON OF 
 STATUARY XOW AT OXFORD. 
 
 " Marmoris aut eboris fabros tut .-eri.s amavit." 
 
 HoR. P^p. 1. i. p. 1. 
 
 Statues of men fcarce lefs alive than they." 
 
 Pope, Eplft. to Jervas. 
 
 I . Jnpitnr Fuhnhians, a ftatue 2, L — 
 He is always reprefented in middle age with- 
 out figns of decay, and never completely 
 draped. Serenity diftinguilhes liis heads from 
 thofe of Pluto. Both have frequently the 
 cap called " modius," from its refcmblance 
 to a bufliel. His figures univeriiilly corre- 
 fpond with the Homeric defcription. There 
 are fine ftatues and heads of Jupiter Fulmi- 
 nans at Florence; the Capitol, the Pio-Clcm. 
 Mufeum,and theVcrofpi Palace at Rome. This 
 w^ants the right arm and the thunder-bolt. 
 
246 SCULPTURE, 
 
 12. Minerva Galeaia, a ftatue 8 f. lo-l. — 
 So reftored by Guelfi, as the cololTal torfo 
 only is antique. The a^gis ^ is difplayed on 
 the breaft, and the tunic is fcalloped and raif- 
 ed before. Pallas in evxry charafter is dif- 
 criminated by the ftraight plait of the inner 
 veft in the center. 
 
 3. Minerva vejiita Pac'ifera, a ftatue 5 f 6. 
 ' — Said to have been formerly at Rome, 
 where it was publiflied by Bifchop. It re- 
 fembles a ftatue now in the Muf. Pio-Clem. 
 publiftied by Vifconti, which was found in 
 the temple of Peace. The hair is fliort, 
 with a plain fillet; the right arm broken 
 off, and the left is involved in the drapery, 
 which is of good Greek fculpture. 
 
 4. Ve7tns with the Dolphin, a ftatue 4 f. 5I. — 
 In the attitude of the Medicean, but nearly 
 five inches iliorter. The head and left arm 
 are reftored. Guelfi difcovered his ignorance 
 of the antique by the ftyle of the hair, which 
 
 a Nunc quoque ut attonitos formkline terreat hoftes 
 Pedlore in adveiTo, quos fecit, fuflmet angues. 
 
 Ovid. Met. I. iv. 863. 
 
 Guelfi has added the attributes given by Virgil. 
 
 Parmainque ferens haftamque trementem." 
 
 ./En. ii. V. J75. 
 6 is 
 
SCULPTURE. 217 
 
 is prim and crhped, as if freili from the curl- 
 ins: iron. The double knot on the crown of 
 the head, when pointing toward the ears, is 
 appropriate to Diana, and is the fvmbol of 
 virginity. On many ftatvies of Venus may 
 be feen the hair coUedled in a double knot; 
 but, in every inftance, pointing to the fore 
 and back part of the head. It is fo in the 
 
 Venus Callipygis," v/hich, though modern, 
 is very claffical : in the Mediccan, it is tied in 
 a knot behind only ^. 
 
 5. Venus Veftita, a ftatue 4 f . 4K — Tlic 
 antique part from below the brealts is of fine 
 Grecian fculpture of the fccond cera ; and the 
 excellence of the drapery is fcarccly exceeded 
 by that of the Mufe in the Muf. Florcnt. 
 p. 17. I conjefture this to have been a 
 Leda^, and that the fvvan was originally 
 placed where the drapery is broken off, and 
 the naked is lliown. The reftorations are 
 very inferior, and the fame blunder rcfpe6ling 
 the hair is repeated. It may be fufpedcd, 
 
 b " Crinis crat fimplex nodum collec^iis in unum." 
 
 Ovip. Met. viii. 320. 
 
 The attribute of the Venus de' Medici is exaclly de- 
 fcribcd by the fame poet. ])c Arte Amandi, 1. ii. v. 61?. 
 ' IMiif. Floient. 
 
 Pv 4 that 
 
248 SCULPTURb. 
 
 that the naked appearing in the fragmented 
 part, was the work of Guelfi. 
 
 6. Venus feminuda, e Bahteo, a ftatue 4 f. 
 I J. — The more ancient ftatues of Venus, as 
 that called ^' the Coan" by Praxiteles, were 
 draped. Of this ftatue the head and naked 
 are fuperior to the draped parts ; but the 
 whole of good fculpture. In confirmation of 
 the remark on No. 4, the hair has the double 
 knot as in the Venus Callipygis in the Capi- 
 tol at Rome, and it hangs in treffes behind, 
 as in the Venus called della Conchiglia" in 
 the gallery at Florence. 
 
 7. Mufa Terpji chore, a ftatue 3 f . 10 ^— 
 Fortunately untouched by Guelfi. She is rc- 
 prefentcd fitting, as that in the Muf. Pio- 
 Clem. which this ftatue refeniblcs in every 
 particular. The lyre and the fingers of the 
 right hand only are wanting ; and the whole 
 is well worthy reftoration. The hair of the 
 head is in the free Greek ftyle, and much 
 more animated than that of the ftatue I have 
 cited in the Pope's collection. 
 
 8. Mufa Clio, a ftatue 4 f . 6i. — So called 
 
 * It may he worthy remark, that in Itatuary, there arc 
 four technical defcriptions of ftature. i. Coiolud ; 2. Large 
 life ; 3. Life ; and 4. Small life, 
 
 m 
 
SCULPTURE. 249 
 
 in Dr. Chandler's catalogue ; but it has not 
 a fingle attribute of that Mufe ; the total ab- 
 fence of fuch diftincftions renders this ftatuc 
 indeterminate. A Nymph or Prieftefs in a 
 fimilar attitude, with the head and arm reft- 
 ing in the lap, and fitting before a tripod, is 
 called by Winckelmann a Pythian Prieflefs 
 of Apollo confidering the oracle. If the 
 fnakes were not wanting, it might be con- 
 fidered as Medufa or Nemefis, as a bronze in 
 Lord Carlifie's collection. This fimre has 
 the tsenia, which is ufually omitted when 
 the expreflfion is that of violent grief, as in the 
 Andromache ^. 
 
 9. Diana Vcjiatnx, a ftatue 4 f. iIt. — 
 Much injured — wants arms ; and the grey- 
 hound is modern. It exhibits fome peculia- 
 rities of drapery ^ Both the taenia and zona 
 
 arc 
 
 ^ Efrufseque comas et apertse pcctora matres 
 Significant I u 61 urn. 
 
 Ovid. Met. 1. xiii. 689. 
 
 * The veft of females vi'as anciently faflened by two 
 bandages. One which was tied clofe under tiie breads, 
 fometimcs flat and broad, and at others tvvi{l:cd,but ufually 
 vlfible, was called (Ta<y:a.) Taenia. The other was phiccd 
 round the lower part of the waift at the jun61ion of the 
 hips, and was always concealed by the falling of the tunic. 
 
 It 
 
250 SCULPTURE. . 
 
 are concealed by drapery falling over them. 
 The form of the cothurnus ^ is very perfeft 
 and fmgular, as the naked feet appear above 
 the fandals. 
 
 10. Flora, a ftatue 4 f. — Is not unlike 
 the celebrated Flora of the Medici colleilion, 
 excepting the fandals, and a fuller drapery. 
 Both hands are loft, and there is no pofitive 
 attribute of the charader. The knotted 
 trunk of a tree upon vv^hich the left arm refts, 
 is not fufficiently difcriminative of the God- 
 defs of flov^ers. 
 
 11. A Bacchanal, a ftatue 4 f. i\. — In its 
 prefent reftored ftate one of the moft ftriking 
 in this collection. The left hand is elevated 
 and holds a bunch of grapes, at v^hich he is 
 looking wiftfully ; the right holds another 
 
 u 
 
 It was called {Z'j)yrD Zona. Solvere Zonam" is a well 
 known phrafe. The Ceftns of Venus {Kccrociy.ccc, Iliad. 
 A. V. 219 — 223) was the Zone. 
 
 Nuda genu veftem ritu fuccincta Dianss." 
 
 Ovid. Met. 1. x. 536. 
 
 ^ levi de marmore tota 
 
 Puniceo ftabis furas evincla cothurno.'* 
 
 ViRG. Eel. vii. 31. 7?Lneid. 1. i. 230, 
 237. Ovid. Fafl. 1. v. 195. 
 
 with 
 
SCULPTURE. 2^1 
 
 >vith a patera, clofe to the thigh. The head, 
 both arms, right leg, and vine trunk, are re- 
 ftorcd by Guelfi. Abbate Winckelmann dif- 
 proves the pretenfions of this ftatue to the 
 reprefentation of a young Bacchus, from the 
 Ihort crifped hair, which is never fecn on the 
 genuine ftatues of that deity Another 
 proof that it was not originally Bacchus, is, 
 that to the left foot is attached the fcabil- 
 lum as fimilar to that of the Bacchanal or 
 dancing Faun at Florence. The elevation of 
 either foot is not fo chara6lerifi:ic of Bacchus, 
 as of thofe by whom his orgies or myftic 
 dances were celebrated. 
 
 15. Hercules Jiivems, a ftatue 4 f. 4. — The 
 body is difproportioned to the legs, which 
 
 g " La chionia di Bacco TlioI efTer lunga quanto elh 
 d' Apollo, ma mcno innanellata, per cfprlmcie anche ne 
 capelli moi bidi e flofchi la mollezza di quelio Dio ; onde 
 fcorgendofene il contrario ne capelli corti e recifi d'uii 
 pretefo Bacco nel Mufeo d'Ostbrd ; non credo clie tale llatua 
 anticamente abbia rapprefcntato qucila Delta." Moii. 
 Ined. T. i. 58. 
 
 ^ Scabillum, quod ex uno pede fonare confueverunt, 
 inde fonipes. Qui fcabillum fonabant (O; wor^-^^'o^oi) vo- 
 cantur. Salmafii in Plin, Excrcit p. 998. It was an 
 inllrument ufcd in the orglc dances to regulate the time. 
 
 have 
 
SCULPTURE. 
 
 have been adapted to it, probably before it 
 was Lord Arundel's ; for the whole is of bold 
 antique fculpture. The ftatue is naked ; the 
 left arm holds the Lion's fkin and other 
 drapery ; and as the right is broken off, it is 
 not eafy to determine how it was employed. 
 In the head is the known character of Her- 
 cules ; but other circumftances belong rather 
 to an Athleta. 
 
 13. Hercules with the Nemcean Lion, z f. 8. 
 « — A repetition, in fmall, of the Florentine. 
 Muf. Florent. pi. 55. 
 
 14. Harpocrates-Cupidoy a ftatue 2 f. 5I. — 
 As defcribed bv Ovid. The head is modern 
 and unappropriate. 
 
 15. Hymen, a ftatue 5 f. — The greater 
 part, if not the whole, modern. 
 
 16. A Termmus, 5 f . 8. — Evidently made 
 up from feveral fragments without judg- 
 ment. 
 
 17. Camilla, a ftatue 6 f . 3 J. — Or rather, 
 as the torfo only is antique, a Puella Vena- 
 trix, perhaps Atalanta. The zone is faftencd 
 by a fibula or clafp \ 
 
 * Venit Atalanta Schoenel pulcherlma virgo 
 
 Rafills huic fummam mordebat fibula vcftam." 
 
 Ovid. Met. 1. viii. 318. 
 
 18. Park 
 
SCULPTUP.E. 253 
 
 18. Fans Judex, a ftatue 3 f. 3I. — Of me- 
 rit and curiofity ; as it exhibits the ancient 
 Phrygian habit ^ completely, in every part. 
 The hand which is fuppofcd to have held 
 the apple is loft, and the nofc is mutilated, 
 which deftroys the air of the countenance. 
 The Phrygian bonnet, trowfcrs, and fandals, 
 are perhaps unique in the fame figure. Of 
 bold Greek workmanfhip and very freely de- 
 ft 2:ncd. 
 
 19. Anlliions, a ftatue 5 f. [o|. — Torfo 
 very mafterly, though the ftatue is compofed 
 of many parts, fuch as the head, both arms, 
 the left leg, and the right foot. At prefent, 
 it has no analogy to any authenticated ftatue 
 of Antinous. The oftenfible figure is that 
 of an Athleta, with a ftrigil, as ufed in the 
 public baths. 
 
 20. Puella Graca, a ftatue 4 f. — 
 There is an exa6l co-incidence in the height of 
 this ftatue and that of the Venus De' Medici, 
 
 ^ The Phrygian or Scytliian habit is Hjown in a bas-relief 
 (in the Borgliefe collection) of the Aory of Apollo and 
 Alarfyas, in which three Scythians are introduced. Winc- 
 kelmann Mon. Ined. No, 42. 
 
 and 
 
1254 SCULPTURE. 
 
 and it is apparently of the fame sera of fculp- 
 ture. It has not been facrilegioufly mended, 
 like many others, though the arms are de- 
 ficient, one above, the other below the el- 
 bow. A fimple, long and flowing ftole 
 fcarcely conceals the fliape, the outline of 
 which is exquifitely marked. The head is 
 equally elegant. This is a true fpecimen of 
 Greek fculpture, when fimplicity was princi- 
 pally and happily ftadicd, and confummate 
 grace was the effeft produced K 
 
 21. Ptiella Graca - 4f. lo I a ftatue. 
 
 22. 3f. 4 a fhatue. 
 
 The drapery of the firft of thefe is Ample 
 
 and accurate. The ftole is unconfined either 
 by a t^nia or zone. Of the other the dra- 
 pery is thrown into eafy folds, the hands 
 wrapped up and the veft faftened by a fmgle 
 cord ; which is not feen on the ftatues of fe- 
 male deities. The taenia of the Mufes is 
 worn very high and broad. 
 
 23. Ctfptdo donniens, 2 feet long. — Of black 
 
 ^ Virginis eft vera facies, quam vivere cretlas; 
 Ars adeo latet. 
 
 Ovid. Met. 1. x. 2ijo. 
 
 and 
 
SCULPTURE. 255 
 
 and white marble. The bow and quiver are 
 lying near him. 
 
 54. Somnus, MorpJieus five Cupido, alatus^.- — 
 Fradiured. Rofcs and poppies are rtrewed 
 near him, and a lizard at his feet. It has 
 been conjeftured, that the lizard implies the 
 name of the fculptor, but without proof. It 
 is faid of Saurus and Batracus, two archi- 
 teds of LacediJemon who were employed to 
 build the Portico of Oftavia, and prohibited 
 by Auguftus from placing their names on any 
 part of the building, that they exprefled them 
 by a lizard and a frog. 
 
 25. Boys. — A fragment of a bas-relief. 
 One is reprefented as fupporting the other, 
 who is fainting, as at the point of death. 
 The thought is extremely beautiful, and the 
 execution good. 
 
 2^, A Sarcophagus. — With many figures. 
 Hedior dragged round the w^alls of Troy. 
 
 ^ The Lizard Is the proper attribute of Somnus, becaufc 
 it fleeps the greater part of the year. His wings are de- 
 fcribed by the poets as being black. Ovid. Met. 1. ii. v. 623. 
 649. and Statius Theb. 1. x. 108. The flatues of Somnus, 
 or Cupido, under liis charac\cr, are generally of ebony, 
 bafaltes, or marble of a dark colour, as thofe fo celebrated at 
 Florence and in the MafR-i, 
 
 The 
 
356 SCULPTURE. 
 
 The introdu<5lion of the Trojan horfe, &c. 
 Roman fculpture. 
 
 %y, A Sarcophagus, — Upon which arc de- 
 ligned winged boyS;, with the asgis in the 
 center and two fphynxes. When in the 
 poffeffion of Lord Arundel a buft of Germani- 
 cus was placed upon it, from which rcafon 
 only, it has been erroneonfly called the tomb 
 of that Emperour. Of coarfe Roman fculp- 
 ture. 
 
 Numerous fragments of Sarcophagi, Bas- 
 reliefs, Cippi, Altars, &c. 
 
 Lord Arundel, when at Rome, procured 
 permiffion to dig over the ruins of feveral 
 houfes ; and is faid to have difcovcred, in fub- 
 terraneous rooms, the following ftatues, all 
 of which are prefumed to be portraits of a 
 confular family, and not of the diftinguifhed 
 charafters to w^hom they have been attri- 
 buted, without enhancing their merit. 
 That fo many were found together, will 
 be accounted for, as it was the cuftom of the 
 Pagan Romans to conceal thefe portraits of 
 their relatives from the iconoclaftic zeal of 
 the Chriftians, when they had obtained the 
 power to indulge it. 
 
 :28. Vlr ConfulariSy ftatue 6f. 10. — The 
 
 drapery 
 
SCULPTURE. 257 
 
 drapery is very bold and fine. The attitude 
 appears to be that of public fpeaking, and he 
 holds a fudarium" in his right hand^ and in 
 his lefta roll. 
 
 This ftatue is faid to be the celebrated 
 Cicero ; and, as I diffent from the more com- 
 mon opinion, I beg to offer a few curfory 
 remarks'". 
 
 We have the authority of feveral of the 
 Roman writers, that it was cuftomary to 
 change tlie heads of ftatues, which wer^ 
 fometimes of bronze, and to give them a new 
 character. It was no unufual flattery to the 
 reigning Emperour, to remove the heads of 
 paft tyrants, and replace them with his oAvn''. 
 Caligula caufed his head to be ingrafted on 
 the ftatues of his predecefforsP. In private 
 families, by removing the head a new portrait 
 was made. A knowledge of this fad: will ac- 
 count for the difcovery of fo many disjointed 
 heads and decapitated ftatues. Another cir- 
 cumftance is llkewife worthy notice, which 
 is, that when they wxre firft taken out of the 
 
 n Ea qiisedifputavi, differere malui quam judicare. Cic. 
 •* Pliny and Suetonius. Cicero, Epift. 4. ad Atticum. 
 p Suetonius. Caligula, c. 22. 
 
 S ground 
 
258 SCULPTURE. 
 
 ground and placed in the hands of mercenary 
 or ignorant artlfts, the reftored ftatue always 
 bore the name of fome eminent characler. 
 Sufpicions of genuinenefs are therefore at 
 leaft allowable, and often juftified, of thofe 
 ftatues the heads of which are evidently in- 
 grafted. 
 
 The head on this ftatue is difproportionately 
 fmall, and appears not to have originally be- 
 longed to it. Plutarch, who died in the reign 
 of Trajan, is the firft: who mentions the pecu- 
 liarity of the wart or cicer" in the coun- 
 tenance of the great Roman orator. As the 
 fize of the ftatue exceeds life, it could not 
 convey a. portrait of Cicero's perfon^^; nor is 
 the ftyle of drapery of the Auguftan age. 
 
 So well convinced are the Italian anti- 
 quaries of the extreme uncertainty of deciding 
 upon every head marked with a cicer" as 
 a genuine reprefentation of Cicero, that the 
 claim to originality is not admitted in any 
 buft or ftatue which they poffefs. 
 
 At Venice is a ftatue nearly as large as 
 this, and the moft celebrated buft is in the 
 Mattel colledion at Rome ; the pretenfions 
 
 1 Plutarch, in Vit. Ciceronis. 
 
 of 
 
SCULPTURE. 259 
 
 of neither of which are allowed. Mr. Blundel, 
 of Ince in Lancafhire, has a confular figure 
 which very nearly refembles the habit and 
 attitude of this ftatue, the head of which has 
 not been feparated from the body. 
 
 59. Vir Confiilarh, a ftatue 7 f. 3 . — Anorma, 
 or antique fquare, having been placed in the 
 left hand of this ftatue, it has long, for no 
 other reafon, borne the name of Arohimedes. 
 It is of Gr6ek fculpture in the confular times, 
 and the open breaft is particularly fine^ The 
 right arm is broken off near the Ihoulder. 
 The whole figure and drapery are much like 
 the orator Marcus Antonius in the Pembroke 
 colleftion at Wilton. . 
 
 30. Vlr Conftdarh, a ftatue 6f. 6. — Called 
 Caius Marius. There is a ftatue of C. Marius 
 in the Capitol, not efteem.ed to be genuine, 
 and the famous bufts of Marius and Sylla in 
 the Barbarini collection are attributed to fic- 
 titious heroes, by fome learned antiquaries. 
 The features of this head do not correfpond 
 w^ith thofe above mentioned ; but if it be a 
 
 ' To this excellence of fculpture Ovid alludes, 
 Pedoraque artificum laudatis proxima figais." Met. 
 1. xii. 398. 
 
 S 2, confular 
 
a6o SCULPTURE. 
 
 confular portrait only, which I fufped:, this 
 ftatue has confiderable merit. In the gallery 
 at Florence are feveral anonymous ftatues in 
 conflilar robes, which have not been depreciated 
 by being claffed only as Viri Confulares." 
 
 3^>3^> 33> 34? 35' Roman Ladies, ftatues. — 
 The fize of life. In thefe, as in moft of the 
 other ftatues the polifh is loft by the decom- 
 pofition ®f the marble from its having been 
 expofed to the atmofpherical air in Arundel 
 gardens. There were fix Roman Ladies in 
 the Medici gardens at Rome, which were re- 
 moved to Florence in 1788, and now ftand 
 in the Loggia dei Lanci. Thefe are of the 
 fame ftyle and aera, and of equal fculpture. 
 
 36. Has a veft of tranfparent drapery lii 
 broad folds, noticed by Winckelmann^ 37. Is 
 in the chara6ler of Mnemofyne. The air of the 
 head majeftic and the arms folded in the 
 drapery acrofs the breaft, of very excellent 
 workmanftiip. 38. Has been conjeftured by 
 the virtuofo. Lord Pembroke, to reprefent 
 Sabina^ the wife of Hadrian; and 39. to be 
 Julia Augufta. 
 
 Ten torfos, lefs than life, are draped, and 
 
 5 Mon. Ined. T. i. p. 87. 
 * The mofl; beautiful itatue of Sabina is in the villa 
 Mattel at Rome, in the chaiadler of Juno. 
 
 appear 
 
SCULPTURE. s6r 
 
 appear to have been portraits of Roman ladies. 
 Of the naked, there are feveral of great value 
 as yet undeformed by heterogeneous additions. 
 One of Venus, and another of Hermaphro- 
 ditus, may be felefted as the moft excellent, 
 and worthy of judicious reftoration. In the 
 laft mentioned, the right arm afcending is 
 ufually bent behind the head, to exprefs effe- 
 minacy, a pofture of which this torfo is capa- 
 ble, as appears from its being broken off at 
 the Ihoulder. 
 
 There are fixteen buffs. The coloffal head of 
 Apollo and the Niobe, are evidently fragments 
 of ftatues. 
 
 The figure of a man, as low as the breaffs, 
 with extended arms in bas relief, is a great 
 curiofity. He fpans fix feet eight inches and 
 a half. On the fame ftone Is traced out the 
 fole of a foot, which meafures exa&iy nine 
 inches and a half. It is fuppofed, that thefe 
 are ancient Roman meafures. Some remains 
 of the fame kind are prefervcd in the Capitol 
 at Rome. 
 
 The infcribed marbles, confifting of 2$o 
 pieces, were chiefly collected in the Levant, 
 by William Perry. The far-famed Parian 
 Chronicle, and feveral treatices relative to 
 Priene, Magnefia, and Smyrna, were purchaf- 
 
 S 3 e4 
 
26^ SCULPTURE. 
 
 ed in Anatolia. Thefe have employed the 
 moft profound erudition, and have been very 
 fatisfaftorily elucidated". When firft brought 
 to England they wxre placed in the gardens 
 of Arundel-houfe ; and afterward, when pre- 
 fented to the univerfity, in a wall oppofite the 
 Theatre. It is fortunate for the learned world 
 that Selden decyphered fome of them on 
 their arrival; for lefs than one century's eX' 
 pofure to our atmofphere had more complete- 
 ly effefted their obliteration, than twenty 
 centuries had done in the genial climate of 
 Greece. They are now fecured from fuch 
 deftruftion in one of the public fchools, and 
 are the moft genuine collection in Europe, 
 having been brought immediately to England, 
 and not previoully fubjeded to conjectural 
 emendation. 
 
 Much learning has been exhaufted to inva- 
 lidate or eftablifh the authenticity of the 
 Parian Chronicle^ ; but thofe who are moft 
 
 converfant 
 
 " Marmora Arundeliana were firfi: publifhed by Selden 
 1628, by Prideaux in 1676, by Mattaire 1732, and much 
 better by Chandler in 1763. 
 
 X The Parian Chronicle is dated 264 years before Chrifl, 
 and records the events conneded with Greece for 131 8 
 years. It has been tranflated by Scipio MafFei, Du Frefnoy, 
 Dr. Playfair, and Mr. Rcbinfon. See 2 diflertation con- 
 cerning 
 
SCULPTURE. 253 
 
 converfant in the form of the letters, proba- 
 bly the beft criterion, give an unanimous 
 fuffrage in Its favour, as being one of the 
 moft curious and interefting marbles now to 
 be found in any mufeum. 
 
 To the Arundelian marbles fome additions 
 have been made by Sir George Wheler and 
 Mr. Daw^kins, both celebrated travellers in 
 the Levant ; and the whole have been fplen- 
 didly illuftrated in the Marmora Oxonjenfia," 
 by Do6tor Chandler, who has likewife vifited 
 and defcribed the antiquities of ancient 
 Greece. 
 
 THE EARL OF PEMBR0KE*S COLLECTION OF 
 STATUARY AT W^ILTON, WiLTSHIRE. 
 
 A CATALOGUE of this coUcftion, which 
 includes nearly 300 pieces of fculpture, has 
 
 cerning the authenticity of the Parian Chronicle, 8vo. 
 1788, and Gibert's obfervations fur la Ciironique de 
 Pares. Acad, des Infcript. Tom. 23. A vindication of 
 the Parian Chronicle, in a letter to Mr. Robinfon, by the 
 Rev. J. Hewlett. 
 
 S 4 been 
 
264 SCULPTURE. 
 
 been repeatedly printed in the iEdes Pern- 
 brochiance," particularly in a recent edition, 
 with many claffical references, and judicious 
 obfervations on the arts. 
 
 Thomas earl of Pembroke began his col- 
 ledion of firatues at Wilton about the clofe of 
 the laft century. He purchafed fuch of Lord 
 Arundel's as had been placed in the houfe, 
 and, by confequence, had efcaped the injuries 
 of this climate, fo confpicuous in thofe at 
 Oxford. They werp principally bufls. Lord 
 Pembroke was particularly partial to that de- 
 fcription of fculpture, as no lefs than 173 are 
 feen at Wilton, on marble termini. The 
 fcrutinizing eye of the connoiffcur will not 
 allow many of this great number to be either 
 antique ox genuine portraits. But the Wil- 
 ton coUeftiori originated in others, befide the 
 Arundelian. When the Giuftiniani marbles, 
 in which were 166 bufts, were difperfed, they 
 were purchafed chiefly by Cardinal Albani, 
 and Lord Pembroke. Cardinal Richlieu was 
 affifted by Lord Arundel, when forming his 
 colledion of bufts, with intelligence refped:ing 
 many in Italy, which he aftervv^ards procured. 
 Thefe were incorporated with Cardinal Maza- 
 rine's marbles, m.any of which had been 
 
 bought 
 
SCULPTURE. 265 
 
 bought when Charles the Firft's ftatues and 
 pictures were expofed to pubUc auction, by a 
 vote of Parliament. When the Mazarine 
 collection was likewife fold. Lord Pembroke 
 was a principal purchafer, to w^hich were 
 added fome fine bufts from Valetta of Na- 
 ples; a complete alTemblage of all thefe 
 forms the prefent extenfive and magnificent 
 collection at Wilton. 
 
 In furveying thefe fplendid remains of an- 
 cient art, every viiitant wdll form his own 
 feleCtion of fuch as appear to be more emi- 
 nently beautiful or excellent, independently 
 of the decifions of connoiffeurs. I will not 
 therefore attempt a lift of flich as claim im- 
 mediate admiration, left any of my readers 
 fliould complain that I had omitted thofe 
 with which they were moft fatisfied^. But 
 by tranfcribing that already given to the pub- 
 lic by one of the moft judicious and refined 
 critics of the prefent day, tafte and a love of 
 truth will be equally gratified ^ 
 
 y Ne quifquam queratur omlflbs forte aliquos eopjm, 
 quos Ipfe valde probet. Quinctil. 1. x. c. i. p. 200. 
 
 ^ Obfervatioiis on the Weilern Part of England by 
 W. Gilpin, M, A. 8vo. 179B, p. 104, 106. 
 
 A fmall 
 
266 
 
 SCULPTURE. 
 
 A fmall ftatue of Meleager, or an Athleta. 
 An Amazonian queen lefs than life, the atti- 
 tude and expreffion of which are both excel- 
 lent. A groupe of Hercules dying, attended 
 by Pasan. A coloflal Hercules yi. lo high, 
 holding the Hefperian apples, which has great 
 mufcular expreffion. 
 
 Saturn holding a child ; much refembling 
 the Silenus with Bacchus in the villa Bor- 
 ghefe. 
 
 The father of Julius Caefar ; the attitude 
 of this figure is very noble. 
 
 Marcus Antonius, the orator ; the attitude 
 of this, too, is admirable. 
 
 V enus holding a vafe: this figure, if looked 
 at on the fide oppofite the vafe, is pleafing, but 
 on the other fide, it is awkward. 
 
 A Naiad, the upper part of which is beau- 
 tiful. Apollo in the ftone hall ; the body is 
 better than the hands. 
 
 Cleopatra and Caefarion are efteemed; wc 
 did not fee much merit in them. There is 
 at leaft no feminine beauty in Cleopatra." 
 
 The column of white Egyptian granite, 
 out of Lord Arundel's colledlion, ftands before 
 the houfe. The height is thirteen feet and a 
 half, the diameter 2,2, inches, and lefTens 
 
 fcarcely 
 
SCULPTURE. 267 
 
 fcarcely two inches at top. Mr. Evelyn 
 bought it at Rome, where he was informed 
 that it had been originally placed by Julius 
 Caefar before his temple of Venus Gerietrix. 
 The ftatue of Venus on the top is very beau- 
 tiful, but not antiqvie. 
 
 The Venus picking a thorn out of her foot 
 (although omitted by Mr. Gilpin) is of fupe- 
 rior fculpture. The attitude is more eafy 
 than that of the fame fubjed: at Florence; 
 and the expreffion of pain much more na- 
 tural. It is fcarcely lefs admirable than many 
 of genuine Greek fculpture. Among the 
 bufts are noticed, ''Miltiades; Hannibal; Pin- 
 dar; Hadrian; Cleopatra, the fifter of Alex- 
 ander; Lepidus; Sophocles; Pompey; Nerva; 
 Labienus Parthicus; Semiramis; Marcellus 
 Junior; Metcllus imberbis; Diana Lucan; 
 Caracalla; Alclbiades; Cecrops; Vitelliusand 
 Galba. Pyrrhus of Epirus (or rather Mars) 
 is particularly fine. A colloffean buft of Alex- 
 ander is ftriking; but the head feems rather 
 too long." 
 
 Among the Relievos, thofe moft admired 
 are Curtius, fimllar to that in the villa 
 Borghefe; two Cupids; Saturn; fome boys 
 eating grapes; UlylTes in the cave of Calypfo; 
 6 Saturn 
 
a68 SCULPTURE. 
 
 Saturn crowning the Arts; Cupid at the breall 
 of Venus; the ftory of Claslia; Silenus on his 
 afs; Galatea; Cupids and boys; a boy on a 
 fea-horfe; a victory, the compofition of which 
 is very' good ; a prieftefs facrificing, in which 
 the animals are particularly fine; a nuptial 
 vafe, both the form and fculpture of which 
 are elegant." This vafe is made from a block 
 of jafper. 
 
 Upon a votive relievo is an infcription, 
 written in the manner called Bouftrophedon, 
 concerning the originality of which doubts 
 are entertained. The form of the letters 
 does not exactly correfpond with the Sig^an 
 infcription, which is allowed to be genuine, 
 and of which fac-fimiles have been engraved, 
 the laft time, in Mr. R. Payne Knight's very 
 learned and ingenious Analylis of • the Greek/ 
 alphabet. 
 
 SECTION 
 
SCULPTURE. 
 
 269 
 
 SECTION V. 
 
 To follow the hiftory of the introdu6Hon. 
 \ of antique ftatuary Into England, I ftiall place 
 I the notices with which I have been favoured, 
 . or have been able to collect, in a kind of 
 chronological feries. 
 
 During a great part, even of the prefent 
 century, the Arundel and Pembroke collec- 
 tions were alone and unrivalled. A few ex- 
 i] cellent copies of the antique, in bronze or 
 1 plafter, were admitted as fmglc embellifh- 
 j ments of the palaces of our nobility. But 
 || the more frequent ornament of libraries and 
 faloons were bufts by modern fculptors. Our 
 national tafte in gardening, borrowed from 
 ' the French and introduced by Le Naiatre, af- 
 forded conftant employment to the mere car- 
 vers of images, which feemed to take the 
 air* in every garden, in the prevailing mode 
 
 of 
 
270 SCULPTURE. 
 
 of the age\ Fafhion univerfally fuperfeded 
 judgment or tafte. I remember an anecdote 
 which belongs to that day, and will venture 
 to give it. 
 
 A gentleman of one of the weftern coun- 
 ties had purchafed two capital antique ftatues 
 in marble at Rome ; had brought them to 
 England, and placed them in his garden. His 
 fon and fucceffor was not a virtuofo, and 
 had married a city lady addidled to fafhion- 
 able improvements. She direfted thefe ill- 
 fated marbles to be painted, in order, as fhe 
 obferved to her friends, that they might 
 look like lead." 
 
 Dr. Mead, the celebrated phyfician to king 
 George the Second, had a fmail collection, 
 which was fold at his death. A ftatue of 
 Hygeia was bought by the late Lord Litch- 
 field, and is now at Ditchlev. There w^ere 
 likewife Livia, the v/ife of Auguftus, in the 
 charadler of Ceres; Flora, antique and per- 
 fed;; and a Hercules by Algardi ; with a Venus 
 
 * In the beginning of the century, thefe magazines of 
 images were in Picadilly, and excited a conftant topic of 
 national ridicule from all foreigners of tajfle. Their imi- 
 tations of the anticjue were wretched beyond all criticifm. 
 
 dormiens 
 
SCULPTURE. 271 
 
 dormiens by Bernini, probably that now at 
 Wilton \ 
 
 His bulls were, the Homer in bronze, 
 now in the mufeum. Cicero of bafaltes, ex- 
 actly refembling the Medici buft, but of a 
 different colour. Auguftus, Marcellus, Auti- 
 nous, and Meleas-er. 
 
 About this time, Thomas Coke, earl of 
 Leicefter, completed his fiimptuous palace at 
 Hoik ham in Norfolk, and furnilhed a gallery 
 with ftatucs. In 17,^5, the younger Bretting- 
 ham, fon of the archited:, w^as commiilioned 
 by Lord Leicefter to procure antiques in Italy. 
 Of the ftatucs, the beft are the old Faun ; 
 Lucius Verus in a confular habit; and Diana: 
 and among the bufts, thofe of the elder Bru- 
 tus and Seneca. Sir Robert Walpole had 
 embelliftied his fuperb houfe at Houghton in 
 Norfolk with feveral bufts and heads of con- 
 fiderable merit, collected likewife by Bret- 
 tingham. From fome account of them, I 
 pafs to the review of another gallery, which 
 the late Earl of EgrCmont, having ap- 
 
 Bernini made the matrafs for the celebrated Henna- 
 phroditus in the Borghefe palace; and as this figure of 
 Venus has exa6lly the fame proportions, and nearly a fi- 
 milar attitude, it is not improbably a rival attempt. 
 
 pointed 
 
SCULPTURE, 
 
 pointed Brcttingham his agent at Rome, 
 completed at Petworth in Suffex. Several of 
 thefe marbles were obtained by private fale 
 from the moft celebrated collections. 
 
 The popes and cardinals of the Barbarini, 
 Borghefe, and Giuftiniani families, w^hen they 
 formed their coUedions from recent difcove- 
 ries, exhibited only the more perfect ftatues, 
 or fuch as were capable of refloration. The 
 fragments and torfos were then configned to 
 cellars, from whence they have been extrailed 
 piecemeal by the Roman fculptors ; by Cava- 
 ceppi, Cardelli, and Pacili, in particular, w^ho 
 have reftored manyof them, with w^onderful in- 
 telligence and fkill. The elder Piranefi was 
 equally ingenious in compofing vafes and 
 candelabra from fmall fragments of more ex- 
 quifite workmanfliip. 
 
 Thefe artifts have found, in feveral of the 
 Englifh nobility and gentry, a very liberal pa- 
 tronage. Some of thofe fine fpecimens of the 
 arts, which are now the boaft of our nation, 
 have been obtained from them. Other opportu- 
 nities have not been wanting. Thewell-known 
 colled:ions of the Barbarini, Mattel, and Ne- 
 groni palaces, have been frequently diminifh- 
 
 ed. 
 
SCULPTURE. 273 
 
 ed % by tiie dlfappearance of a famous mar- 
 ble, for the fecret fupply of the neccffitous 
 individuals of thofe families. 
 
 Within the lafi: thirty years, tliree gentle- 
 men cftabliflied themfelves at Home, who 
 exerted much addrefs and kniowledge of the 
 fubje6l, to promote a growing inclination for 
 the poffelTion of antique fculpture, in feveral 
 Engliflimen of rank and opulence, who were 
 then on their travels in Italy. Mr. James 
 Byres, an archited: ; Mn Gavin Hamilton, 
 who painted fome fubje6ls frdm the Iliad in 
 the villa 'Borghefe with truly claffical correal- 
 nc{< ; and AL^*. Thomas Jenkins, the Englifh 
 banker at Rome, were aclively inftrumcntal 
 in recovering, from oblivion or neglec^l:, many 
 a rellque of the antique, which may vie with 
 the cholceft fpccimens in the galleries of the 
 Italian princes. It occurred to the gentle- 
 men above mentioned, that the Campagna of 
 Rome had been iniperfecily invefligated, 
 whilft the city itfelf was an exhaufted mine. 
 The Pope gives his permiflion for this kind 
 of adventure, upon the following conditions. 
 
 c The Giuflinianl coIlciSlion was the firfl In Rome, a 
 part of which was publicly fold. 
 
 T When 
 
274 SCULPTURE. 
 
 When an excavation Is made, the antiquities 
 difcovered are divided into four fliares. The 
 firft goes to the Pope, the fecond to the 
 Camera" or minifters of ftate, the third is 
 the lelTee's of the foil ; and the laft is the 
 right of the adventurer. His holinefs fome- 
 times agrees for the pre-emption of the whole ; 
 and fometimes all the fliares are bought in 
 by the contraftor, before the ground is open- 
 ed. In confequence of thefe refearches, the 
 villa of Hadrian at Tivoli, the city of Gabii, 
 and many other places in the vicinity of 
 Rome, have amply repaid the labour of exa- 
 mination, and the public curiofity. 
 
 Hac arte, Pallas et vagus Hercules 
 EdudtuS;, arces attulit Anglise. 
 
 THE 
 
SCULPTURE. 
 
 275 
 
 THE COLLECTION OF MARBLES MADE BY 
 THE LATE EARL OF LEICESTER, AT 
 HOLKHAM, IN NORFOLK. 
 
 I, Two young Fauns, ftandlng with 
 one leg acrofs the other and playing on pipes. 
 Their attitude is the fame as that in the 
 villa Borghefe, to which, in character and 
 workmanfhip, they are very little inferior. 
 Oiie was purchafed of Cardinal Alexander 
 Albani, and the other of Cavaceppi the fculp^ 
 tor, who reftored them both. 
 
 3. A ftatue of Neptune; both arms and 
 the trident are reftored by Carlo Monaldi. 
 
 4. A ftatue of Faunus, very intire and ca-* 
 pital : the cwo hands, and part of the lituus 
 which he holds, are the only modern addi- 
 tions. It was dug up in the Campagna of 
 Rome, anci firft purchafed by Cardinal Al- 
 bani, 
 
 5. A ftatue of Mcleagcr. The left arm, 
 legs, and boar's head, were added by Cava- 
 ceppi. 
 
 T z 6. A ftatue 
 
5^6 SCULPTURE. 
 
 6. A ftatue of Venus; the drapery very 
 fine. 
 
 7. A ftatue of Apollo ; the legs are modern 
 fculpture. 
 
 8. Diana. This celebrated llatue was pnr- 
 chafed and fent from Rome by Lord Leicef- 
 ter, for which he was put under an arreft, 
 but foon liberated at the inftance of the 
 Grand Duke. For the conveniency of re- ^ 
 moval, it has the peculiarity of being made 
 of two pieces of marble ; the upper one 
 
 is fitted to the lower^, under the folds of the 
 drapery above the cinfture, which conceals 
 the joint. The right arm is raifed, and the 
 hand bent backward, in the attitude of reach- 
 ing an arrow from her quiver. The head 
 and fome of the fingers were reftored by Ca- 
 millo Rufconi. It is mentioned by Spence 
 in his Poly metis, who conjectures, that it was 
 once in the poficfifion of Cicero, from a paf- 
 fage which he quotes. There is a tradition, 
 that this ftatue coft Lord Lcicefter 1500/. 
 
 9. A ftatue of Bacchus ; the right hand 
 a.nd left arm are reftored by Cavaccppi. 
 
 10. A ftatue of Lucius Vcrus in fine pre- 
 fervation, purchafcd at Rome by Kent the 
 architedt. 
 
 II. A ftatue 
 
 i 
 
SCULPTURE. 'a77 
 
 11. A ftatue of Lucius Antonius^ very- 
 beautiful ; the head and right arm are admira- 
 bly rcftorcd by Bernini. Brought by Lord 
 Leicefter from Rome. 
 
 12. A coloflal ftatue of Juno. It was a 
 fragment belonging to Cardinal Albani, and 
 was reftorcd by Cavaceppi. 
 
 13. A cololTal ftatue of Agrippina, deified 
 as Ceres. 
 
 14. Under the portico in the Billiard-room 
 is placed a coloflal ftatue of Jupiter. The 
 attributes which conftitute this character are 
 modern, as are the arms, w^iich have been 
 well reftored by Wilton. For this reafon, it 
 cannot be confldcred as having been indif- 
 putably a ftatue of Jupiter, when in a perfed: 
 ftate. It was Kent's idea, fo much admired 
 by Mr. Walpole (Aneed. of Painting, vol. iv. 
 p. no) to place it on the fummit of the 
 grand ftaircafe, which leads from the hall to 
 
 ' the faloon. The certain inconvenience it 
 would have occafioned by obftrucSing the 
 entrance, already too narrow, was probably 
 the reafon why fo noble an idea was never 
 
 ' adopted. 
 
 15. A buft of Brutus. 
 J 6. A buft of Seneca, 
 
 T 3 17. A colof- 
 
a*r8 SCULPTURE. 
 
 17. A coloflal buft of Juno. 
 
 18. A coloflal bufl of Lucius Verus. 
 Thefe are both excellent ; the latter was 
 
 difcovered in cleaning the port of Nettuno. 
 There are feveral other buft?, of which, if 
 they are original, many repetitions will be 
 found of fuperior merit in other colledions. 
 They are chiefly of the middle empire. 
 
 THE EARL OF EGREMONt's COLLECTION OF 
 STAXyARY AT PETWORTH, SUSSEX. 
 
 ! 
 
 I. A Philosopher fitting, draped; no i 
 part is naked. The head is not its own, but 
 of a fine charadler and ftyle of fculpture* 
 Both arms and the left leg are reftored. 
 
 2- APhilofopher or confular figure fitting. 
 The head is not its own, but conformable to 
 the charafter of the body. The breaft and 
 right arm are naked, as in the Marcus Anto- 
 nlu3 at Wilton ; and the left arm from the 
 elbow, and the right foot and arm from abo% c 
 
 the 
 
SCULPTURE. ,a79 
 
 the ankle where the drapery ends, are re- 
 ftored. 
 
 Thefe ftatues are of bold Greek fculpture, 
 and were procured from the Barbarini pa- 
 lace. 
 
 3. Camillus with a Pig, which he holds by 
 the legs before him, a very fine ftatue of the 
 lame ^ra, and nearly perfed:. 
 
 4. A ftatue of Diana habited in a Faun's 
 Ikin, fmall life. The arms are modern, and 
 the head, though antique, hardly belonging 
 to it. 
 
 5. Apollo or Trophonius, an oracular prleft 
 worfhipped as a deity in B^eotia * ; naked, 
 with his right arm refting on the trunk of a 
 tree, around which a ferpent is entwined, 
 and drapery is thrown over the top. The 
 hair differs from its ufual form on the ftatues 
 of Apollo, and is brought up fhort to the 
 crown of the head. Part of the nofe, left 
 leg, and right arm, are reftoratlons. 
 
 6. A female figure draped. The head, 
 right arm, and left hand, are modern addi- 
 
 * Cicero de Nat. Deor. 1. iii, 19, 20, 
 
 T 4 tions. 
 
aSo SCULPTURE. 
 
 tions. Ablxitc Winckelmann ^ confidcrs this 
 ftatue as V^enus. 
 
 7. Apollo Citharaeda, a ftatue habited in a 
 pallium hanging loofe before and behind, and 
 open on each fide, which difcovers the nak? 
 ed. It is joined by fibulae on the flioulders. 
 On the feet are fandals. The right arm with 
 the pledrum, is modern. The drapery of 
 this ftatue is particularly excellent. Affixed 
 to the trunk which fupports him is a neck- 
 lace compofed of ova, as on the ftatue in the 
 villa Albani. The hair, like that of a Mufe, 
 is brought back, as if radiated, tied behind, 
 and falls on the fhoulders, and from under 
 each ear, hang two ringlets. It is lefs than 
 life ; five feet high. 
 
 8. Vir Corifularis, a ftatue draped, of Ro- 
 man fculpture, the head not its own, but 
 excellent, and the hands modern. 
 
 9. A ftatue of a Matron draped ; the head, 
 which refembles Agripina, the younger Nero's 
 mother, is not its own. The feet are cover- 
 ed with flippers pointed at the toe, and the 
 drapery is light, clofc, and falls in fmall 
 
 ^ Monum, Incd. T. ii> p. 37. 
 
SCULPTURE. £81 
 
 |)lalts. Reftorations are the nofe, the whoje 
 risfht arm and Ihoulder, with the left arm. 
 
 10. Ganymede v/lth the Eagle, a ilatue 
 larger thai> life. The wings are open, one 
 
 which furrounds the thigh. It is a very 
 good antique copy of an exqulfite original. 
 The head and right arm of Ganymede, 
 and the beak of the eagle, have been fupi- 
 plied. 
 
 1 1 . Ilelenus the Prieft of Apollo, a ftatue 
 of the fizc of life, habited in a Phrvejan tunic 
 which falls to the knees. Although fitted to 
 the body, it has a loofe appearance, and is 
 without a girdle ; a clrcumftance which in- 
 dicates divination or the office of a prophet. 
 The hair is colle£ied in dlftlnft round rnafles 
 or curls, and is crowned with a laurel leaf. 
 The arms from above the elbows, and both 
 legs, are modern. From what remains of the 
 arm, it appears to have been originally cover- 
 ed with a clofe ilocvc, and a fmali part of the 
 left leg exhibits the Phrygian buililn, which 
 has ftraps of leather, fiiaped like the prpbof- 
 pis of a fword-hih. 
 
 12. Athleta anointing hlmfelf, a ftatue. 
 The whole has been pumiced. The charac- 
 ter is ftrpng and mufcular, and fiiitable to 
 
 thp 
 
2«2 Sculpture. 
 
 the profeffion. The right hand with the 
 elbow, the fingers of the left, and both legs, 
 are not antique. 
 
 13. A ftatue of a Faun, ftanding crofs-leg- 
 ged, and leaning againfi: the trunk of a tree. 
 It is one of the frequent repetitions of the 
 fubjed, exactly refembllng that in the Ca- 
 pitol. 
 
 14. A ftatue of Silenus Canephorus, or as 
 bearing a bafket on his head ; and other 
 fymbols, antique and curious. 
 
 15. A Roman youth, in a toga with a 
 fcrinium by his fide. Of coarfe fculpture 
 and much repaired. 
 
 16. A ftatue of a young Faun. Upon 
 the plain pilafter which ferves to fupport it, 
 w^as a Greek infcription of feveral lines, which 
 are now fb much obliterated, that the fculp- 
 tor's name AnOAAONIOS," and the word 
 
 EnOlEl/' only are legible ^ The head, 
 
 whole 
 
 c The famo'js torfo of Hercules in the Vatican is the 
 work ot this artifl according to tlie infcription on the plinth, 
 « AllQyVAONIOC. NECTOPOC. A0HNAIOC, EIIOJEI." 
 The names we fee Inlcribed on feveral celebrated flatues 
 are thofe of copyifts, which is implied by the word 
 
 EIIOIEI" (faclebat non invenit), for EHOJEI" is faid 
 
 to 
 
SCULPTURE. 283 
 
 whole neck^ the right flioulder and arm, and 
 the left arm from the Ihoulder, have been 
 broken off. They have been reftored with- 
 out 
 
 to have been put diffidently, as to a work imperfect or not 
 original ; vvliilfl: *' EnOIHCE," which means a complete 
 performance, is rarely ufed. Pliny afferts in the preface to 
 his Natural Hiftory, that Apelles and Polycletus defignat- 
 ed their pidtures with *• EirOlEI" only ; as if the art liad 
 been imperfe6l, or their own efforts incapable of true ex- 
 cellence. He mentions that there were three pi6lures only 
 to which EnoiHCE" was affixed by them j probably as 
 being their heft performances, but leaves them unfpecified 
 in the courfe of his hiflory. We learn from him, that fe- 
 veral artifts concealed their names under hieroglyphics and 
 devices. Phidias infcribed his ftatues of Jupiter Olympus 
 " $EIAIAC. XAPMIAOT TIOC. A0HNAIOC M'EnOIHSE;' 
 (Paufan. 1. v.) and on the plinth of the Venus de Medici 
 is written "KAEOMENHS. AnOAAOAOPOT. A0HNAIO:^. 
 EHOIHSEN." Plutarch, in his life of Ifocrates, fays, that 
 the ftatue of that orator, erecSled by Tiriiotheus, had this 
 infcription AEOXAPOTS. EPrON/' This artiii: is re- 
 corded both by Pliny and Pautanias. The Farnclian Her- 
 cules is marked " TAIKaN. A0HNAIO2 EnoiEI." In- 
 fcriptions in rythm were fometiiiies written on the plinth ; 
 as the very elegant epigram on tlie hafe of the exquifite 
 Cupid by Pra\iteles, which is atn-ibuted to Simonidcs. 
 Antliol. 1. iv. c. J 2. Epig 53; and /. hcnsus, 1, ii'u'u 
 a 591. But the greatcft uncertainty reL.iivc to the ge- 
 nuinenefs of tliefe infcriptions origiiiarecl in the ignorance 
 or fraud of thofe who h^ve reflored thcin on their fta- 
 
 tues. 
 
2^4 SCULPTURE. 
 
 out due correfpondence with the general ac- 
 tion of the figure, which is very fine. The 
 ruftic fhape and mufcular agihty, which, in 
 every antique inftance, partakes of that of the 
 goat, are exprefled with great truth and ikilL 
 This fuperior piece of art w^as difcovered near 
 Rome by Mr. Gavin Hamilton, who fold it to 
 Lord E. 
 
 17. A ftatue of Juno; the drapery of 
 w^hich is good ; but the hands are modern, 
 and probably the head. 
 
 18. A ftatue of a Nymph with Game; 
 fragmented in many parts. 
 
 19. A ftatue of a Veftal. It is of delicate 
 fculpture, but has been greatly injured. 
 
 tues. Phsdrus alludes to thjs pracSlice in his time, by- 
 mercenary artifts in the apphcation of a fable at the begin- 
 ning of his fifth book. Vindex, a Roman and contempo- 
 rary vvith Statius and Martial, was fo well acquainted v/ith 
 the flyle of the different Greek fculptors, that he could 
 decide without the affiil:ance of the name. His tafle. and 
 fagacity arc praifed by Statius (1. iv. filv. 6.) and Martial 
 
 (1. ix. Epig. 45) concludes a dialogue between them, by 
 
 making him exclaim, 
 
 Giaece num quid ait Poeta nefcis ? 
 Infcripta eft balls indicatque nomen 
 " Aus-fsrtra'' legD, Pliidiae putavi, 
 
 20. An 
 
SCULPTURE. 285 
 
 20, An Amazon. The legs and arms are 
 new. 
 
 21. A buft of a boy, with the latus clavus, 
 perhaps Caracalla. Very excellent. 
 
 2Z. A bull of Septimius Sevcrus. Intire 
 excepting a part of the nofe. Of coarfe Ro- 
 man fculpture. 
 
 23. A female buft, of which the features 
 and head-drefs refemble thofe on the medals 
 of Julia Pla. ' It is a fine portrait. The un- 
 certainty or mifapplication of ftatues and 
 bufts as portraits is greater in thofe of private 
 perfons, than of the emperours, their wives or 
 others of the imperial connexion, whofc 
 coins confirm the refemblance. The forms 
 and attribute of the deities wxre fomc- 
 times afi^umed by individuals, among the Ro- 
 mans. 
 
 A ftatue of an Emprefs, deified as 
 Ceres, the drapery of which is in a good 
 ftyle. 
 
 Z\, A female buft unknown, in high pre- 
 fervation. It is a very curious and good 
 piece of fculpture. The hair is much 
 fwclled out on either fide, and tied in 
 a knot behind ; in front arc tufts of 
 
 flowers. 
 
m SCULPTURE. 
 
 flowers^. On the teflara of the pedeftal is 
 Cupid burning a butter-fly with a torch, one 
 of the emblems of diffolution. 
 
 2;^. A female buft having the attire much 
 like that of the Fauftlnas. Intire, but the 
 neck has been broken ofF^ 
 
 26. A buft of a man, refembling Hadrian; 
 intire, but of coarfe fculpture. 
 
 A buft of a child, draped with the 
 
 latus clavus/' and the bulla aurea." The 
 neck has been broken, and the nofe reftored. 
 In the fineft Greek ftyle. 
 
 28, A buft with the latus clavus," in- 
 tire to half the pedeftal ; nofe reftored. It 
 refembles Septimius Severus rather than Pef- 
 cennius Niger % w^hich it has been called^ 
 and is of the coarfe fculpture of his time. 
 
 ^ Taffo's varied and minute defcriptions of Armida's 
 hair, Gierus. Liberata, canto xv. flanza 161 ; c. xvi. ft. 18; 
 bat efpecially flanza 23. Petrarch's " negletto ad arte e'n- 
 neliato et hirto," and Mihon's hyacinthine locks" have 
 been all ftudied from the antique. 
 
 ^ Pefcennius Niger was appointed governor of Syria by 
 the emperour Pertinax, and afpired to the purple at his 
 death; but Septimius Severus was the fuccefsful can- 
 didate. 
 
 29. A head 
 
SCULPTURE. 287 
 
 29. A head of Marcus Aurellus, upon a 
 modern buft. Aged about twenty, no beard, 
 much mended. 
 
 30. A head of a boy unknown, with a 
 laurel crown, probably one of the nephews of 
 Auguftus. The iris of the eye is llrongly 
 marked. 
 
 31. A head of Venus with feveral marks 
 of reftoration. It has a fweet and expref- 
 five countenance of genuine Greek work- 
 manfliip. 
 
 3:?. A head engrafted on a modern buft 
 of a Nymph belonging to a fimilar groupe 
 of the Satyr and Nymph, as that in the Muf. 
 Plo-Clem. Small life and good. 
 
 33. A female head unknown. The ftyle 
 of the fculpture and head-drefs is from the 
 time of Auguftus to Nero. The hair is much 
 plaited, tied behind in a knot, falling in ring- 
 lets. It is a good portrait and in fine pre- 
 fervation. There is a memorable diftindlion 
 betwxen the Grecian and Roman bufts, in 
 point of execution^. Thofe of the imperial 
 
 Romans 
 
 The moft admired impenal huH: wliich bas been yet 
 cVifcovered, Is ibat of Lucius Verus in the Villa Borghcfe. 
 
 3 Theic 
 
tti SCULPTURE. 
 
 Romans are infinitely minute and exa6l, de« 
 fcending even to every particular and accident 
 of the countenance. 
 
 In thofe of the Greek philofophers and 
 iiefots we are ftruck with obferving a great 
 and unbroken ftyle, which contents itfelf in 
 dehneating only thofe remarkable features, 
 which give charafter to the face. The one 
 IS atnalogous to hiftdrical painting ; the other 
 is merely portrait; 
 
 34. A head of Septimius Scverus, of bad 
 fculpture even for that ^ra. 
 
 35. A head of a young rnah with eloft 
 hair. 
 
 36". A head of a man unknown, ftrongly 
 marked, hair and beard fliort. Sculpture of 
 the time of the Gordians and of Gallienus. 
 
 37. A licad of one of the Diofcuri upon a 
 
 "".['here was another in the Barbarini Palace. That Once 
 belonging to the Mattel collc6tion, now in Mr. Townley's, 
 has high preteafions to eminence. 
 
 £ The Diofcuri were Caflor and Pollux. Their ftory 
 Is told by Piiidar (Nem. xv.) by Theocritus (idyll, xv.) 
 and other mythologies. The diflindion of a Diofcuros is 
 by a cap made like an cg^, cut in half, in atlufion to their 
 birth and their mother Lcda. Cicero de Nat. Deor. 1. iii. 
 
 21. 
 
 modern 
 
SCULPTURE. 289 
 
 modem buft. Finely executed. From the 
 Barbarini Palace. 
 
 38. A head of a man unknown, with the 
 hair and beard in maffy curls. Of good 
 fculpture. 
 
 39. A head of an old woman on a buft. 
 The head-drefs is that of the wife of a high 
 prieft, and the Tutulus'' is a purple ribband 
 rolled with the hair round the head, for that 
 diftinclion. 
 
 40. A head of the emprefs Sabina with a 
 diadem ; having the fun, moon, and ftars 
 on it. 
 
 41. A head of Fauftina the elder, the buft 
 not its own ; the back of the head reftored ; 
 but the face of fine fculpture, and ir? a per- 
 fect ftate. 
 
 45. A female head reprefenting Athens. 
 Part of the cafque reftored. Good fculp- 
 ture. 
 
 43. The head of a hero, of a finely marked 
 charafter. The face is ill prcferved ; the 
 nofe and mouth are reftored ; but the whole 
 in the free and grand ftyle of Gfreek fculp- 
 ture. It is of a colofTal fize, and may rcpre- 
 fent Ajax. 
 
 44. A head of Didla Clara on a modern 
 
 U buft. 
 
2^ SCULPTURE. 
 
 buft, the nofe reftored. It has great truth 
 and nature. 
 
 45. A female head attired like Julia Titi, 
 much repaired. 
 
 46. A head of Antoninus Pius, with the 
 neck upon a grey numachella buft. 
 
 47. A head of the emperor Hadrian. 
 
 48. A head of a child with a bonnet. On 
 an antique buft, not its own. 
 
 49. A head of Apollo on a terminus, w^th 
 ringlets highly finiflied ; the nofe reftored. 
 
 50. A head of Bacchus on a terminus in 
 his yoiithful or effeminate character ^. 
 
 In a private room is a curious buft. The 
 face is of cryftal, and the reft of porphyry. 
 It appears to be of Ifis or Arfmoe,, as it has 
 the Lotus on the head. 
 
 A bas-relief bronze very large, of a facrificc 
 to Jupiter Capitolinus. There is a prlcft 
 with a bull before an altar. Two boys fup- 
 port a large circular fliield. It was fent lately 
 from Italy by the Hon. W. Wyndham, his 
 Majefty's minifter at Florence. 
 
 ^ nec foemina dici 
 
 Nec puer ut poflit. 
 
 Ovid. Met. L iv. 337. 
 
 THE 
 
SeULtTURE. 
 
 I'HE COLLECTION OF STATUARY MADE BY 
 SIR ROBERT WALPOLE, EARL OF ORFORD, 
 AT HOUGHTON, NORFOLK. 
 
 This coUedlion confifts chiefly of bufts, 
 ^nd thofe by modern artifts are particularly 
 fine. 
 
 1. A female buft. 
 
 2. A buft of a Roman Emprefs. 
 
 3. A buft of Marcus Aurelius. 
 
 4. A buft of Trajan* 
 
 5. A buft of Septimius Severus. 
 
 6. A buft of Commodus, which with that 
 preceding was given by Cardinal Alexander 
 Albanl to General Churchill, and by him 
 to Sir R. Walpole. 
 
 7. A buft of a young Hercules. 
 
 8. A buftof Faufthia the elder. 
 
 9. A buft of Commodus w^heu young 
 
 10. A head of Jupiter. 
 
 1 1. A head of a Philofopher. 
 
 12. A head of the Emperour Hadrian. 
 
 13. A head of Pollux or Diofcuros, 
 
 U 2 14. A head 
 
192 SCULPTURE. 
 
 14. A head of a Philofopher. 
 
 15. A head of Julia Pia, the wife of Se- 
 verus. 
 
 16. A fmall buft of Venus. 
 
 BY MODERN SCULPTORS. 
 
 I A groupe of a man and woman by Gio- 
 vanni di Bologna, from the fcory of the rape 
 of the Sabines. Thefe figures differ in their 
 attitudes from the famous groupe of the fame 
 fubje6l in the Loggia de Lanci at Florence, 
 but are mafterpieces for drawing, for the 
 ftrength of the man and the tender delicacy 
 of the woman. This bronze was given to 
 Lord Orford by Sir Horace Mann. 
 
 5. The Laocoon, a fine caft in bronze by 
 Girardon. 
 
 3, 4. Tiber and Nilus in bronze from the 
 antiques in the Capitol at Rome. 
 
 5, 6. The Medici and Borghefe Vafcs in 
 bronze. 
 
 7, 8, 9, 10. Urbs Roma, Minerva, Anti- 
 nous, Apollo Belvidere. — In bronze by Ca- 
 millo Rufconi. 
 
 I 
 
 THK 
 
SCULPTURE. 
 
 THE COLLECTION OF STATUARY MADE BY 
 THE HONOURABLE HORATIO WALPOLE, 
 AFTERWARDS EARL OF ORFORD, AT 
 STRAWBERRY HILL, MIDDLESEX. 
 
 I. An Eagle found in the gardens of Boc- 
 capadugli, within the precind: of the baths 
 of Caracalla at Rome. It has been confider- 
 ed as fuperior to the celebrated bronze in the 
 villa Mattei. 
 
 A buft of Vefpafian in Bafaltes, of ex- 
 cellent workmanfhip, purchafcd from the 
 colleftion of Cardinal Ottoboni. 
 
 3. A buft of Marcus Aurelius. 
 
 4. A buft of Domatilla, the wife of Vcfpa- 
 fian, very rare. 
 
 5. A buft of Camillus, or a facrificing 
 Prieft. 
 
 6. A buft of Julia Masfa. 
 
 7. A buft of Fauftina the elder. 
 
 8. A buft of Antonia, the mother of Clau- 
 dius, very rare. 
 
 U 3 9. A fmall 
 
394 SCULPTURE. 
 
 9. A fmall bronze buft of Caligula, with 
 filver eyes. It appears to be a portrait of that 
 emperour, at the commencement of his mad- 
 nefs. It was one of the antiques dug up 
 when Herculaneurn was firft difcovered. It 
 belonged to the Prince D'EJboeuf, and w^as 
 fent by Sir Horace Mann to Mr. Walpole. 
 
 10. An antique figure of a Mufe in filver, 
 fitting. 
 
 11. A fmall bronze buft of Caracalla. 
 
 12. A buft of Tiberius bought of Mr. 
 Jennens. 
 
 13. A buft of Julia Dorrina. 
 
 14. A buft of Julia, the wife of the Era- 
 perour Titus. 
 
 i^. A buft called Cicero. 
 
 16. A groupe of Harpocrates and Telei- 
 phones. 
 
 17. A ftatue of Antinous, of Greek work? 
 jnanfhip. 
 
 18. A ftatue of Zenocrates. 
 
 Mr. H. Walpole purchafed the whole coh 
 leftion of fmall antique bronzes, Roman cu- 
 linary inftruments, lam.ps, &c. which had 
 been made by Dr. Conyers Middleton, the 
 biographer of Cicero, during his refidence 
 at Rome. 
 
SCULPTURE. 
 
 THE EARL OF CARLISLE S COLLECTION OF 
 STATUARY AT CASTLE HOWARD, YORK- 
 SHIRE* 
 
 1. Cupid bending his bow. A ftatuc four 
 feet high. The head broken off ; the legs 
 and arms reftored. It is a dupUcate of Sir 
 R. Worfley's. 
 
 2. A head of a boy unknown ; probably a 
 portrait. The buft is modern, and the hair 
 is minutely picked out, as charafteriftic 
 of the ccra of Philip, the Roman Emperor. 
 
 3. A buft of a man, entire, refembliag one ia 
 Mr. Lyde Brown's colleftion now at Petcrf- 
 burgh. The face and drapery are highly po- 
 lilhed, but the hair, beard, and fringe of the 
 drapery, remain frefli from the tool. Ia the 
 teffora of the plinth is a Cupid fpearing a 
 Boar. In the ftyle of the Nero at Wilton, 
 which is not antique, 
 
 4. A buft of Domitlus j^^nobarbus, as in the 
 above mentioned collection. The bufliy fide 
 
 U 4 \mr 
 
396 SCULPTURE. 
 
 hair and beard are frefh from the tool. Face 
 and drapery polilhed, but imperfedl. The 
 phnth is divided into three compartments. Ir> 
 the ftjle of the ^ge of the Antonines. 
 
 5. A buft of Antoninus Pius; probably a real 
 portrait, and well finiflied. The right fhoulder 
 and nofe are reftored. 
 
 6. A baft of Commodus when young. In- 
 tire ; the drapery is polifhed. Bufts of this 
 Emperor were frequent, and by the beft fculp- 
 tors then exifting at Rome. 
 
 7. A head of Agrippina, entire ; but to be 
 doubted. The hair is difpofed in rows of de- 
 tached curls, and the buft modern. 
 
 8. A head of Bacchus Diphues, {imilar to 
 that called Ariadne in the Capitol. It is 
 flefhy and effeminate. 
 
 9. A head of Atis '\ with the Phrygian bori-? 
 
 j The Atis is in the ftyle of Mr. Townley's Apollo. 
 Atis is called " Cybeleius" by Ovid (Met. 1. x. v. 104.) 
 He was >.he prieft of Cybele, and beloved by her. His 
 flory is mythological, as may be feen in Arnobius, 1. v. 
 Adonis-Atis was worfliipped by the Egyptians as Orifis, 
 and by the Aflyrians by the title of Thammuz. Macro- 
 bius, 1. i. Saturn, c. 21. Selden de Diis Syriis Syntag. 
 c. 10. He was the firft Hierophant, or teacher of Myf-? 
 |eries. 
 
SCULPTURE. 297 
 
 I net, much mutilated and reftored. Of excel- 
 ! lent fculpture. 
 
 10. A head of a Dlofcuros; nofe reftored. 
 
 11. A head of Silenus or Pan, much in the 
 [ ftyle of that In the Vatican. 
 
 12. A head of Minerva. Hecate in Biglo or 
 grey marble. The cafque refembles that of 
 
 ^he Urbs Roma." The creft is a winged 
 ' ferpent. On the fides are equeftrian Ama- 
 I zons. Face modern. 
 
 ' 13. A large mafque of Bacchus Barbatus, 
 with the knot curls on the forehead, fillet, &c. 
 
 1 4. A head of Ifis, intire ; with the diadema 
 and wreath of Lotus flowers. 
 
 15. A head of a Roman, large life, fald to be 
 Junius Brutus. 
 
 I' 16. A figure of Atis Diphues, in fmall 
 bronze. 
 
 17. A figure of Nemefis or Medufa'', Do. 
 
 She is fitting with an air of melancholy, 
 the hand fupporting the head, and refting on 
 the knee. A ferpent twifled about each 
 ^rm. Serpent and wings on the head. It 
 
 ^ The mofl: celebrated biifl known to exiH, is that of 
 lylcdufa in the Roudonini Palace at Rome. 
 
 has 
 
298 SCULPTURE. 
 
 has been probably attached to a Ledlifter- 
 nium K 
 
 18. A figure of Mars, Do. 
 
 Several animals, likewife in fmall bronze. 
 
 Two groupes of a Lion tearing a Bull, as 
 frequently feen on Sarcophagi of higher anti- 
 quity, being an ufual fymbol of dilTolution. 
 
 A Sarcophagus, with a Genius, in the cha- 
 rafter of Ofiris, fupported by others. The 
 top is a modern flab, into which is inferted a 
 drunken Silenus afleep. 
 
 A Sarcophagus, three feet long, upon 
 which is a Genius with a Goat. It is of 
 good fculpture, though many parts are re- 
 ftored. 
 
 ' Le6llfternia werefeaflsof the Septemviri Epulones when 
 the ftatues of the gods were laid on rich couches (called 
 likewife Ledlifternia), and were confidered as principal 
 guefts. Caius Seftius, for whom the Pyramid near Rome 
 was eredled, was one of the Septemviri Epulones. 
 
 SECTION 
 
SCULFTUREo 
 
 SECTION VI. 
 
 ~^HE COLLECTION OF MARBLES MADE BY 
 CHARLES TOWNLEY, ESQ. PARK. STREET, 
 WESTMINSTER. 
 
 " rngenium fubtile vldendis Artibus." 
 j HoR. Eplfl. 
 
 1. A STATUE of Ifis or Ceres, the fize of 
 iife. The left hand holds the thurjbulum ; 
 
 [i the head is crowned with a diadem, over 
 ' i^hich between two ferpents ered: is placed a 
 i difcus with ears of corn fpringing from it, 
 \ correfponding to the defcription of this deity 
 I by Apuleius, Met. 1. xi. This ftatue was 
 * formerly in the Maccarani Palace at Rome. 
 
 2. A fmall ftatue of Ifis or of a Mufe fit- 
 ting on a ruck and playing on the barbiton. 
 Jt was formerly in the Barbarhii Palace. 
 
 A ftatue the fize of life, of the Libera 
 
 or 
 
300 SCULPTURE. 
 
 or Female Bacchus % attended like that god 
 by the panther, and bearing the thyrfus on 
 her fhoulder, with a wreath of ivy on her 
 head. Her drapery confifts of a long tunic, over 
 which a fhort veft hangs a little way below 
 the waift, and is bound clofe by a belt, which 
 pafles over the right Ihoulder and between 
 the breafts. Found in 1774 at Roma vec- 
 chia. 
 
 4. A ftatue of Ifis, 6 f. 6 inches high, re- 
 prefented in her dignified character, as the 
 queen and mother of all things, having upon 
 her head the myftical b^fket formed of the 
 Lotus flower, which was the primitive fym- 
 bol of the paffive means of production, per- 
 fonified under the denomination of this god' 
 defs. The other ornaments upon this figure, 
 fuch as the chaplet, ear-rings, &c. are all com- 
 pofed of myftical forms. The right hand is 
 modern ; but the original, no doubt, held the 
 Lotus flower in the manner in which this 
 figure is fo frequently repeated on medals, 
 cameos, &c. This ftatue was found about 
 
 Orph. Hymn. 5. v. 9. 40. v. 4. 
 
SCULPTURE. 3di 
 
 two miles beyond the tomb of Caecilia Mc- 
 tella, near the Appian Road, during the Pon- 
 tificate of Sixtus V. who placed it in his 
 palace called the Villa Montalto, and it was 
 added to this collection in 1786. 
 
 5. A Terminus of Pan, or of Bacchus the 
 harmonizer. It is compofed of the fquare 
 cippus, with the ufual bearded head of Bac- 
 chus upon it, to which are added arms holding 
 a flute of a particular form to the lips, which 
 mark ftrongly the aft of blowing. This ele- 
 gant Terminus, which is about four feet high, 
 is alfo drefled in the Baflareid robe, and the 
 head is ornamented with a diadem faftened 
 by a cord. It was found in T779, in the 
 Villa of Antoninus Pius, near Civita Lavinia, 
 the ancient Lanuvium. 
 
 6. A ftatue of Bacchus ^ of the age and 
 fize of a boy three feet high. The head is 
 crowned with a wreath of ivy, and the body 
 is ingenioufly invefted in the fkin of a goat, 
 of which the legs form a knot below the 
 
 ** Tibi cum fine cornibns adllat 
 Yirgineum caput eft." 
 
 Ovid. Met. j. iv. v. 20. 
 
 brcafts. 
 
j02 SCULPTURE. 
 
 breafts. It was found in the Villa of Antont-* 
 nus Pius before mentioned in 1775. 
 
 7. Statue of a young Bacchus, the fize of 
 life. It is naked, excepting the fkin of a 
 lion, covering part of both flioulders and the 
 breaft; the feet are likewife covered with 
 fandals. The left arm embraces an effemi- 
 nate or androgenous figure of Ampelus, the 
 upper part of which has the form of a young 
 genius, with the vine leaves and grapes 
 fpringing from the cheeks and the body, 
 which gradually lofes the human for/n and 
 terminates in a vine plant. At tlie root is 
 a Lizard, and a Leopard with a collar of ivy 
 round its neck is biting at a bunch of grapes. 
 This mythological groupe was found in 177^ 
 near La Storta, the firft poft from Rome, on 
 the road to Florence. 
 
 8. A ftatue of an old Faun intoxicated, or 
 Silenus, nearly extended on his back in an 
 adiion fimilar to that of the Faun in bronze, 
 engraved in the fecond volume of the bronze* 
 in the Muf. D'Ercolano, p. 161. The head 
 was originally bound with a wreath of fome 
 kind of metal, as appears by the holes to 
 w^hich it had been fixed. It is the fize of 
 
 6 life. 
 
SCULPTURE. 303 
 
 life. The right arm and both feet are mo- 
 dern reftorations. 
 
 9. A ftatue of Libera or Ariadne, fix feet 
 four inches high, naked to the waift, and 
 draped below. Found in 1775 in the ruins 
 of the maritime baths, eredled by the Em- 
 peror Claudius at Oftia. 
 
 10. A ftatue of Adonis % in the form of 
 an effeminate youth upon his back afleep up- 
 on a rock. On the head is the petafus tied 
 with a firing under the chin. The chlamys 
 is faftened with a fibula on the fhoulder co- 
 vering part of the body, and on the feet are 
 fandals tied with bandages reaching to the 
 midleg. It was found at Roma Vecchia in 
 
 ^'74- 
 
 1 1 . A ftatue of Thalia, the paftoral Mufe, 
 tichly draped with the tunic, and an outward 
 loofe garment of fo fine a texture, that the 
 form of the body and limbs, though covered, 
 arc very apparent. The head, as uftially of 
 this Mufe, is covered with a wreath of ivy, 
 and in the right hand is the Pedum, or pafto- 
 toral crook. This ftatue was difcovcrcd in 
 
 c Lucian. Dial. Deorum, torn. L p 232. Muf. Cnpct. 
 T. iv. p. 249. 
 
304 SCULPTURE. 
 
 1776, in the ruins of the maritime baths of 
 Claudius at Oftia, near the Libera (No. 9), 
 and is five feet ten inches high. 
 
 iz* A ftatue of Diana, the fize of life> 
 draped and in the aftion of throwing a jave- 
 lin, or of holding a torch. Which of thefc 
 charaflers originally belonged to this ftatue 
 is uncertain, the greater part of the arms 
 having been reftored ; moft probably the latter, 
 from the hair being tied on the top of the 
 head in imitation of flames, according to 
 the ufual reprefentations of Diana Lucifera 
 on medals and other monuments. Found in 
 177a, near La Storta, as (No. 7)"^. 
 
 13. A ftatue of a Difcobolus bending for- 
 ward in the ad: of throwing the Difcus, the 
 original of which was in bronze, and the 
 work of Myro. This very fuperior ftatue was 
 found in 1791, in part of Hadrian's Villa, 
 near Tivoli, now^ belonging to the Marefofchi 
 family. 
 
 14. A portrait of a youth in the form of a 
 Terminus, to which are added the human 
 flioulders. This youth had been dedicated to 
 
 ^ Lucian. Philopfeudes, Quintilian de Infl. Orat. 1. xii. 
 c. 14. Piiny, I. xxkW. 
 
 or 
 
SCULPTURE. 305 
 
 or placed under the prote6llon of Mercury, as 
 appears from the attributes of that Deity 
 which accompany the portrait. It is nearly 
 five feet high, and was found near Frafcati in 
 1770. 
 
 15. A ftatue in bronze of Apollo, with the 
 chlamys faftened over the left fhoulder by a 
 fibula, in the form of a crefccnt, and hanging 
 over the arm, falls down to the feet. It was 
 purchafed at Monfieur L'AUemand de Choi- 
 feul's fale at Paris 1774, and is engraved, but 
 very badly, in Count Caylus' Antiquities, 
 vol. ii. pi. 77. Two feet four inches high. 
 
 16. A Cupid lying afleep upon the (kin of 
 a Lion, the club and other attributes of Her- 
 cules are placed before liim, and his bow and 
 quiver of arrows behind him, a Lizard at his 
 feet, and another is creeping from under the 
 Lion's fkin. The plinth is three feet long. 
 It once belonged to Cardinal Alexander Al- 
 bani and to Mr. Beaumont. Cupid with a 
 
 . Lizard is in the Arundel, and other coUedlions 
 in England. 
 
 17. A fmall ftatue of Cupid bending his 
 bow. A Lion's fl^in hangs over the quiver, 
 which ferves as the fupport. It was found in 
 1775, by Mr. Gavin Hamilton, cnclofed with- 
 
 X in 
 
3c6 SCULPTURE. 
 
 hi a large amphora at Caftel Guido, the an* 
 cient Lorium, where Antoninus Pius died, 
 and where Galeria Fauftina, his wife, had a 
 villa. Calhftratu^ defcribes a ftatue in 
 bronze exactly in this attitude, as a moft ad- 
 mired work of Praxiteles, who flourilhed in 
 the time of Alexander the Great. Paufanias 
 mentions but one copy, which was of Cupid 
 by Menodorus, after Praxiteles. Sir R. Worf- 
 ley has one at A ppuldurcombe, and there is 
 another at Wilton, but neither of thefe has 
 the Lion's fkin thrown over the trunk of a 
 tree. The many antique repetitions, which 
 have been difcovcred, thirteen of which ftill 
 cxift, may afcertain to us, that they are copie:^ 
 of that famous mafterpiece. 
 
 1 8. A torfo of a fmall ftatue of Venus, 
 purchafed of Cavaceppi the fculptor, at 
 Rome. 
 
 19. A ftatue^ four feet high, wanting the 
 greater part of both arms, of a Venus, or, 
 more properly, of the goddefs Ifis imder her 
 appellation of Angerona, who is reprefented. 
 on ancient monuments with the finger of tho; 
 right hand applied to the mouth, in which 
 
 « jLucian. Appuleius Met. 1. 10. 
 
 adlion 
 
SCULPTURE. 
 
 aftiori this figure was probably employed, as a 
 fmall point of marble remained on the chin. 
 Ifis is thus reprefented in a ftate of filence or 
 ma6lion. 
 
 20. A ftatue of a Faun, about four feet 
 high, holding a fyringa in the right hand and 
 a pedum ^ in the left ; formerly in the Mac- 
 carani palace at Rome. The reftorations 
 were executed by Algardi. 
 
 2,1, 2,2. Two ftatues about four feet high, 
 found, in 1775, by Mr. G. Hamihon, in the 
 ruins of the Villa of Antoninus Pius, fituate 
 near Civita Lavinia, the ancient Lanuvium. 
 They are antique repetitions of a ftatue in 
 bronze dcfcribed by Pliny and Paufanias, as 
 one of the moft admired v*'orks of Praxiteles. 
 This ftatue was diftinguiflicd at Athens, 
 where it flood in the ftrcet of the Tripods, by 
 the name of riEPlBOH ToN, (meaning Pr^e- 
 clarus, the renowned) becaufe that great 
 fculptor had ingenioufly united in that figure 
 two very diflferent mythological charadlcrs, 
 namely, that of Bacchus, whofe form v/hcn 
 young is graceful and effeminate, and that of 
 a fatjr. On the firft afpcd, thcfe ftatues 
 
 *" At tu fume pedum. V irg. Eel. V. v. 88. 
 
 X 2 give 
 
303 SCULPTURE. 
 
 give the idea of a beautiful young Bacchus, 
 with an attitude of graceful dignity, and the 
 head gently inclined forward ; but foon the 
 joint character of the fatyr appears in the 
 horns, the pointed ears and the ihaggy hair 
 of the goat, and the body partakes likewifc 
 of firmnefs and mufcular dryncfs. Thefc 
 ftatues are further remarkable for bearing on 
 their fupports the names of the artlfts, en- 
 graved in ancient Greek letters ^. 
 
 23. A recum- 
 
 Z On one of them is the following infcription, partly 
 effaced by the mark of an iron cramp, which mufl have 
 ferved in an ancient repair of this ftatue, and fhews that it 
 was highly valued. 
 
 MAPKOS 
 K05S0T 
 TIO^ 
 
 KEPAXIN 
 EnOIEI 
 
 And upon the other is written, 
 MAAPK02 
 KOESOT 
 TIOS 
 
 MAAPKOY 
 
 AHEAET 
 
 BEPO^ 
 
 KEPAfiN 
 EnOIEI. 
 
 The 
 
SCULPTURE. 309 
 
 2^. A recumbent figure of Diana, of the 
 fize of fmall life, with clofe drapery, reftlng 
 on her left hand, and advancing the right. 
 Upon the plinth is her bow with the heads of 
 Gryphons at the ends of it. 
 
 This 
 
 The names of Marcus, CofTutius, Cerdo, are Roman, 
 although written in Greek characters, which language was 
 much in ufe at Rome under the Antonines. As the artift 
 mentioned in the fecond infcription takes the fame name, 
 and adds that he was the freedman of Marcus, it is proba-- 
 ble that he was likewifc his pupil. Vitruvius, in the 
 preface to his feventh book, obferves, that a Roman citizen, 
 named CofTutius, built the temple of the Olympian Ju- 
 piter of the Corinthian order. But what renders thefe in- 
 fcriptions more valuable is, that before their difcovery, in 
 1775, there exifted only one indance of the word 
 
 EllOIEl" being infcribed with the name of an artifl: oa 
 a ftatue that was pofitively declared to be a copy, namely, 
 the Cornuaglia Venus, copied as the infcription imports by 
 Menophantes from the Venus of Troas. Here are three 
 certain proofs, that the expreffion EQOIEI" was ufed by 
 the ancient copyers of celebrated ftatues, the ftricl mean- 
 ing of which is worked at it," and in thcfe inllances it 
 cannot be taken in the fenfe of invenit," invented it. 
 This fame term EnOIEI," is, however, uniformly ufed 
 by all the artirts, whofe names have been found on works 
 of art, although none of them are enumerated by PHny or 
 any ancient writers concerning the renowned fculptors of 
 Greece. There is not even a prcfumptive record of the 
 
 X 3 authors 
 
Jio SCULPTURE. 
 
 This figure, and one fimilar to it, purchafed 
 by Count Walmoden, were found, in 1766, 
 in the Villa Verofpi, the lite of the magnifi^ 
 cent gardens of Salull:, near the Circus of 
 Flora, and the Salarian Gate of Rome. It is 
 probable, that they had been part of the de- 
 corations of the fountain, of which there ap- 
 peared traces in the form of a crefcent, com^ 
 pofed of rich marbles and mofaics. There 
 are two other repetitions of thefe figures, one 
 of which is in the Borghefe, and the other in 
 the Colonna palaces. 
 
 24. A fmall flatue of Hercules, in an ad- 
 vanced age, and fitting on a rock, covered 
 with the lion's Ikin, There are many repC' 
 titions of this compofition, of v/hich the 
 Torfo in the Vatican appears to have been 
 
 authors of the BelviJere Apollo, the Florence Venus, and 
 the Vatican Mercury, hat the excellence of thefe flatues 
 evinces, that they were originals by great maflers. 71je 
 dving Gladiator, commonly fo called, ranks in merit with 
 the before-mentioned llatues, yet is probably a copy of a 
 Itatue in bronze by Ctefilaus, of a wounded man at the 
 point of death, in whom, according to Pliny, might be 
 perceived how many moments of life yet rerrjained. 
 
 Vulneratum deficientem, in quo poffit intelligi quantum 
 reilet animse,*' 
 
 the 
 
SCULPTURE. 311- 
 
 thc original. The right arm is improperly 
 reftored, holding apples inftead of a patera. 
 
 25. A ftatue in bronze of Hercules, carry- 
 ing away apples from the gardens of the Hef- 
 perides. Behind him is an apple tree, on 
 Which hangs the ferpent or dragon, which he 
 b faid to have deftroyed. It w^as found at 
 Gebeleh, a fmall modern town near the lite 
 of the ancient Bybios, on the coaft of Syria, 
 and was fent to England by the late Dr. 
 Swinney, Chaplain to the Embaffy at Con- 
 ftantinoplc in 1779, where he purchafed it 
 of a Greek merchant, who had recently pro- 
 cured it upon its firft difcovery. Tw^o feet 
 fix inches high. 
 
 26. A figure of a youth placed on the 
 ground, w ith one leg bent under him, and 
 the other ftretched forward. He holds w^ith 
 both hands the fragment of an arm, which he 
 is biting, and which is part of another figure, 
 compofing originally a groupe of two youths, 
 who had quarelled at the game of the Talus, 
 as appears by one of the bones which remains 
 in the hand of the broken arm. The body 
 is covered in part by a veft made of the ik'm 
 of fome animal. This groupe was found in 
 the baths of Titus at Rome, during the pon- 
 
 X 4 tificatc 
 
312 SCULPTURE. 
 
 tificate of Urban VIII. and was placed hj 
 Cardinal Francefco Barbarini, nephew of that 
 Pope, in the Barbarini Palace, from whence 
 it pafled to this coUecliou in 1768. The 
 Aftragalizontes of Polycletus are recorded hj 
 Pliny to have been in bronze, and placed in 
 the palace of Titus, contiguous to the Flavian 
 amphitheatre^'. The fubjeft of this groupe, 
 according fo exactly wdth the above mention- 
 ed, little doubt can be entertained of its being 
 a repetition of it, as originally conjeftured by 
 Winckelmann, T. ii. p. 196. 
 
 27. A groupe of a Faun and a Nymph, 
 fmall life, found, 1772, by Domenico de An- 
 gelis, in the Pianura di Caffio, near Tivoli, 
 with many other valuable monuments, now 
 placed in the Vatican, and mentioned by Vif- 
 conti, Muf. Pio-Clem. T. i. p. 13. 
 
 ■28, A groupe of a Dog and Bitch at 
 play, about tv/o feet high. A groupe nearly 
 fimilar to this, now in the Vatican Mufeum, 
 was found with it, 1774, by Mr. G. Hamil- 
 
 *' Polycletus fecit duos pneros talis nudos ludentes, qui 
 vocantur Aftragalizontes, et funt in Titi imperatoris atrio, 
 quo opera nullum abrolaiius plerique judicant." Plin. 
 1. xxxiv. 
 
 ton, 
 
SCULPTURE. 313 
 
 ton, at Monte Cagnuolo, which ftands within 
 the prccindl of the villa of Antoninus Pius, 
 at Lanuvium. 
 
 29. A terminus of the bearded Bacchus, 
 in his Priapeid chara6ler. The whole cippus 
 with the head is intirc, and of ancient Greek 
 workmanfhip. It is fix feet high, was found 
 nearBaias, in 1771, and was brought to Eng- 
 land by the late Dr. Adair. 
 
 30. A head of Juno, larger than life, 
 crowned with an indented tutulus or diadem, 
 peculiar to the priefthood. Brought frora 
 Rome 1774- 
 
 31. A colofTal head of Minerva, fent from 
 Rome 1787. The ancient eyes had been 
 made of various materials, in imitation of the 
 natural eye, the fockets only of which now 
 remain. The border alfo is all that remains 
 of the helmet, which was of the clofe fort, 
 fuch as is given to the heads of Minerva upon 
 the raoft early medals of Athens. 
 
 3^. A head of Apollo Philefius, belonging 
 anciently to a ftatue of Apollo, fimilar to 
 that engraven in the Muf. Capiiol, T. iii. 
 pi. 13. This head was obtained^ in 1773, 
 from Cardinal Alexander Albani, upon his 
 removing it from a flatue of Bacchus, upon 
 
 which 
 
314 SCULPTURE. 
 
 which it had been improperly placed, then, 
 {landing in his villa'. 
 
 33. A head of Meffalina, wife of the Em- 
 perovir Claudius. A head fimilar to this, 
 and the only other known of this emprefs in 
 marble, is engraved in the Muf. Capitol, T. ii. 
 pi. 14. It was found in the Villa Cafali, up- 
 on the Efquiline Hill, in 1775^. 
 
 34. A head of Aratus^ the Cilician, or the 
 Aftronomer. It was found, in 1770, at Mu- 
 raena, amongft ruins of a villa belonging 
 to Sulpitius. Varro Mur^na, w^hofe valua- 
 ble library has been recorded, and who was 
 colleague with Auguftus in his confulfhip. 
 Similar heads are in the mufeum of the Ca- 
 pitol, and in the coileftion of Mr. R. P. 
 Knight. They are all in the beft ftyle of 
 
 i Winckelmann. Afon. Ined trat, prelim, p. 52. 
 
 ^ Tacitus, 1. ii. Juvenal. Sat. vi, Suetonius in Claud. 
 
 ^ Aiatus was born at- Soli, in Cilicia, and ipent the 
 greater part of his life in the court of Antigonus Gonetas, 
 who reigned in Syria about the i26thX)iympiad. His 
 Poem called the Phenonemous, was commented by 
 Thales, Zeno, Callimachas, Cailifliratus, Crates, and 
 Theon, and was tranflated by Cicero and Germanicus. 
 Eufeb. in Chron. Suidas et YoiTius de Hifl. Graec. 
 
 Greclaa- 
 
SCULPTURE. 315 
 
 Grecian fculpture, correfponding with the age 
 he hved in. 
 
 35. A terminus head of Homer, In the 
 younger of the two charafters of heads, w^hich 
 have been found in m.arble, and are fuppofed 
 to reprefent the father of Poetry, becaufe they 
 refemble the heads which appear infcribed 
 with his name upon the medals of Amaftris, 
 and otlier cities, whofe inhabitants, to do ho- 
 nour to themfelves, claimed him as a fellow 
 citizen. This terminus was with the head 
 above mentioned. 
 
 36. A head of Julia Sabina, the daughter 
 of Matidla, whofe mother was Marciana, the ^ 
 filler of Trajan. Sabina was married to Ha- 
 drian, in the year 100 of our £era, fevcnteen 
 years before he was declared emperour. She 
 died, as is fuppofed, by poifon, in 138. The 
 >claborate and intricate fafliion of plaiting the 
 :hair, which appears in this head; prevailed 
 chiefly in the reigns of thefe two emperours, 
 and it is exaftly repeated upon the medals of 
 this emprefs. 
 
 37. A head of Apollo Mufigetes, or lead- 
 er of the Mufes, refcmbling in the hair 
 and charaftcr of the face the head of a 
 
 Mufc» 
 
3i6 SCULPTURE. 
 
 Mufe"". It belonged to a ftatue of Apollo, 
 fimilar to that engraven in Muf. Capitol, 
 T. ill. 15. It was brought to England by 
 the late Mr. Lyde Browne. 
 
 38. A head of Minerva, found, in 1784, in 
 the Villa Cafali, amongft ruins, fuppofed to 
 have belonged to the baths of Olympiadorus. 
 The eyes were formed of ftones of the onyx 
 kind, or of vitrified matter, in imitation of 
 the natural eye. The helmet and the breaft 
 are executed in bronze by Albacini, from an. 
 antique buft of Minerva, engraven in the 
 fixth volume of the Vatican Mufeum. 
 
 39. A head of an Amazon, in the early 
 ftyle of Grecian fculpture. It belonged to a 
 ftatue fimilar to that which is engraven in 
 Muf. Capitol, T. ii. pi. 46, and to that for- 
 merly in the Mattel coUedion, now in the 
 Vatican. Brought from Rome by Mr. Lyde 
 Browne. 
 
 40. A head belonging to a ftatue of one of 
 the Dlofcuri, a character frequently repeated. 
 Found near Rome by Mr. Gavin Hamdton. 
 
 Talis erat cultu facies, quam dicere vere 
 Virgineam in puero, pueiilem in virgine pofles. 
 
 Ovid. Met. 1. viii. v. 324. 
 
 41. A head 
 
SCULPTURE. 377 
 
 41. A head of Ifis, in an ancient ftyle of 
 Iciilpture, ending in a terminus. It was 
 found by Mr. Gavin Hamilton, in the Pan- 
 tanella, a part of Hadrian's villa, near 
 Tivoli. 
 
 45. A head of Diana. The hair of the 
 fides is tied in a knot on the top of the head, 
 and on the back part it forms a buft, which 
 projects, refembling flames, or as a lymbol of 
 virginity 
 
 43. A head of Atis, with the Phrygian or 
 mvftical conic bonnet. Found near Rome 
 
 44. A head bearing a helmet, and ending 
 in a terminus with the name of Pericles thus 
 infcribed upon it, " nEPlfCAHS." The por- 
 
 • trait of this great warrior and legiflator was 
 not known in thefe days, until this terminus, 
 and another fimilar to it, but of a Icfs ancient 
 though of a more finilhed ftyle of fculpture, 
 were difcovered, in 1780, at the Pianura di 
 Caffio. Muf. Pio-Clem. T. i. p. 13, and 
 
 ut faces fplendidas 
 
 Quatiunt comas. Catullus. 
 
 • Diodorus Sic. 1. iv. Catullus GalHambic. Ovid. 
 Met, 1. X. V. 104, 
 
 T. vi. 
 
3ig SCULPTURE. 
 
 T» vi. p- 43. it is engraven in Lord Hard- 
 •wicke's Athenian Letters. 
 
 45. A terminus head of Homer, repfefent- 
 ed in a more advanced age, and in a more 
 fublime and animated character than that be- 
 fore mentioned. Found, in 1780, amongft 
 the ruins of the ancient Baise. 
 
 46. A head of Jupiter. This exquifitc 
 morgeau is in the ftjle, and of the age of 
 Praxiteles, when grace and foftnefs of ex- 
 preffion were added to truth and charac- 
 ter ^ 
 
 47. An animated head, larger than hfc:, 
 looking upwards in great agitation. It was 
 found, in I77i> by Mr. Gavin Hamilton, in 
 that part of Hadrian's villa, near Tivoli, now 
 called the Pantanella, along with feveral pieces 
 of the ftatue or groupe to which it belonged. 
 A repetition, or copy of this head, but in an 
 inferior ftyle of fculpture, was found near it> 
 which was placed in the Vatican Mufeum. 
 
 48. A head, formerly in the Villa Mon- 
 
 P .ct hominum fator atque deorum 
 
 Voltu, quo caeluin tempeftates que ferenat. 
 
 ViRG. ^n, i. V. 255. 
 
 talto 
 
SCULPTURE. 319 
 
 *talto at Rome. It is covered with what is 
 called the Phrygian, or pyramidal hood, the 
 chin with great part of the cheeks are ,wrap- 
 
 f ped up in drapery, and the character of the 
 face partakes of the yovithful beauty of either 
 fex. This circumftance denotes that it re- 
 
 I prefents Bacchus with his male and female 
 
 ; qualities, and under his denomination of Ado- 
 nis in Inferis* The hood or veil placed upon 
 the myftic figures by the ancients, conftantly 
 alluded to the Inferi, or the inadive ftate of 
 the animating {pint ^, 
 
 49. A head, confiderably larger than life, 
 with difhevelled hair and the upper lip un- 
 fliaven. It was found in Trajan's Forum at 
 Rome, and is fuppofed to be the portrait of 
 
 ! Decebalus, the famous leader of the Dacians, 
 who was fubdued by Trajan. Decebalus firft 
 
 jj attacked the Romans, in the year 90 of our 
 aer^, and was finally defeated about 105. He 
 
 BAKXO^ ENI. ZaomN, ENI. #eiMEN0I2IN AAO- 
 Aufori. Epig. ix. 
 
 Plutarch. Symp. iv. p. 511. Macroblus, 1. iii. c. 8. 
 Clemens Alexandrin, 
 
 3 
 
 was 
 
320 SCULPTURE. 
 
 was then 38 years old, which is the age ex- 
 preffed in this head 
 
 50. The head of a Baccha crowned with 
 a broad fillet diadem. The hair is fantafti- 
 cally difpofed in large mafl'es before and be- 
 hind. It was found, in 1776, in the villa 
 of the Chevalier Giraude, near the gate of 
 San Pancrazio at Rome. 
 
 51. A head, confiderably larger than life, 
 of Antinous deified, in the chara6ler of Bac- 
 chus, being crowned with a wreath of ivy ^ 
 
 ' Dion Caflius defcribes the rage and difappointment by 
 which Decebalus was a6luated at the moment of his fub- 
 miffion, and which are ftrongly marked in the countenance 
 of this head, and coincide with Milton's Fallen Angel. 
 
 ■ • and care 
 Sat on his faded cheek, but under brows 
 Of dauntlefs courage and confiderate pride 
 Waiting revenge. 
 
 s The two mofc noted bufts for prefervation and work- 
 manlhip (though not fuperior to this) are, one in the 
 Muf. Capitol, with the chlamys on the left fiioulder, and 
 another in the Villa Albani, alfo with the breaft naked. 
 The two coloflal heads of this emperour in the Capitol, 
 and in the Farnefe Palace, being much mutilated, their 
 chief merit confifts in their fize. Pliny in Panegyr. c. 22. 
 " Dum filens adHat, ftatus eft vultufque diferti.'* 
 
 This 
 
SCULPTURE. 321 
 
 This head, with feveral parts of the ftatue to 
 which it belonged, were found, in 1770, in 
 fmall pieces, made life of as ftones in a wall> 
 erefted during the barbarous ages, in the 
 grounds called la tenuta della Tedefea, near 
 the Villa Pamfili. 
 
 5^. A head of FierculeS, young arid larger 
 ithan life, formerly in the Barbarini Palace, 
 The heads of Hercules upon the gold medals 
 liof Philip, the father of Alexander, exaftly re- 
 llfemble this, even to the fmall lock of hair be- 
 ll tween the ear and cheek. 
 ' 53. A head of Caracalla, placed upon a 
 I modern bufr. It was found, In 1776, in the 
 garden of the Monache delle quattro fontane, 
 on the Quiiinal Hili^ twenty Roman palms 
 below the furface. 
 
 54. A colofTal head of Hercules, in a very 
 ancient ftyle of fculpture, the hard and mi- 
 nute manner in Vv'hich it is worked having 
 been abandoned in the 70th Olympiad, nearly 
 500 years before our asra. It was found, in 
 1770, in Hadrian's Villa, where it was pro- 
 bably placed by that emperour as an example 
 of the moit antique Greek fculpture. 
 
 55. A head of Periander, tyrant of Co- 
 
 Y rinth, 
 
SCULPTURE. 
 
 rinth, and one of the feven fages of Greece. 
 It belonged to Pope Sixtus V. but remained 
 at the Villa Mont alto, as an unknown por- 
 trait, till a head exacJlly relembling it wa& 
 found, in 1776, at the pianura di Caffio, near 
 Tiroli, with the name of Periander infcribed, 
 which is engraven in the Muf. Pio-Clem. 
 pi. 25. 
 
 56. A buft of Ifis- Aphrodite, placed upon 
 the flower of the Lotus. It is the fize of 
 large life, and was purchafed of the Lauren- 
 zano family at Naples in 1772, in whofe 
 poifeffion it had remained many years. 
 
 57. A buft of Trajan of the fize of large 
 life, with the breafi: naked. It w^as found in 
 the Campagna at Rome in 1776, and added 
 to this collection. 
 
 58. A buft of Lucius Verus, larger than 
 life, in the military drefs, covered with the 
 imperial paludamentum. It was formerly in 
 the Mattei Villa, and in engraven in the Muf. 
 Matteianum. 
 
 59. A buft of MarcellusS the nephew of 
 
 * Sed firons laeta parum et deje6lo lumina voltu. 
 
 ViRG. /K.. I vi. V. 863. 
 
 Auguftus, 
 
SCULPTURE, 323 
 
 Aiiguftus, draped with a toga. On the phnth 
 is the following infcription, 
 
 " DECEMVIRI. STLITIBVS IVDICANDIS/' 
 
 which indicates that the decemvirs, appointed 
 to judge in law caufes, erected this buft. 
 
 Stiitibus" is a corruption of de Litibus, 
 which took place during the republic of 
 Rome, and was continued to the later times 
 of the emperours. This buft was found by 
 Mr. Gavin Hamilton in 1775. 
 
 60. A buil of Hadrian larger than life, 
 with the brcaft naked, formerly in the Villa 
 Montalto. Abbatc Vifconti, fpeaklng of the 
 coloifal head of Hadrian, Muf. Pio-Clcm. 
 T. vi. pi. 45, enumerates the five moft valua- 
 ble bufts of this emperour that are known, 
 namely, the coloifal one before mentioned, 
 lately removed from the Caftello Sant. An- 
 gelo ; one of the three prefcrved in the Muf. 
 Capitol. (T. ii. pi. 34.) ; one in the Rufpcli 
 palace ; one in the Colonna palace, with the 
 breaft naked excepting the belt of the para- 
 zonium^ which croffes it ; and the buft now 
 in this collection. 
 
 61, A head much larger than life of Mar- 
 
 Y ^ cus 
 
324 SCULPTURE. 
 
 cus Aurelius, reprefented as Pontifex Max. in 
 the facrificing robes, veiled and crowned with 
 chaplets, and the cereal wreath. His coun- 
 tenance expreffes the calm benevolence of his 
 mind, and the dignified gravity which his 
 philofophic purfuits had rendered habitual to 
 him"". This head was obtained from the 
 Mattei colleftion in 1773. 
 
 6:j. A head of Nero, larger than life, 
 brought from Athens in 1740, by Dr. Af- 
 kew. 
 
 63. A head of Annia Fauftina, the daugh- 
 ter of Antoninus Pius, and the wife of his 
 fucceffor Marcus Aurelius. Purchafed at 
 Pozzuolo 1777. 
 
 64. A buft of Hadrian, found in the grounds 
 of Cav. Lolll, on the fite of the Emperor's 
 Villa atTivoli, purchafed in 1768. 
 
 65. A head of Epicurus, found in 1775, in 
 the Villa Cafali, near the church of Santa 
 Maria Maggiore in Rome. It is exactly re- 
 femblant of the head of that philofopher, 
 found with the name upon it, and joined in 
 
 ^ Studium philofophic feriumque et gravem reddidit., 
 non tamen prorfus abolita in eo comitate." Juh Capito.- 
 linus. 
 
 the 
 
 I 
 
SCULPTURE. 325 
 
 the Janus manner, with the head of Metro- 
 dorus. Muf. Capit. T. i. p. 5. 
 
 66. A buft of a middle aged man. The 
 hair of the head and beard are fhort and 
 bufhy. The left fhoulder bears part of a 
 chlamys fattened with a round buckle. On 
 the bafe is the following infcription. 
 
 L. ^MILIVS FORTVNATVS. 
 AMICO OPTIMO. S. P. F. 
 
 The initials S. P. F. ftands for fua pccu- 
 nia fecit." It w^as found, in 1776, amongft 
 the extenfive ruins within the grounds, be- 
 longing to the Cefarea family, near Gen- 
 zano. 
 
 69. An Eagle about twenty inches high, 
 lent from Rome to the late Mr. Beaumont. 
 The head is modern. 
 
 70. A fountain compofed of the ftcm of 
 the Lotus, regenerating three times from its 
 calyx. The lower divifion is apparently fur- 
 rounded with the branches and Irult of an 
 
 * The feathered king 
 
 With ruffled plumes and flagging wing." 
 
 Gray's Odes„ 
 
 olive 
 
326 SCULPTURE. 
 
 oHtc tree. Round the middle divifion arc 
 branches of ivy and a ferpent ; the upper part 
 terminates in a pyramidal bud fpringing from 
 amidft its leaves. This curious myftical 
 compofition was difcovered, in 1776, by Ni- 
 cclo La Piccola, near the road betw^een Tivoli 
 and Pr^nefte. Six feet fix inches in height. 
 See Muf. Capitol, pi. 10, of a Serpent twin- 
 ing round a Ciila. 
 
 71. A bas-reliefs rcprefenting a Candela* 
 brum, compofed of the ftem of a Lotus, 
 fpringing from a tripod altar, ornamented 
 
 y When Candelabra ferved to hokl the real fire in tem- 
 ples, a metal grate or dilh containing conibuftibles was oc- 
 caiionally fixed on the top of the flower, which was flat- 
 tened for that piirpofe. Sometimes lamps were placed on 
 the top inflead of fire. Of this fort, wms that given by An- 
 tiochus II. to the temple of Jupiter Capitolinus. It is 
 defcnbed by Cicero (in Verrem. 1. iv. 564 and 71), cu- 
 gus fulgore coliucere atque illuflrari Jov. opt. max. tern- 
 plum oportebat. Solomon, in the fecond book of Kings, 
 c. vii. V. 491, defcrlhes this kind of Candelabra with 
 lamps placed upon them, " candelabra aurea quafi lilii 
 flores et lucernas dcfiiper aureas." This platform is called 
 by Pollux Cnomaft. 1. x. 115, and 1. vi. 109, Uivcixm" 
 and Iltva-KKTMov," and by the Latins *' fuperficies." Plin. 
 L x;<xiv. 5, 6. 
 
 with 
 
SCULPTURE. 327 
 
 with Rams heads at the angles, and fupport- 
 cd upon the legs of Lions. On the top of 
 the ftem is the flower lhaped like a bell, 
 which, by the handles which arc added to it, 
 takes the form of a vafe, and contains the 
 fire. This bas-relief, about two feet fquare, 
 belonged formerly to the Mattci family, and 
 is publifhed in the Muf. Matteianum 
 
 72. A Vafe three feet high, with handles. 
 Its form is oval, and it is ornamented with 
 many Bacchanalian figures and fymbols rela- 
 tive to the Eleufmian myfteries. It was dug 
 up at Monte Cagnuolo, the fite of the villa of 
 Antoninus Pius, near the ancient Lanuvium, 
 before noticed. 
 
 X). M. 
 M. VLPIVS. CERDO. 
 TITVLVM. POSVIT. 
 CLAVDL^:. TYCHENI 
 CONGVGI. CARISSIMAE 
 CVxM. QVA. VIXIT. ANNIS. 
 XIJ. MEXS. VI. DIEB. 
 III. HOR. X. IN. DIE 
 MORTIS. GRATIAS 
 MAXIMAS. EGI 
 APVT. DEOS. ET. 
 APVT HOMINES. ^ 
 
 Y 4 73. A bas- 
 
328 SCULPTURE. 
 
 73. A bas-relief feven feet fix inches long, 
 and two feet fix Inches high, reprefenting the 
 nine Mufes, placed within five arcades, fup-r 
 ported by fluted columns, and richly orna- 
 mented with fefloons of foliage. Each Mufe 
 has her charafterifliic attributes, i. Clio, the 
 Mufe of hiftory, holding a tablet on which 
 fhe is writing with a ftylus. 2. Calliope, the 
 Mufe of hiftoric poetry. 3. Er^to, her left 
 hand refiling on the Pfalterium, with which 
 Ihe accompanies her erotic fongs. 4. Melpo- 
 mene, the Mufe of tragedy, with her attri- 
 butes of deftruilion, the club and the tragic 
 mafic. 5. Euterpe, who holds the double 
 tibia as prefiding over mufic. 6. Thalia, the 
 Mufe of pafiioral comedy, holding the triapeid 
 mafic, and the pedum of the fatyrs. 7. Terp- 
 fichore, who prefides over dancing, and holds 
 the lyre. 8. Urania, the celeftial Mufe 
 pointing to a globe, held in her left hand. 
 9. Polyhymnia, w^ho prefides over myfiiery 
 and fable ; fiie leans over a column, and is 
 wrapped up in drapery. All thefe figures, 
 with their attributes, are entire. 
 
 74. A bas-relief, the front of a Sarcopha- 
 gus, ifeven feet four inches long, reprefenting 
 a Bacchanalian choral proceflTion compofed of 
 
 thirty 
 
SCULPTURE. 329 
 
 thirty figures of Fauns^, Satyrs, Sileni, Bac- 
 chant Nymphs, and other myftical attendants 
 upon Bacchus, who is fitting with Ariadne on 
 ^ car drawn by two Centaurs. It was for- 
 merly in the Villa Montalto, and is engraven 
 by Bertoli in the Admirand. Roman. Antiq. 
 Veftig. pi. 48. 
 
 75. The front of a fepulchral Cippus, found 
 in the Villa Pelluchi, near the Pincian Gate 
 at Rome, with an infcription % of a fmgular 
 conftruftion. 
 
 7.6. A pedellal with a fepulchral infcrip- 
 
 a D. M. 
 
 DASVMIAE SOTERIDI. LL 
 BERTAE. OPTIMAE. EX. CON 
 IVGI. SANCTISSIMAE. BENE. 
 MER. EEC. L. DASVMIVS. CAL 
 LISTVS. CVM aVA. VIXIT AN 
 XXXV. SINE VLLA. QVE 
 RELLA. OPTANS VT IPSA 
 SIBI. POTiyS. SVPERSTES. FV 
 iSSET. aVAM. SE. SIBI SVPER. 
 STITEM. RELIQVISSET. 
 
 By this infcription we are reminded of that of Shenftone 
 to the niemory of his fair friend at the Leafowes. 
 
 Quanto minus eft cum reliquls verfari. 
 Q^^m tui xneminiflc. 
 
 tion, 
 
330 SCULPTURE. 
 
 tion^, which was found, in 1776^ near Net- 
 tuno, the Antium built by the Empcrour 
 Nero. 
 
 77. The front of a fepulchral Cippus^, with 
 a Greek infcrlption, and the figure of a fkele- 
 ton. It was purchafed from the Burioni 
 villa, near the Salarian gate at Rome, and is 
 cited by the Abbate Giovenazzo, in his trea- 
 tife upon the fragments of Livy, publifhed in 
 1772, as an example of the ancient Greek 
 ufage of not feparating words in infcriptions^ 
 
 78. A fmall infcription nine inches long, 
 found in the Villa Perucci. 
 
 79. The 
 
 b EinEIN TICAYNATAI 
 CKENOC AIITOCAPKON. 
 A0PHCAC EiriEPTAAC 
 H©EPCJTHCHNf2 
 IIAPOAEiTA. 
 
 ^ MAPCIA. ML CORAGIO 
 CONCVBINA. RVFIONIS. 
 
 - DIS MANIBVS 
 M. CLODIO 
 HERMiE. 
 
 COxNGVGI OPTIMO 
 ET ANNIO FELICI FRATRI. FEC{T. 
 ANNIA. AVGVS TALIS. 
 ET TYRANNO. CARISSIMO. 
 
 This 
 
SCULPTURE. 331 
 
 79. The front of a votive Cippus, two feet 
 feven inches high, with an infcription, which 
 probably related to Geta, who was murdered 
 by Caracalla, and whofe name was by that 
 emperour ftruck out of all public monu- 
 ments. It belonged to the late Mr. Topham 
 of Windfor. 
 
 80. A fepulchral Cippus, two feet nine 
 inches high. On the front is a tablet with 
 an infcription ^ ; above it, in the centre, is the 
 head of Medufa, on either fide of which is a 
 Ibis and a Ram's head, from whence hangs a 
 feftoon. Beneath it is reprefented the rape 
 
 This infcnption with fome Variation is publlHied by 
 Muratori, in his Thelaur. Infcript, p. 1328. It then ftood 
 in the church of Santa Maria Maggiore. Fabretti Hke« 
 wife quotes it, ch. v. No. 220. on account of the orna- 
 ments which furround it, at which time it was placed \i\ 
 the Villa Negroni. This Clodius Herma is mentioned in 
 an infcription in the Muf. Capit. publidied by Muratori, 
 p. 604. 
 
 c VJPSANIA M. VIPSANII. 
 
 MVSEI L THALASSA 
 SIBI ET 
 
 T. CLAVDIO. AVG. L. EPICTETO. 
 
 This infcription is engraven by Boiffart, 1. iii. pi. 85, 
 when it flood in the ViJla-Ceii» 
 
 Oi 
 
SCULPTURE. 
 
 of Proferplne, who is carried off by Pluto in 
 a car drawn by four horfes, guided by a Ge- 
 nius, and preceded by a Serpent. Two fpi- 
 ral columns, with capitals compofed of two 
 doves, border the edges. 
 
 8 1. A Greek infcription upon a circular 
 fhield three feet in diameter, containing the 
 names of the Ephebi of Anthens under the 
 Cofmetes, Alcamenes, and of the tribes to 
 which they belonged. It is the common 
 opinion, collected from the ancient authors, 
 that the Ephebi were fw^orn foldiers at the 
 age of eighteen, but were not to ferve out of 
 the flate, till they had attained the age of 
 twenty, that is for two years, whilft in train- 
 ing. This marble w^as brought from Athens 
 by the late Do6tor Anthony Afkew, and the 
 infcription publifhed, though incorrectly, by 
 Corfmi, Faft. Antiq, T. iv. Proleg. p. ii. 
 Several fimilar infcriptions are given in the 
 Marm. Oxon. on marbles brought from 
 Greece by Sir George Wheler. 
 
 85. A bas-relief near three feet high, re- 
 prefenting a bearded elderly man, draped and 
 fitting on a kind of throne. In his right 
 hand he holds a human foot, extended for^ 
 6 ward 
 
SCULPTURE. 
 
 ward in the fame manner as the fitting figures 
 of Jupiter held an eagle or patera. Two 
 figures of women of a much inferior fize 
 ftand near him in a pi(?i:ure of veneration, 
 and in the margin of the pediment is engraven, 
 in old Greek letters, the word ''HANGinnOI.'* 
 This marble appears to have been the front 
 of the fepulchral cippus of that great Athe- 
 nian general whofe name is infcribed upon it. 
 The fitting figure reprefents Pluto, the Jupi- 
 ter or deity who prefides in inferis, of whom 
 the foot is the well-known lymbol. One of 
 the women may be Ifis, and the other a 
 myftes (Monaldini Thefaur. Gemm. No. 19. 
 Gori, T. i. pi. 197. 
 
 The late learned Dr. Afkew, who brought 
 this intcreiling marble from Athens, fuppofed 
 this figure of Pluto to be a votive portrait of 
 Zanthippus himfelf, prefenting a foot as a 
 vow to -^fculapius for the cure of his 
 wound, which hiftory reports him to have 
 received, at the battle of Mycale, in w^hich 
 he commanded the Grecian fleet againft the 
 Perfians, 479 years before Chrift. 
 
 83. A fragment of a teftamentary in- 
 fcription, favved from the front of a Sarco- 
 phagus, 
 
334 SCULPTURE. 
 
 phagus, found, in 1776, in the Perucci villa 
 before mentioned ^, 
 
 84. A cinerary Urn tv/o feet high, and 
 eighteen inches wide. The front and the 
 two fides are ornamented with feftoons of 
 fruit hanging from Rams heads, Sparrows 
 deftroying a Lizard, a Grafshopper, an Ea- 
 gle in the pediment, and an infcribed 
 tablet. 
 
 85. A Puteal, on which are reprefented, in 
 alto relievo, five groupes of Fauns and Bec- 
 chanalian Nymphs. It is a hollow cylinder, 
 three feet high, and three in diameter, was 
 found in the ifland of Capri a, and ttood many 
 years in the Columbrano palace at Naples> 
 belonging to the duke CarafFa. 
 
 f NCIVS 
 
 MONVMENTVM RELIQVI 
 
 MQVE. SVARVM CVLTVRAM 
 
 T. LIBERTIS LIBERTABVSQV£ 
 
 ....VIS. VSVM FRVCTVM. INSVLAE 
 
 ALATIANAE PARTIS. QVARTAE ET. 
 
 QVARTAE. ET. VICENCIMAE. QVAE IVRIS 
 SVI. ESSET. ITA. VT. EX. REDDITV EIVS. INSV, 
 lAE. QVOD. ANNIS. DIE. NATALIS. SVI. ET. 
 ROSATIONIS ET. VIOLAE ET. PARENTALIB. 
 MEMORIAM. SVI. SACRIFICIS QVATER IN. ANNVM 
 PACTIS CELEBRENT. ET. PRAETEREA. OMNIBVS K 
 NONIS IDIBVS. SVIS. QyiBVSQVE MEN3IBVS. LVCERNA 
 LVCENS SIBI. PONATVR. INCENSO. INTER OSITO. 
 
 86, A 
 
SCULPTURE. 1 335 
 
 86. A bas-relief, about four feet fquare, 
 rcprefenting a Bacchanalian choral procef- 
 iion, led by a Myftes, found at Gabia, the 
 capital of the ancient Gabii. A bas-relief 
 fimilar to this has been many years in the 
 court of the Belvidere in the Vatican, and 
 the flime figures appear on the celebrated 
 Gaicta Vafc, which has the name of a Greek 
 artift Salpion infcribed upon it. 
 
 87. An ancient Menfula, three feet high, 
 inferted into a pcdeftal. This elegant piece 
 of ornament was fawed from the end of a 
 long block of marble, found in a moft exten* 
 five and magnificent ancient building in the 
 neighbourhood of Frafcatl. 
 
 88. A Labrum of Egyptian Green Bafaltes ; 
 on the fides are carved two rings, in imita- 
 tion of handles, in the center of which is a 
 leaf of ivy. It is fix feet four inches long, 
 three feet broad, and as many high. By the 
 w ill of Chrillina, queen of Sweden, the for- 
 mer poficiibr of it, it paffed to the Mufeum 
 of tlie duke of Odcfchakhi, from whofe heir, 
 the duke of Bracciano, it was purchafed in 
 1776. 
 
 89. An oblong fquare Granite bafon, three 
 feet fix inches long, twenty inches w^ide, 
 
 3 eighteen 
 
336 SCULPTURE. 
 
 eighteen deep, and two feet fix inches high. 
 This kind of bafon ferved anciently in tem- 
 ples, to hold facred water ufed in purifying 
 the hands. Three, fimilar to this, have been 
 found in porphyry; one in Agrippa's pantheon, 
 now placed in the church of St. John Lateran 
 at Rome ; another is in the Borghefe palace, 
 and the third was in the collection of Count 
 Caylus, who has engraved it in his Antiq. 
 V. vii. pi. 66, and it now ftands in the church 
 of St. Germain I'Auxerais at Paris, adapted 
 as a maufoleum for the Count by the addi- 
 tion of a modern cover to it. This bafon 
 was procured, as the laft mentioned, in t 776. 
 
 90. The triangular vafe of a Candelabrum 
 fifteen Inches high. The three fide pannels are 
 ornamented with a vafe, a lotus with feftoons 
 compofed of various fymbolical plants, and an 
 Ibis. The Ardea-Ibis, or that peculiar to 
 Egypt, is defcribed in Halfelquift's Travels. 
 
 SECTION 
 
SCULPTURE. 
 
 337 
 
 SECTION Vll, 
 
 THE COLLECTION OF STATUARY MADE BY 
 THE LATE MARQUIS OF MONTHERMER;, 
 NOW IN THE POSSESSION OF THE DUKE 
 OF BUCCLEUGH, PRIVY GARDENS, WEST- 
 MINSTER. 
 
 1. A STATUE of Leda with the Swan, 
 4f. 6. 
 
 2. A ftatue of Minerva. The head is mo- 
 dern and coarfely finifhed. 
 
 3. A ftatue of Cupid fitting on a rock 
 afleep. The petafus is on the head, and a 
 balT<.et of filli hanging on the arm. 
 
 4. A coloffal head of Auguftus. 
 
 5. A head of Alexander* with a Helmet. 
 
 6. A head 
 
 a The genuine head of Alexander in the Capitol, an- 
 other in the Florentine gallery in inferior prefervation, and 
 a ftatue of him in the Rondonini palace, afford a more 
 
 Z perfe<5t 
 
^35 SCULPTURE. 
 
 6. A head of Hcpheftlon moriens. 
 
 7. A head of Mercury, or rather a Dlof- 
 caros, as the cap is not winged. 
 
 8. Ditto ^ the Petafus compofed of the 
 fiiell of a Tortoifc. 
 
 9. A bronze head of Baccha or Libera, 
 with the eyes hollow. Of very fine work- 
 manfnip. 
 
 10. A head of Venus, entire and excel- 
 lent. 
 
 1 1. A head of Jupiter, much reflored. 
 
 A head of Juno, or rather Ifis, in 
 black bafaltes of a fine Egyptian ftyle and 
 charailer, 
 
 / perfeft reprefentatlon of him, than the profile on his colas 
 with which they correfpond, in every feature. The re- 
 prefentations of the Macedonian hero are all remarkable 
 for tlie inclination of the head to the left llioulder, and 
 the turning up of the eyes. Antliol. 1. iv. c. 8. p. 312. 
 
 ^ This is a very rare inftance of Mercury fo attired. 
 It is of Egyptian mythology, and probably of the fecond 
 «ra of fculpture, under the Ptolemies. Pococke, the 
 learned Englifli traveller, obferved in a temple at Thebes, 
 in Egypt, a Mercury with the petafus or winged cap, 
 formed of the fhell of a tortoife. Abbate Winckelmann 
 notices this as having belonged to Cavaceppi the fculptor. 
 
 13. A head 
 
SCULPTURE. 339 
 
 13. A head of ^fculapius ; good. 
 
 14. An unknown head with its own 
 plinth. 
 
 15. A head of a boy. 
 
 16. A head wreathed, and probably a por- 
 trait. 
 
 17. A terminus of Hercules, wrapped in 
 the Lion's fkin, and wreathed with ivy. Of 
 confiderable merit. 
 
 18. An upright cinerary Urn. On the 
 front is a candelabrum between Gryphons 
 with Goats horns. 
 
 19. Two cinerary marble Vafes. One w4th 
 the handles doubly encircled; the other is 
 fluted. 
 
 20. A bas-relief of the Graces. 
 
 A cot.- 
 
340 
 
 SCULPTURE. 
 
 A COLLECTION OF STATUARY MADE BY 
 THE MARQUIS OF LANSDOWNE, AT SHEL- 
 BURNE-HOUSE, WESTMINSTER. 
 
 I. A STATUE the fize of life, In the a6lion 
 of faftening his fandal to his foot, fimilar to 
 the one at Verfailles, fuppofed to reprefent 
 Cincinnatus preparing to take the command 
 of the Romans ; but, according to Winckel- 
 mann ^, is more probably a Thefeus putting 
 on the fandals of his father ^geus. Bought 
 of Mr. Gavin Hamilton, and found by him at 
 his excavation at the Pantanella about the 
 year 1771. 
 
 A ftatue, called a Paris; the head not 
 its ow^n. Found as above. 
 
 3. A ftatue, in black marble or bafaltes, 
 fuppofed to reprefent Berenice, the queen of 
 Ptolemy Philadelphus, in the charader of Ifis. 
 Found as above. 
 
 c Mon. Ined. T. i. p. 88. 
 
 4. Another 
 
SCULPTURE. 341 
 
 4. Another figure in the fame kind of 
 marble. 
 
 5. A ftatue, above feven feet high, of Mar- 
 cus AureHus ; the head not its own ; found 
 in the Columbaro by Mr. Gavin Hamilton. 
 
 6. A ftatue about feven feet high, being a 
 repetition of the fine ftatue of Meleager in 
 the Belvidere, but proved to be Mercury by 
 the Abbate Vifconti. This excellent figure 
 is in good prefervation, and wd^ found by 
 Mr. Gavin Hamilton at Tor-Colombaro, 
 above mentioned, about nine miles diftant 
 from Rome, on the Appian Way, in 1771. 
 
 7. A ftatue, nearly feven feet high, of a 
 young Hercules bearing his club. Found in 
 the year 1790, in the grounds, the former 
 fite of Hadrian's Villa Tiburtina ; now be- 
 longing to the Marefofchi family ; originally 
 to the Conte Fedc. This fine Ihituc is in 
 
 The frequency of his ftatues and bufls, is aflTerteci by 
 Capitolinu-s in Vit. M. Aurelii, c. i. " riorilegus judica- 
 tus eft, qut ejus imaginem in fud domo non habuit, qui 
 per fortunam vel potuit habcie, vel ilcbuit." 
 
 Incifa notis marmora publkis 
 Per qu:e fpiritus et vita redit bonis 
 Poft morum ducibus." 
 
 HoH. Od. I. iv. ad. ^. 
 
342 SCULPTURE. 
 
 high prefervation, and was purchafed by 
 Mr. Jenkins. 
 
 8. A ftatue of an Amazon ; the head not 
 its own. Found by Mr. G. H. at the Co* 
 lumbaro. 
 
 9. An Egyptian ftatue of Ofiris in the a<?l 
 of kneeUng. 
 
 ID. A ftatue of Juno, fitting ; in the pro- 
 portion of full feven feet ; head not its own. 
 Much reftored. It was once in the pofieffion 
 of Mr, G. Hamilton. 
 
 11. A ftatue, fize of large life, reftored in 
 the character of Diomedes taking the Palla- 
 dium ; but, the body being found by Mr. G. 
 Hamilton in 1 778, a mere Torfo wanting both 
 head arms and legs, it was not then known 
 to have been originally a repetition of the 
 Difcobolos, fmce found in the grounds be- 
 longing to the Maffimi family at Columbaro, 
 
 12. A ftatue of a boy in the character of 
 Harpocrates about four feet high. 
 
 There are feveral other ftatues and termini 
 of inferior merit and authenticity. 
 
 A groupe of Cupid and Pfyche% about 
 
 3 feet 
 
 e The Pfyche of the Egyptians, one of their favourite 
 emblems which reprefentet) the foul or a future life, wa^ 
 
 originally 
 
SCULPTURE, 34-3 
 
 3 feet 6 high ; found by Mr. G. Hamilton in 
 the Pantaneila. 
 
 A groupe of Leda with the Swan, about 
 the fame height, bought of Mr. G, H. and 
 found in the Villa Magnani on the Palatine 
 Hill. 
 
 A large bas-relief of ^fculapius; the head 
 is modern. 
 
 A buft of an Olympic hero found at the 
 Pantaneila, finely fculptured. 
 
 A head of Minerva found at Roma Vec- 
 chia. 
 
 A head of Antlnous deified as Ofiris ; found 
 at the Pantaneila. It is the fined ftyle of the 
 age of Hadrian. 
 
 A head of Mercury found as above, and of 
 equally perfe6l execution. 
 
 Heads of a Mufe and Mercury. 
 
 A head of Antoninus Pius. 
 
 Heads of Bacchus and Ariadne; of beauti- 
 ful Iculpture. 
 
 originally no other than an aurella or butterfly. In the 
 progreflive refinement of the arts, it was depidted as an 
 elegantly formed female, with the wings of that infedt. 
 
 TILE 
 
344 
 
 SCULPTURE. 
 
 THE COLLECTION OF STATUARY MADE BY 
 LORD VISCOUNT PALMERSTON, AT BROAD- 
 LANDS, NEAR ROMSEY, HANTS. 
 
 1. A STATUE of a Mufe. The attitude 
 is the fame as that of the Melpomene, once 
 in the Farnefma palace, now in the Mus-^ 
 Pio-Clem. ftooping forward, and the left leg 
 raifed on a ftone. 
 
 2. A ftatue of Ceres. Reftored; the head 
 and arms are wanting. 
 
 3. A ftatue of Hygeia. 
 
 4. A ftatue of Cupid fleeping on the Lion's 
 ikin, with the club and two lizards. Of good 
 fculpture and a repetition of a frequent fub- 
 jeft. 
 
 5. A head of Africa, fmall life, with the 
 fkin of the Elephant's head. 
 
 6. A head of Diana with the double knot 
 on either fide of the head, as remarked in that 
 of Mr. Townley's. 
 
 6 7. A head 
 
SCULPTURE. 345 
 
 7. A head of Juno, nearly perfect, but 
 jnuch corroded by age. 
 
 8. A head of a female Faun. 
 
 9. A head in the charafter of Mercury, 
 with a Petafus, probably a portrait. 
 
 10. A head unknown, with a corded 
 wreath. 
 
 11. A double-headed Terminus of Fauns. 
 12,, K bas-relief of a Mufe. 
 
 13. Another, having three female Bac- 
 chanals in orgic attitudes. 
 
 14. A tripod with Bacchanals; Silenus 
 with the myftic ceftus ; in which is a Priapus 
 and fruits. 
 
 15. A vafe w4th Bacchanals, fragmented, 
 but the figures of good fculpture. 
 
 THE 
 
34^ 
 
 SCULPTURE. 
 
 THE COLLECTION OF STATUARY MADE BY 
 MR. MANSEL TALBOT, AT MARGAM IN 
 GLAMORGANSHIRE. 
 
 1. A STATUE of Lucius Vefus; the head 
 has never been broken off, but the legs, part 
 of one thigh, and both the arms, are modern 
 workmanfhip. 
 
 2. A Vir Confularis, of excellent and high- 
 ly finifhed drapery. It was formerly in the 
 Colombrano palace at Naples belonging to 
 the duke Caraffa, and was purchafed of Mr. 
 Jenkins. A fine head of Tiberius is placed 
 on it, which accords with the body. 
 
 3. A ftatue of a young Faun, holding a 
 pipe, bought of Mr. G. Hamilton, and former- 
 ly in the Barbarini palace. Repetitions of 
 this pleafmg figure are in the Capitol, and the 
 Villa Borghefe at Rome. 
 
 4. A ftatue 
 
SCULPTURE. 347 
 
 4. A ftatue^ of Hercules ebrius eturetlcus; 
 bearing the club negligently on the left 
 ftioulder; the other hand is modern and ini-' 
 properly extended. Figures reprefenting this 
 ftatue of Hercules, with various circumftances 
 of drunkennefs, may be feen in the Drefden 
 colleftion, and on antique gems. 
 
 5. A ftatue of a Diofcuros. — Other repeti- 
 tions of this figure are fuppofed by fome con- 
 noifleurs to reprefent one of the Ptolemies. It 
 was found by Mr. G. Hamilton about the year 
 1 769, at the Pantanella, on the fite of Hadrian's 
 villa at Tivoli. 
 
 6. A ftatue of a Boy, Icfs than life, and 
 draped. 
 
 7. 8. Torfos of very fine fculpture, being 
 fragments of ftatues of Ganymede and a 
 Satyr. 
 
 ' 9. A very excellent and well prefer ved buft 
 of Hadrian. 
 
 f Statlus (Sylv. 1. iv. s. 6. v. 58.) <3efcribes minutely a 
 fmall bronze, not a foot high, of Hercules Ebrius, &c. with 
 a cyathus in one hand. He details the hiflory of this fta- 
 tue ; that it was made by Lyclppus, and liad belonged to 
 Alexander, Hannibal, and Sylla. Upon a fmall gem in the 
 Verofpi colIe6lion Hercules is reprefcnted. Spence, 
 Poly metis, p. 161. n. 71. 
 
 3 io. A buft. 
 
348 SCULPTURE. 
 
 10. A buft, fuppofed to reprefent Solon, on 
 account of the head being nearly bald, of 
 good execution. 
 
 11. A buft of Sabina, the wife of Hadrian. 
 
 12. A buft of Antonius Pius. The three 
 laft mentioned are in a fuperior ftyle, and 
 were found by Mr. G. Hamilton in the Pan- 
 tanella. 
 
 13. A buft of Minerva ; the face well pre- 
 ferved ; the back part of the head is wanting, 
 but is covered with a fine ancient bronze 
 helmet, which fuits it, and the breaft bearing 
 the ^gis^ is a remnant of a capital ftatue of 
 that goddefs. 
 
 14. A head of Hercules Agoniftes, of great 
 merit. It was bought of Mr. G. Hamilton, 
 and was formerly in the Mattel coUediion. 
 
 15. A buft, unknown by M. Angelo. 
 ] 7. A bas-relief of Leda, modern. 
 
 18. A Sarcophagus fluted, bas-relief of the 
 Graces. 
 
 19. An oval vafe, modern. 
 
 g The ^gis, which was the fymbol of power and uni- 
 verfal dominion, was frequently placed on the bufis of the 
 emperours. Flattery could give it to the portraits of fuch 
 monfters of folly and depravity as Nero and Domitian. 
 
 20. Two 
 
SCULPTURE. 3^9 
 
 50. Two Do. in Roflb antico, by Cardeili. 
 
 51. The Borghefe Bacchanalian vafc, and 
 the Medici vafe, of the facrifice of Iphigenia, 
 by CardelU. 
 
 THE COLLECTION OF STATU A.RY MADE BY 
 THE LATE WILLIAM WEDDEL, ESQ. AT 
 NEWBY IN YORKSHIRE, NOW BELOt-G- 
 ING TO LORD GRANTHAM. 
 
 I. A STATUE of Venus, five feet one 
 inch and a half high, in the attitude of the 
 Medicean; both arms and the right leg from 
 the knee are modern, and the head alfo hav- 
 ing been loft, is replaced by a beautiful head 
 of a Pudicitia of a fuitable fize ; the veiled 
 part having been worked to the refemblance 
 of hair, by the fculptor Pacili. This fine frag- 
 ment had remained, a long time, in the vaults 
 of the Barbarini palace, from whence it was 
 purchafcd by Mr. G. Hamilton, about the 
 year 1765, who exchanged it with Pacili. 
 
 Mr. 
 
352 SCULPTURE. 
 
 with fruit, Termini at the corners. Upon it 
 ftands a large upright cenerary urn with a 
 teffara. 
 
 The Romans were magnificent in their 
 fepulchres, and their farcophagi were fre- 
 quently compofed of the moft valuable mar- 
 bles> and enriched with the moft elaborate 
 fculpture. The fineft bas relief known is that 
 of Bacchus and Ariadne, nearly feven feet 
 long, which was found perfed: in the Appian 
 way ; which is almoft rivalled by the Sarco- 
 phagus, with the ftory of Meleager at Pifa. 
 
 There are various fymbols of diflblution 
 which are common on Sarcophagi ; fuch as a 
 lion deftroying a horfe, Cupid burning a 
 butterfly, and feveral others. 
 
 A frequent fubjed: was Apollo and the nine 
 Mufes. He was only blocked out roughly^ 
 but the other figures completed; and the 
 Sarcophagus was kept by the fculptor to be 
 adapted to any purchafer. When it was 
 bought, the head which remained to be 
 finifhed was made to refemble the deceafed. 
 
 But Sarcophagi were frequently embellifli- 
 ed with heterogeneous ornaments, fuch as 
 Bacchanalian feafts, and facrifices to the Bona 
 Dea. 
 
 The 
 
SCULPTURE, 353 
 
 The ancient artifts following the received 
 ^Lipcrftitions, may fometlmes appear carelefs 
 of the propriety of the defign, for the place 
 where it was to be employed. 
 
 The workmanfliip of the Roman Sarco- 
 phagi is feldom very excellent ; becaufe the 
 ufe of them was in a great meafure dlfcon- 
 tinued when Sylla died^; and was not re- 
 newed, as a general practice, till after the 
 Antonines. The interval forms the a^ra of 
 fepulchral Vafes, Cippi, and cinerary Urns, 
 upon which the fculptors exerted the utmofc 
 •fkilL 
 
 The cuftom"" of burning dead bodies 
 ceafed about the icra of the Emperour 
 Alexander Severus and Julia Mamma^a. 
 The Sarcophagus, which is now fnown in the 
 Capitol at Rome, and attributed to them, 
 when firft difco^'cred, contained no bones in 
 it. The Barbarini (now the Portland Vafe) 
 only, was placed within that receptacle, and 
 is faid to have contained afhes. As for the 
 external workmanfliip of the Sarcophagus, it 
 
 ^ Sylla ordered hisbodv to be burned, ns Pliny favs, ve- 
 ritus talioncin," 1. vii. c. 54. for he bad allowed the corpfe 
 of his rival Marius to be treated with the bafeft indignities. 
 ^' Nicupoort de Ritibus Ro;nanis, p. 396. 
 
 A a bears 
 
352 SCULPTURE. 
 
 with fruit, Termini at the corners. Upon it 
 ftands a large upright cenerary urn with a 
 teffara. 
 
 The Romans were magnificent in their 
 fepulchres, and their farcophagi were fre- 
 quently compofed of the moft valuable mar- 
 bles, and enriched with the moft elaborate 
 fculpture. The fineft bas relief known is that 
 of Bacchus and Ariadne, nearly feven feet 
 long, which was found perfed: in the Appian 
 way ; which is almoft rivalled by the Sarco- 
 phagus, with the ftory of Meleager at Pifa. 
 
 There are various fymbols of diflblution 
 which are common on Sarcophagi ; fuch as a 
 lion deftroying a horfe, Cupid burning a 
 butterflv, and feveral others. 
 
 A frequent fubjed: was Apollo and the nine 
 Mufes. He was only blocked out roughly^ 
 but the other figures completed; and the 
 Sarcophagus was kept by the fculptor to be 
 adapted to any purchafer. When it was 
 bought, the head which remained to be 
 finifhed was made to refemble the deceafed. 
 
 But Sarcophagi were frequently embellifh- 
 ed with heterogeneous ornaments, fuch as 
 Bacchanalian feafts, and facrifices to the Bona 
 Dea. 
 
 The 
 
SCULPTURE, 353 
 
 The ancient artlfts following the received 
 ^Lipcrftitions, may fometimes appear carclefs 
 of the propriety of the defign, for the place 
 where it was to be employed. 
 
 The workmanfiiip of the Roinan Sarco- 
 phagi is feldom very excellent ; becaufe the 
 ufe of them w^as in a great meafure difcon- 
 tinued when Sylla died^; and was not re- 
 newed, as a general praifticc, till after the 
 Antonines. The interval forms the a^ra of 
 fepulchral Vafes, Cippi, and cincrarv Urns, 
 upon which the fculptors exerted the utmoft 
 fkill. 
 
 The cuftom"* of burning dead bodies 
 ceafed about the a:ra of the Emperour 
 Alexander Severus and Julia Mammcea. 
 The Sarcophagus, wliich is now fnown in the 
 Capitol at Rome, and attributed to them, 
 when firft difcovcrcd, contained no bones in 
 it. The Barbarini (now the Portland Vafe) 
 only, was placed within that receptacle, and 
 is faid to have contained afhes. As for the 
 external workmanfiiip of the Sarcophagus, it 
 
 ^ Sylla ordered hisbody to be burned, as Pliny fays, ve- 
 ritus talionem," 1. vii. c. 54. for he liad allowed the corpfe 
 of his rival Marius to be treated with the bafeil indignities. 
 Nicupoort de Ritibus Roinanjs, p. ^Q^- 
 
 A a bears 
 
354 SCULPTURE. 
 
 bears dec'ifive marks of an age much anterior 
 to Severus. 
 
 THE COLLECTION OF STATUARY MADE BY 
 THE HON. J. SMITH BARRY, AT BEAU- 
 MONT IN CHESHIRE. 
 
 1. The ftatue of Antlnous in the charafter 
 of Abundance. The head is not its own, but 
 the body is uncommonly excellent. It is of 
 the fize of large life, and was difcovered in 
 the Thermae Maritim^e of Hadrian, near Oftia, 
 by Mr. G. Hamilton, in 1771. 
 
 2. A groupe of Paris Equeftris, much re- 
 ftored, but of excellent fculpturc. It was 
 found at Tor Columbaro, formerly a villa of 
 Gallienus, by Mr. G. Hamilton. 
 
 3. A ftatue of Venus Viftrix. Found at 
 the fame time and place. Much reftored. 
 
 4. A ftatue of Bacchus, with a Faun. 
 
 5. A ftatue of Apollo. 
 
 6. A ftatue of Paris; large life. 
 
 7. A ftatue of Sabina, draped. 
 
 8. A female 
 
SCULPTURE. 355 
 
 8. A female ftatue; unknown. 
 
 y. A llatue of Trajan, when young. 
 
 10. A ftatue of Faunus. 
 
 1 1 . A ftatue of a Patrician boy with the 
 Pallium. 
 
 A groupe of Bacchus and Ariadne. 
 
 13. A groupe of Bacchus on an afs. 
 
 14. A groupe of Hercules and Antaeus, 
 
 15. A ftatue of Homer; foiall life. 
 
 16. A ftatue of Cupid; Do. 
 
 17. A Fountain Nymph, with a Vafe, 
 
 18. A ftatue of Vefpafian. 
 
 19. A buft of Marcus Aurelius. 
 
 20. A buft of tEUus Verus. 
 
 21. A buft of Antoninus Pius; large life. 
 
 22. A buft of Septimius Severus. 
 
 23. A buft of Lucius Verus, The Lucius 
 Verus in the villa Borghcfe is the beft impe- 
 rial buft known to be now exifting. That 
 formerly in the Mattei palace is now Mr. 
 Townley's, One in the Barbarini is highly 
 eftimated ; and another, found at Hadrian's 
 villa, was fold by Mr. L. Brown to the Em^ 
 prefs of Ruffia. 
 
 24. A buft; unknown. 
 • 25. A head of a Satyr. 
 
 2,6. A head of Juno. 
 
 A a 2 27. A head 
 
33^ SCULPTURE. 
 
 27. A head of Pindar. 
 
 28. A medallion Infcribed/'MENANAPOC/* 
 
 29. A vafe in marble compofed of an an- 
 tique Puteale about three feet in diameter, and 
 as many high; formerly in the Columbrano 
 palace at Naples. The cup at the bottom 
 and the cornice at the top, by which it be- 
 comes a vafe, were added when in the pof- 
 fcffion of Mr. Jenkins, about the year 1772. 
 The antique figures are in a very fuperior 
 ftylc of fculpture, and reprefent the myftical 
 introduftion of Adonis to Venus or Proferpine. 
 Under the border of this Puteale is the fol- 
 lowing dedicatory infcription. 
 
 LOC\ H. SPS. GKAECEIA. PF. RVFA. POMPON. 
 
 DIANAE \ 
 
 This vafe, in point of execution and curio- 
 fity, ranks amongft the firft in England. 
 
 30. A vafe of porphyry, near three feet 
 high, elaborately hollowed out of an ancient 
 column by Cardelli. 
 
 ^ Locum hunc fepulturje propriis fumptlbus Gisecia 
 poderis fecit. Rufa Pomponla Dianas. Putealia figeliata 
 Paufan. 1, i. p. 94. Cic. Epift. ad Atticum, 1. i. ep. 10, 
 
 THE 
 
SCULPTURE. 
 
 357 
 
 THE COLLECTION MADE BY HENRY BLUN- 
 DELL, ESQ. AT INCE-BLUNDELL, IN LAN- 
 CASHIRE. 
 
 1. A STATUE five feet higTi of Minerva, 
 holding the Owl in the right hand. One 
 arm and part of the other are modern, for- 
 merly much admired iii the Lanti palace at 
 Rome. 
 
 2. A ftatue of Diana with a Tunic formed 
 of the fkin of a hind, five feet high. 
 
 3. A ftatue of a confular figure, with the 
 *^ Scrinium," in good prefervation, nearly re- 
 fembling that called Cicero in the Arundel 
 colledion. 
 
 4. A ftatue with a club fuppofed to be a 
 Thefeus. The head not its own. Near 7f. 
 high. Formerly in the villa D'Efte at Tivoli. 
 
 5. A ftatue of a Matron draped; head not 
 its own. Height 6f. 6. 
 
 6. A ftatue of Minerva; the left hand reft- 
 ing on a fliield, much reftored, 6 feet 6 high. 
 
 A a 3 7. A ftatue 
 
35^ SCULPTURE. 
 
 7. A ftatue fuppofed to reprefent the pro- 
 vince of Mauritania, 6 feet high. 
 
 8. A ftatue of ^fculapius, nearly 7 feet 
 high. 
 
 9» A female ftatue with light drapery; 
 head and arms modern, 6 feet high. The 
 bafe is infcribed. 
 
 10* A ftatue of Bacchus, 5 feet high. 
 
 11. A ftatue of Jupiter with the Eagle, 7f. 
 high, from the Villa D^Efte. 
 
 12. A groupe of an old Faun and a Her- 
 maphrodite; fmall life, of a proportion of 
 about three feet. Found by Niccola La Pic- 
 cola, in an excavation about 7 miles from 
 Tivoli, on the Prsenefte road, 1776. 
 
 Mr. Blundell has a great variety of bufts, 
 heads, bas-reliefs, farcophagi, cippi, fepulchral 
 urns, and curious ancient fragments. The 
 whole colle6llon amounts to 400 pieces, an 
 explanatory catalogue of which, illuftrated 
 with engravings, I am informed that Mr. 
 Blundell is preparing for the learned world. 
 The Iketch I offer of the other marbles will 
 excite the curiofity of virtuofi. 
 
 THE 
 
SCULPTURE. 
 
 359 
 
 THE COLLECTION OF MARBLES^ MADE BY 
 SIR RICHARD WORSLEY, BART. IN THE 
 ISLE OF WIGHT. 
 
 1. Bacchus and his mythological favourite 
 Acratus, winged as a genius. This is a moft 
 beautiful groupe, in which the mafculine 
 energy of youth is blended with female foft- 
 nfcfs and virgin delicacy." 
 
 2. Cupid, found fifteen miles diftant from 
 Rome, in 1793, under the Colonna, where 
 Varus had a villa. This beautiful ftatue is 
 fimilar to Mr Townley's, and is probably a 
 fine antique copy of the bronze, which was 
 obtained by a ftratagem from Praxiteles, by 
 Lais. 
 
 * Thefe marbles were coUedled in Greece during the 
 years 1785,-6,-7, by Sir R. Worfley, who brought them 
 to Rome, where they were examined and defcribed by that 
 celebrated antiquary Abbate Ennio Quirino Vifconti, the 
 Vatican librarian. Two very fumptuous volumes, with 
 plates and dcfcriptions in Englifh and Itahan, were publifh, 
 ed at London in 1798, but are not to be purchafed. 
 
 A a 4 3- A ftatue 
 
86o SCULPTURE. 
 
 3. A ftatue of Venus, draped. 
 
 4. Afclepias, the prieftefs of Diana, draped, 
 with the patera. It is fmall, and of that 
 defcription of ftatuary called fjiovcy^iSa,'' or 
 confiding of a fmgle ftone. The head and 
 arms are reftored; and it has a curious in- 
 fcription on the plinth, demonftrative of her 
 name and office . 
 
 5. A groupe of Nilus, in fmall, refembling 
 that in the Capitol at Rome. 
 
 6. A fmall llatue of a youth, as a genius, 
 half draped. 
 
 7. A ftatue of Hercules Ebrius, found in 
 Egypt^ and in the ftyie prevalent under the 
 Ptolemies. He is crowned with flowers and 
 ribbons like the Hercules of the Vatican. 
 
 8. A ftatue of a boy with the club and 
 lion's fkin, called the Genius of Hercules. 
 
 9. A ftatue of an Egyptian prieft in bafaltes. 
 
 10. A fragment of an Egyptian Idol. 
 
 1 1 . Cercopithecus, or Egyptian Cynocc- 
 phalus. 
 
 12. Ganephora, found at Eleufis. 
 
 13. 14. Antique marble chairs which ori- 
 ginally belonged to the celebrated Fulvius 
 Urfmus, and were afterward placed in the 
 Villa Moutalto of Sixtus the fifth. 
 
 15- An 
 
SCULPTURE. 361 
 
 15. An Hcrmaean ftatue of Sophocles* 
 found at Athens f'. 
 
 16. One of Alcibiades, found at Athens. 
 
 17. One of Anacreon; an accurate refem- 
 blance of a genuine coin of Teios in the 
 Urfmi colleftion. 
 
 18. Phcrecydes% the philofophcr and con- 
 temporary with Thales, a fmall Hermsean fta- 
 tue. 
 
 19. Hercules Juvenis, with fillets falling 
 down on either fide of the head, which is 
 covered with a lion's fl^in. A buft ftrongly 
 charafterizcd. 
 
 20. Attilius P^egulus^ a fine buft. 
 
 21. Achilles. A buft refembling the fta* 
 tue in the villa Borsfhefe, and one in the col^ 
 ledlon of the Duke of Nemi. 
 
 2 2. A buft of Sappho', of a manlike air 
 jand features, as flie is ufually reprelented. 
 
 23. A buft of Jupiter, finely fculptured. 
 
 24. An Herma^an ftatue of Hercules, with 
 ;a clofe beard, and the lion's fkin drawn 
 over the head like a peruke. 
 
 25. A bafiTo relievo of Jupiter and Minerva 
 
 P Athenasus, i. i. 
 f Hor, 0(1. 3. 
 
 ^ Anthol. Grace. 1. iv. 
 ^ Strabo, 1. x. 
 
 receiving 
 
36a SCULPTURE. 
 
 receiving the vows of an Athenian, defigned 
 by Phidias, and taken from the Parthenon. 
 It is in the flat, low ftyle of fculpture. 
 
 26. A baflb relievo of Protefilaus taking 
 leave of Laodamia as defcribed by Homer. 
 
 27. A baflb relievo of Hercules, difcovered 
 at Athens in 1785, which rcfembles a marble 
 in the Arundelian colleftion. 
 
 58. A baflb relievo of an antique Syren. 
 
 29. A baflTo relievo of Telephus, the fon of 
 Hercules, found at Megara. 
 
 30. A bafTo relievo of Cecrops king of 
 Athens, and his three dau2;hters. 
 
 31. A fragment of the Eleufmian myfleries, 
 fox nd at Eleufis. 
 
 3:?. A bafTo relievo of an annual proceflGon 
 at Megara. 
 
 33. A bafTo relievo of Pluto with a youth 
 ftanding near him. This marble is extremely 
 curious, as it exhibits three kinds of cups for 
 confecrating wine, the cotyla, the crater, and 
 the prochoos or arlballos. 
 
 34. A fepulchral fragment of Cherion, 
 found at Athens. 
 
 35. A bafTo relievo of Mofchus (not the 
 poet) found at Athens. 
 
 36. A bafTo relievo of a man v»'ith three 
 
 young 
 
SCULPTURE. 363 
 
 I young women, wafliing a ftatue of the deity 
 of Lampfacus with a fponge. A very beau- 
 tiful fpecimen of the antique Terra cotta. 
 
 37. A baffb relievo of a Bull, the maxima 
 }vi(5lima" of Virgil, found in Magna Gra^cia, 
 and formerly in the Columbrano palace be- 
 longing to the Duke CarafFa at Naples. It is 
 of fuperior fculpture, and was probably the 
 outfide ornament of a temple, 
 
 38. A baflb relievo of a young woman 
 cai effing dovxs, found in the ifland of Paros, 
 land conjectured to have been a relique of the 
 
 temple of Ceres, and the w^ork of Praxiteles. 
 
 39. The Tripod belonging to the monu- 
 ment of Lyficrates^ at Athens. 
 
 40. A fragment found at the Sigaean pro- 
 montory, reprcfenting an Aunt and Niece 
 waiting the anfwer of the oracle. Several 
 fragments, &c. of inferior merit, brought from 
 the iflands and Ihorcs of the Archipelago. 
 
 * See the defcilptlons of Athens by Lc Roy and Stuart. 
 
 SE.CTIOX 
 
5^4 
 
 SCULPTURE 
 
 SECTION VIII. 
 
 EXTRACTS OF LETTERS FROM GAVIN HA- 
 MILTON, AT ROME, TO CHARLES TOWN- 
 LEY, ESQ. RELATIVE TO HIS DISCOVERY 
 OF MARBLES IN THAT VICINITY \ 
 
 I^iT the year 1771, upon the fite of Ha- 
 drian's Tiburtine villa, nov^ called the Panta- 
 nello, an excavation having been originally 
 
 made 
 
 4 Ivlr. Tovvnlev's collection, a catalogue of which I 
 have been pen-niticd to give in the preceding pages, has 
 been formed with great tafie and knowledge of the fubje6l, 
 feconded by fuccefsful acquirement. His fnperior judg- 
 ment in tlie arts may be faid to have been inherited from 
 his immediate maternal anceitor, the great earl of Arundel, 
 who was the father of vertu in England. 
 
 Mr. Gavin Hamilton, to whofe affiduity we are indebt- 
 ed for fome of the finefl antique flatuary, died at Rome 
 in 1797, where he had pafiTed the greater part of his hfe. 
 His death was occafioned by anxiety of mind, when the 
 
 French 
 
SCULPTURE. 365 
 
 made by Sig. LoUi ; the fragments then dif- 
 covered were fold to cardinal Pohgnac, and at 
 his death purchafcd for the king of Pruffia, 
 The only piece remaining in Lolli's poffeffion, 
 was the buft of Hadrian, now Mr. Townley's, 
 In 1769, Mr. Hamilton employed fome la- 
 bourers to re-inveftigate this fpot. They be- 
 gan at a paflage to an old drain cut in the 
 tufa, where they found an exit to the water 
 of Pantanello, after having worked fome 
 
 French took poOeffion of the imperial city. He was a 
 man of talents, and highly efleemed. As a painter of hif- 
 tory he was not lefs claffical than Pouffin, with clearer 
 colouring, and graceful attitudes. One of his chief 
 works is a feries of pictures taken from the Iliad, which 
 have heen well engraved by Cunego, and the originals dif- 
 perfed in different cabinets of Europe. The duke of Ha- 
 milton and Lord Hopetoun are poffeffcd of fome of them. 
 In the Borghefe villa, near Rome, an apartment is painted 
 in frefco by him, with the hiftory of Paris. In 1773 he 
 publiflied Schola Italica Pi^luras," from the moll cele- 
 brated pictures, in one volume folio. 
 
 Mr. Thomas Jenkins firfi: vifited Rome as an artifl, but 
 having araafTed a confidera()le fortune, by favour of Pope 
 Ganganelli, he became the Englifli banker. He was driven 
 from Rome by the French, who contifcated all they could 
 find of iiis property. Having efcaped their fury, he died at 
 Yarmouth, immediately on his landing, after a florm at 
 Tea, in 1798. 
 
 weeks 
 
366 SCULPTURE, 
 
 weeks by lamp-light, and up to the knees in 
 {linking mud full of toads, ferpents, and other 
 vermin. A beginning of a cava was then 
 made through the drain, which was filled 
 with trunks of trees and fragments of mar- 
 ble. Here were found a head, now Mr. Gre- 
 ville's, the vafe of Peacocks and Fifh, now in 
 the Muf. Pio-Clem. a Greyhound, Ram's 
 head, and fragments, when it appeared that 
 LoUi had previoully difcovercd the more va- 
 luable relics. Fortunately meeting with an 
 old man who had been employed by Lolli, 
 they were directed to a new fpot. *Mt is 
 difficult (Mr. H. remarks) to account for the 
 contents of this place, which confifted of a vail 
 number of trees, cut down and thrown into 
 this hole, probably from defpite, as having 
 been a part of fom.e facred grove, intermixed 
 with ftatues, &c. all of which have fhared the 
 fame fate." He obferved, that the Egyptian 
 idols had fuffered moft, being broken into 
 minute pieces, and purpofely disfigured, and 
 that thofe of Greek fculpture, in the greater 
 number, had fuffered only from the fall, when 
 thrown into this rcfervoir of w^ater and filth, 
 not having been equally offenfive to the 
 GothS;, or, with greater probability, to the 
 
 firft^ 
 
SCULPTURE. 367 
 
 firft-converted Chriftians. The ftatues firfl 
 thrown in, from fticking in the mud, were 
 confequently the leaft injured. There were 
 hewn blocks and fragments of white marble, 
 and columns of alabafter fufficicnt to build a 
 palace, with a collccflion of giallo antico, and 
 the more rare kinds ; in fliort, of fome of the 
 fineft parts of Hadrian's villa. This hollow, 
 in time, was filled with water, and called 
 Pantanello, or the fmaller lake of Pantano. 
 
 Mr. H. gives the following catalogue of the 
 difcoveries in the excavation of Pantanello, 
 with the names of the perfons who obtained 
 them. 
 
 IN THE MUSEO PIO-CLEMENTINO, 
 
 1. Head of Menelaus, with other fragments 
 belonging to the groupe of Menelaus defend- 
 ing the body of Patroclus. 
 
 2. Buft of a Philofopher, fmgular for its 
 high prefer vation. 
 
 3. Head of Plato. 
 
 4. Do. in red marble. 
 
 5. Do. of a Mauritanian. 
 
 6. Buft 
 
368 SCULPTURE, 
 
 6. Buft of Hadrian. 
 
 7. Antoninus Pius. 
 
 8. Vafe with Peacocks and Filh, &c. a 
 fragment. 
 
 9. Head of a Ram. 
 
 10. Statue of Nemifis. 
 
 11. A Stork of rolTo antico. 
 i^. A Greyhound. 
 
 13. Column with ornaments. 
 
 AT THE VILLA ALBANI. 
 
 14. ASphynx; green bafaltes. 
 
 1 5. Antinous, head, in the charafter of an 
 -/Egyptian Idol. 
 
 16. Buft of Caracalla. 
 
 17. Head of Do. 
 
 18. Buft of Lucius Verus. 
 
 MARQUIS OF LANSDOWNE. 
 
 19. Statue of Cincinnatus. 
 
 20. Do. of Paris. 
 
 2.1. Cupid and Pfyche, groupc. 
 
 2.2, Antinous. 
 
 23. Do. as an ^Egyptian Deity, 
 
 3 54. Buft 
 
SCULPTURE. 369 
 
 , 24. Buft of a Victor in the Olympic 
 ; games. 
 
 i 25. Pudlcitia, a fragment. 
 
 26. Head of a Mufe. 
 I 27. Two Egyptian Idols in black mar- 
 ble. 
 
 58. Bas-relief in do. 
 
 MR. MANSEL TAL20T. 
 
 29. Statue of Ptolemy. 
 
 30. Bull of Hadrian. 
 
 31. Do. of Sabina, 
 
 CAVALLIERE PIRANESI, 
 
 ' A great number of fragments of vafes, ani- 
 mals of different forts, fome elegant orna- 
 ments, and a colollal head of Hercules, now* 
 ■in Mr. Townlev's collection. 
 
 GENERAL SCIIVVALLOFF. 
 
 32. Antinous, head. 
 
 33. Sabina, do. 
 
 Bb 34. Buft 
 
370 SCI^LPTURE. 
 
 34. Buft of a young man as large as life, 
 being part of a ftatue. 
 
 MONSIEUR DE COCH, FOR THE EMPEROP 
 OF RUSSIA. 
 
 35. Statue of Cupid. 
 
 36. Head of Juno. 
 
 MR. JENKINS OF ROME. 
 
 37. Buft of L. Verus, purchafed by Mr. L. 
 Browne, now at St. Pcterfburgh. 
 
 38, 39. Heads of x\ntmous and Pompey, 
 in the duke of Dorfet's coUeftion at Knowle» 
 in Kent. 
 
 - 40. Lucilla. 
 
 41. Juno. 
 
 42. Athleta. 
 
 43. Jupiter. 
 
 44. Fauftina^ Junior, &c. 
 
 MR. 
 
SCULPTURE, 
 
 MK. TOWXLEY. 
 
 45. Greek Hero, head, to which there h 
 one fimilar in the Mufeo Pio-Clem. but not 
 in equal prefervation. 
 
 More than a dozen bufts and heads 
 fent to d life rent parts of Germany. 
 
 1771. 
 
 Excavation in the Te?mfa of S. Gregorh, 
 then the property of cardinal Ghigi, and 
 commonly called Tor Columbaro,'' Two 
 fpots were felefted, one upon the Appiau 
 Way, and the other about a quarter of a 
 mile dlftant. The firft, Mr. H. fuppofcd to 
 have been a temple of Domitlan, and the 
 other a villa of Gallienus, which are defcribed 
 as being dlftant nine miles from Rome. The 
 firft mientioncd was defpoiied of its orna- 
 ments, retaining only a large column of red 
 granite, and fome fragments of porphyry and 
 giallo antico. 
 
 This temple had been probably robbed by 
 B b 3 Gallienus, 
 
37^ SCULPTURE. 
 
 Gallienvis, and the ornaments placed in his 
 own villa, as there v/ere no competent artifts 
 in that low age. Mr. H. is confirmed in this 
 conjedure by the number of duplicate ftatues, 
 ■which he found in this excavation, of moft, 
 if not all, and one, in every inftance, inferior 
 to the other, confequently the one original, 
 and the other a repetition or copy, by fome 
 artift in the reign of GaUienus. The 
 precious columns of verd and giallo antico, 
 had been taken away by the early Chriftians, 
 and applied as decorations to their newly 
 ere6ted churches. The ftatues were widely 
 difperfed, as having been thrown afide, either 
 from ignorance of their value, or religious 
 prejudice. Some of them were fcarcely a 
 foot beneath the foil, and in many inftances 
 had been broken by the plough. The firft 
 valuable difcovery was of the M. Aurelius, 
 larger than life, no-w at Shelburne-houfe ; near* 
 it was a duplicate of poor workmandiip, bro- ' 
 ken into many pieces. A head w^hich Mr. 
 H. placed on Lord Shelburne's ftatue muft 
 have belonged to one of them. The Melca- 
 ger, the ornament of the fame colleftion, and 
 one of the fineft ftatues in England, was like- 
 wife found there ; and the Paris Equeftri.^.," 
 
 in 
 
SCULPTURE. 373 
 
 in 'fmall, which paffed by purchafc from 
 Mr. Jenkins to J. Smith Barry, Efq. 
 
 The Difcobolos was next brouL'"ht to Hdit, 
 in good prefervation in all its parts, although 
 a little injured by time. The attitude, in 
 particular, is allowed to be one of thofe happy 
 productions of the ancients which cannot be 
 improved or excelled, and now attracts the 
 notice of virtuofi in the Muf. Pio-Clem. 
 where the buft of Serapis holds a diftinguifh* 
 cd place ; a piece ot fculpture, of which 
 Mr. H. never difcovered a duplicate. Of 
 this cava, likewife, are the Venus, now Mr^ 
 Corbet's ; and a draped Venus, now reftored, 
 and called ^' Viftrix," in Mr. Smith Barry's 
 colleiflion ; a torfo of Apollo, and a Faun fit- 
 ting, in fmall life, fent to Mufcovy by M. de 
 Coch, of exquifite workmanfhip. Lord Landf- 
 downe's Amazon is alfo one of tlie fortunate 
 difcoveries at the cava of Tor Colom- 
 haroy 
 
 After opening eight different excavations 
 at Porto, and in other parts of the Campagna 
 of Rome, during the courfe of one winter, 
 without fuccefs (excepting the Wolf and 
 fmall Naval Vidory, found at Cornazzano, 
 
 B b 3 now 
 
574 SCULPTURE. 
 
 now in the Muf. Pio-Clem.) Mr. H. refolved 
 to explore Alkano, There he difcovcred a fine 
 ftatue of a young man without a head, now in 
 the Muf. Pio-Clem. a fcenic figure claimed by- 
 cardinal x^lbano, &c. During the procefs of 
 thefe fearches at Albcuio, he was advifed by 
 fome friends at Ge?izano to try his fortune in 
 feveral fpots in that vicinity. The greater part 
 of them had been previouffy dug up by order 
 of cardinal Lancellotti, and the event of 
 courfe was unfavourable. Monte Cagnolo alone 
 anfwered his expectations, which is a fmall 
 hill between Genzano and Civita*Lavinia, 
 the ancient Lanuvium, commanding a 
 rich profpeCi: towards Velletri and the fea. 
 From the extent and magnificence of the 
 ruins, and the many relics found there, it is 
 conjcClured to have been the fite of the villa 
 of Antoninus Pius, which he built adjacent 
 to the ancient Lavinium. This fpot, in fuc* 
 ceffive ages, had been converted into a vine- 
 yard, and confequently, ftripped of its orna- 
 ments, fome of which were thrown promif- 
 cuoufly into one room, about ten feet under 
 ground. The moft remarkable were, the 
 two Fauns of exquifite Greek fculpture, with 
 the n-rimes of the artifts ; the Vafe, of a ge- 
 neral 
 
SCULPTURE. 375 
 
 ncral form and tafte, inferior to none extant ; 
 and the groupe of a Greyhound Dog carciT- 
 ing a Bitch, in Mr. Townley's coUeftion. 
 The companion of the latter, found at the 
 fame time and place, is now much admired 
 in the Muf. Pio-Clem. Mr. Townley is like- 
 wife poffeffed of one of the two groupcs of 
 Ad:aeon devoured by his own Dogs, and the 
 two fmall Vidlories facrificing a Bull, which 
 are fomc of the beft known, in relievo. Two 
 other Dogs, which were alfo dlfcovercd at 
 Monte Cagnolo, Mr. Jenkins procured, and it 
 is a fnigular co-incidence, that fo many Dogs 
 fliould have been found in a place which flill 
 retains a name of that import. It belongs to 
 the college of St. Buonaventura. Befides 
 thefe excellent fpecimcns of ancient art, heap- 
 ed together in one room, Mr. Hamilton found 
 a head or buft in the cbarad:cr of Mcleager, in 
 the higheft prefervation, now Mr. Townley's, 
 and only one large ftatuc of Paris, which was 
 placed by Lord Temple at Stowe, with others 
 of merit, particularly an Adonis of uncommon 
 beauty, dug up at the Villa Fonfega. Mr. H. 
 efteemcd the Monte Cagnolo to have been one 
 of the richcll: mines of antiques which he 
 opened while refident at Rome. 
 
 Bb 4 At 
 
376 SCULPTURE. 
 
 At Nemi, which had been already explored, 
 he found the young Cupid holding a yafe» 
 and difpofed of it to Mr. Lyde Brown. 
 
 DKSCOVEREt) IN 
 
 Gaeta, a buft of fine fculpture ; a ftatue of 
 Sablna; another of Germanicus. A head of M. 
 Agrippa of the beft workmanfliip ; another of 
 Tiberius with the civic crown ; a ftatue of 
 Caligula with a cuirafs ; Diana fuccin£ta of 
 great beauty ; Nemefis, &c. 
 
 Excavation at Oftia on the fea fliore. By 
 permiffion of cardinal Surbelloni, Mr. H. be- 
 gan his inveftigations in this vaft field of an- 
 tiquity, at a fpot called Porta Mamia, as pro- 
 mifing the difcovery of many objecfls of tafte. 
 From the ground plan of the ruins, it became 
 evident, that they were the fite of public 
 
 Thermae maritimae," and from many in- 
 fcriptions which were found, compofed of 
 letters of an unufual fize, wx may colleol 
 that they had been frequently repaired dur- 
 ing the reigns of fbcccffive emperors, as low^ 
 
SCULPTURE. 377 
 
 Conftantinc. One, very elegant, was given 
 by Mr. H. to cardinal Albagine. There 
 were proofs that Hadrian, the protestor of 
 the fine arts, had embelliflied thefe baths by 
 many magnificent works. The firft ftatue 
 which was recovered from its long fepulture^ 
 was the fine Antinous, as the deity of Abun- 
 dance. Mr. Smith Barry was the purchafer, 
 and it equals any ftatue of that fubjeft, of any 
 colleftion in Europe. Near to the Antinous 
 lay an inferior ftatue of ^fculapius, and an- 
 other of his daughter Hygeia, very entire, 
 large life, and of confidcrable merit. The 
 laft noticed was fold with feveral others to the 
 Landgrave of Hcfs-Caffcl. A torfo, broken 
 off under the knees, appeared next, of which 
 there is a duplicate at the Capitol, the head 
 not its own, the whole being reftorcd by 
 Monfieur Le Gros. Mr. H. reftored this 
 torfo, as Diomede carrying off the Palladium, 
 and fold it to Lord Lanfdowne, but it was 
 a duplicate of Myron's Difcobolus, fimilar to 
 that in Mr. Tov/nley's collection. 
 
 At Porta Marina, which had been pre-oc- 
 cupied, and its ftorcs exhaufted, Mr. H. de- 
 clined farther inveftigatlon, proceeding to a 
 
 bath 
 
^8 SCULPTURE. 
 
 bath on the Ihore, having a pavement ot 
 -verd- antique. He foon dug up a fine torfo 
 of a young man, the other parts much muti- 
 lated, and the head not to be found, after the 
 moft diligent fearch. The Pope claimed it 
 for the Muf. Pio-Clcm. 
 
 Mr. Tovvnley's fniall Venus, holding a 
 mirrour, was another of the exquifite orna- 
 ments of this bath. Four of the Labours of 
 Hercules, entire, and v^-ith their proper em- 
 blems, were found at a fmall diftance, which ' 
 are now in the Muf. Pio-Clem. with the 
 elegant Tripod Apollo. Near them, were 
 firft feen the mother of Venus and the Mufe, 
 -which are Mr. Townley's, and confidered by 
 Mr. H. as fome of his moft happy difco- 
 veries. The mal aria" prevented Mr. H.'s 
 men from working at Oftia ; they were em- 
 ployed during its prevalence ni the autumn^ 
 at Ro77ia vecchla. This is an eftate belonging 
 to the hofpital of St. Giovanni I^atcrano, about 
 five miles from Rome, upon the road to Al- 
 bano, and that of Frafcati. A confiderablc 
 ruin is feen near this laft, upon the right 
 hand, which is generally believed to be the 
 remains of a villa of Domitian's nurie. This 
 
 opinion 
 
SCULPTURE. 379 
 
 Opinion is confirmed by fragments of coloffal 
 ftatues, and the excellence of the fculpture. 
 Mr. Townley has the two bufts of MarcelluSj, 
 dedicated by the Decemviri, and a companion, 
 with the fleeping Mercury; befide which 
 were Lord Lanfdowne's ^fculapius, the fize 
 of life ; the fingularly beautiful Bacchante, 
 once the property of the Honourable Charles 
 Greville, now Mr. Townley ; and the baffo 
 relievo of the three Bacchantes fent to Mr^ 
 Townley, and one of the moft eftimable of 
 thofe which this fortunate fpot produced. 
 
 Several cavas at Palo and the territory of 
 Lancia proved fruitlefs. 
 
 At Cafiello di Guido, Mr. H. was more fuc- 
 cefsful. This place belongs to the hofpital 
 of S. Spirito, about tv^elve miles from Rome, 
 on the road to Civita Vecchia, and was an- 
 ciently Lorium," where the emperor An- 
 toninus Pius finifhed his days. The ground 
 had been fcarccly broken, when an entire 
 ftatuc of a w^oman appeared, with her head 
 veiled, and holding the patera in one hand, 
 and the cornucopia in the other ; it appeared 
 to be a Pietas. Many fmall pieces of ordi- 
 nary w^orkmanfliip followed, mofl of which 
 Tvere mutilated, excepting a draped figure, 
 
 fmall 
 
380 SCULPTURE. 
 
 fmall life, reprefenting Domitia with the at- 
 tributes of Diana, which went, with the 
 Pictas, to the Muf. Pio-Clem. In a large 
 vittina, filled with earth, w^as found a Cupid, 
 fmall life, bending his bow as Cupid Con- 
 queror of Heroes, which is exprefled by the 
 Lion's ik'm on the trunk, alluding to the 
 fpoils of Hercules. This, by far the fined 
 known fpecimen of the fubjedl, is preferred 
 in Mr. Townley's cabinet. It has a fingula- 
 rity, that of the hand holding the bow per- 
 fe6l:, which all the others want. No figure 
 recurs fo often in the antique as this Cupid, 
 and from the numerous repetitions, it muft 
 be judged, not only to have been a favourite 
 fubjecl with the Greeks, but one like wife in 
 the completion of which the art feems to 
 have reached its highell point of excel- 
 lence. 
 
 Mr. H. dlfcovcrcd a Pericles at the Olivrto 
 of Tivoll (now Mr. Townley's), a repetition 
 of that in the Mufi Pio-Clem. found at the 
 Lake of CafigUonCy with the helmet. 
 
 The ancient city of Gabii, remarked to 
 have been defolate in tlie days of Horace, 
 (Frigidi Gabii and Gabiis defertior) belongs 
 to prince Borghcfe. The fite is contigu- 
 ous 
 
SCULPTURE. 381 
 
 ous to the Lacus Gablnus, four miles on the 
 Via Prasneftina. In 1780, by the pnncc's 
 command, Mr. H. began the excavation, 
 which produced many very fine ftatues and 
 bufts. Thefe were all reftored, with great 
 fklll and cffcA, and are now placed in an 
 edifice in the gardens of the Villa Borghefe, 
 which was built for their reception. The 
 moR efteemed are a Diana and Germanicus, 
 in a character not hitherto known, a Pan, 
 and tw^o grand columns of verde antique. 
 
 SECTIOX 
 
SCULPTURE. 
 
 SECTION IX. 
 
 Dispersed in the refidences of feveral 
 gentlemen of rank, virtu, and opulence, are 
 fmall numbers, and fmgle marbles, of merit 
 and curiofity ; equal to thofe in the large col- 
 ledions already recited. It would be doing 
 injuftice to the tafiie of the poiTeffors, to pafs 
 over them without notice ; and I fhould fear 
 for the patience of my readers, if I continued 
 details with former minutenefs. 
 
 I fliall therefore content myfelf with a 
 fummary view of them, omitting none to- 
 tally, but thofe of which I have not been 
 hitherto able to obtain intelligence. 
 
 About the year 1 740, Mr. Perry brought 
 many bufts of antique fcuipture from Italy, 
 which are now feen in the venerable manfion 
 at Penfhurft. 
 
 At Knowle, in Kent, are about twelve mar- 
 bles, colledled by the late duke of Dorfet, 
 3 Amongft 
 
SCULPTURE. 3^3 
 
 Amongft them are a ftatue with a head of 
 Demofthenes, from the Columbrano palace 
 at Naples ; a fountain Nymph afleep, found 
 at Roma Vecchia, by Mr. G. Hamilton ; a 
 buft of Brutus, with a dagger; another call- 
 ed Marcellus ; a head of Antinous, from Ha- 
 drian's villa ; and thofe of the firft triumvi- 
 rate, excepting Craflus. 
 
 At Stowe, are about twenty bufts of vari- 
 ous merit and authenticity. Of the few 
 ftatues, the NarcilTus has been much reftored, 
 but the torfo is a very fine and genuine an- 
 tique. There arc likewife a Paris Judex more 
 perfed:, and a very curious farcophagus, found 
 at Hadrian's villa, reprefenting a facrifice, in 
 a groupe of fix figures. On the top is a nak- 
 figure lying on a ferpent\ 
 
 At 
 
 a Infcription. 
 D. M. 
 
 ANTONIO PACVVIO F. FECIT SVG 
 
 ETERENNIO FILIO SVO PI 
 
 ISSIMO IMP. TRAIANI CAE 
 
 SARIS AVGVSTI GERMANI 
 
 0. SERVO DISPENSATORI MONTANIANO. 
 
 For 
 
384 SCULPTURE. 
 
 At Blenheim are a few, but not remark- 
 able. The boaft of the duke of Marl- 
 borough's coUecftion are the Arundelian 
 gems. 
 
 Sir Robert Walpole employed Brettmgham 
 to procure fome bufts, which are in ge- 
 neral of a good flyle. They are now at 
 Houghton, in the poffeffion of Lord Choi- 
 mondley. 
 
 Thofe colledled by his fon, Horace Wal- 
 pole, now at Strawberry-hill, are greatly fu- 
 perior, and may vie with the befl of their 
 defcription in England. The Jupiter Serapis 
 and Caligula, bufts in bafaltes and bronze, 
 but efpecially the Eagle in marble, found in 
 1742, in the baths of Caracalla at Rome, arc 
 very excellent. 
 
 Sir Richard Hoare's antique ftatues of 
 Juno or Csres, at Stourhead, is not eclipfed 
 
 For a fimilar purpofe, a ferpent was wrapped round the 
 large hieroglyphic egg, in the temple of the Diofcuri, as 
 an emblem of the renewal of life from a ftate of death. 
 Upon the fame account, the ferpent was an attendant on 
 -^fculapius, and became the mythological figure of medi- 
 cine. Bryant's Mythology, v. ii. 309. Bacon's Works, 
 vol. V. p. 462* 
 
 by 
 
SCULPTURE. 385 
 
 by the Hercules of Ryfsbrack, excellent as 
 it is. 
 
 At Shuckborough, in StafFordfhIrc, Mr. An* 
 fon has a confiderable collection ^. 
 
 The late marquis of Rockingham placed 
 fevcral ftatues and bufts at Wentworth-houfe, 
 in Yorkfhire. 
 
 At St. Ann's hill, are the bufts of Sappho, 
 Trajan, Cicero in glalla Sienna, and Demo- 
 critus, which were brought from a houfe at 
 Kingfgate, in the ifle of Thanet, built by the 
 late Lord Holland, as a correc^c imitation of 
 Cicero's Formian villa, at Baiae. Mr. Fox 
 has removed them to his prefent rcfidcnce at 
 St. Ann s Hill. 
 
 Amongfc a few antiques of value at Lord 
 Befborough's houfe, at Roehampton, is th^ 
 torfo of Venus, which its former poiTeflbr, 
 Baron Stofch, one of the firft coninoilTeurs of 
 his day, would not allow to be, in any de- 
 gree, inferior to the Venus de' Medici. 
 
 There was another in England of nearly 
 
 ^ Statues of Adonis, Thalia, and of the cmperour Tra- 
 jan, in the attitude of haranguing his army, are particu- 
 larized by Mr. Pennant. Journey from Londo^n to 
 Chefter, 
 
 equal 
 
386 SCULPTURE. 
 
 equal pretenfions, which was reftored by Wil- 
 ton, when the duke of Richmond's ; and was 
 unfortunately burned in his houfe at White- 
 hall. It had belonged to Mr. W. Lock. A 
 beautiful head of Atalanta, likewife from Mr. 
 L. was deftroyed by the fame accident. 
 
 Lord Yarborough has a few antiques, and 
 one, a head of Niobe, is acknowledged as the 
 genuine workmanfliip of Scopas. It is much 
 fuperior to the head of Niobe, in the cele- 
 brated groupe at Florence ; and was a prefent 
 from Lord Exeter. 
 
 A fountain Nymph and fcvcral other good 
 ftatues wxre colie6lcd bv the late Lord Ca- 
 me] ford. 
 
 Sir John i\facpherfon's marbles arc more 
 feleft than numerous, as they confift of about 
 twenty m.utilatcd heads, and two fmall 
 figures waiich are imperfeci. 
 
 Sir William Strickland, near Scarborough, 
 has about twelve pieces, which are worthy 
 notice, and judlcioufly coUeiled. 
 
 Mr. Brand HoUis, near Chelmsford, in 
 Effex, poffeffes about twenty antique mar- 
 bles, amongft which are figures, bafts, heads, 
 farcophagi, fepulchral urns, &c. of confider- 
 able merit and variety. ^ 
 \ Of 
 
SCULPTURE. 387 
 
 Of Etrufcan vafes, excepting thole fold by 
 Sir William Hamilton to the Britifli Mu- 
 fcum in 1772, for 8000/. the firft collec- 
 tion in England was that made by Lord 
 Cawdor, and fold by audlion in i8oo^ Mr. 
 Greaves has lately brought fome, extremely 
 beautiful and perfe6l, from Rome. 
 
 It muft be a fubjecl of general regret to 
 virtuofi, that fome of the fmgularly fine col- 
 lection of Sir William Hamilton, made dur- 
 ing his long refidence at Naples, with lb 
 much tafte and judgment, were wrecked in 
 the CololTus man of war, near the Scilly 
 iflands, in 1 798 
 
 Of fmall bronz<^3, Egyptian) Etrufcan, and 
 Grecian, the moft valuable, both for fcience 
 and feleclion, are thofe in the cabinet of Mr. 
 R. P. Knight. The Jupiter and Mercury 
 are unrivalled in England. 
 
 ^ A large nola vafe was fold for 47/. 55. and another 
 much larger, and the companion to one in the Vatican, 
 for 68/. 5^. 
 
 ^ 1111791, he puhliflied the firft volume of a Col- 
 Jet^lon of Engravings from ancient Vafcs, moftly of pure 
 Greek workmar.lhip," and the fecond in 1795. Eight 
 large cafes, containing antiques, out of twenty-four, were 
 configned to the Coloffus, and are confequently loft, after 
 having been buried in the ruins of Herculaneum and Pom- 
 peii, almoft two thoufand years. 
 
 C c Mr, 
 
388 SCULPTURE. 
 
 Mr. J. S. Hawkins has lately brought from 
 the Levant a bronze patera, which was 
 found, with eleven others, at Dodona. The 
 ftory reprefented is either Paris and Helen 
 Adonis, with Proferpine in inferis, or Venus 
 and Anchifes. The execution is in the very 
 firft ftyle of excellence. 
 
 A bas-relief of Niobe and her children, 
 found near Naples, and intended as a prefent 
 from his Sicilian majefty to his brother of 
 Spain, was taken at fea, and purchafed by 
 the late Sir Thomas Robinfon. The fubjed:, 
 as we learn from Winckclmann, is extremely 
 rare in the antique. This marble is beyond 
 any comparifon with that at Wilton, or any 
 of the fame fubjecl in England. It is now 
 in the polTeffion of J. B. S. Morritt, Efq. of 
 Rokeby, in Yorkfhire, the able inveftigator of 
 the plains of Troy ^ Lord Cawdor had a has* 
 relief of a female carrying a triumphal wreath 
 towards a temple, formerly in the Negroni 
 colled:ion; it was fold for 113 guineas. 
 
 During the laft thirty years, fmce the 
 
 * (Mon. Ined. T. ii. p. 1 19.) There are two bas-re- 
 iiefs, fo often the fubjc6t of the poets, onJy at Rome, in 
 the Albani and Borghefe colledions. 
 
 tafte 
 
i 
 
 SCULPTURE. 389 
 
 tafte for antique fculpture has prevailed 
 in England, feveral collections have un- 
 dergone the common viciffitudes of pro- 
 perty. 
 
 i Mr. Lyde Brown ^, whofe marbles v^ere 
 
 very frequently changed by fale and pur- 
 chafe, about the year 1787, difpofed of the 
 whole to the agent of the emprefs of Ruflia, 
 for z^fOool^. There is a fingularly fine buft 
 of Lucius Verus. 
 
 At Mr. Chace Price's au6lion, were a Ve- 
 nus Salutifera, and feveral vafes of confider- 
 able value. 
 
 Amongfl Mr. Beaumont's ftatues were a 
 Cupid and the Eagle, in marble, now Mr. 
 Townley's. There w^ere, like wife, a cololTal 
 Venus, and one of a fmall fize. 
 
 When Mr. Jennings difpofed of the an- 
 tiques he had procured at Rome, a dog, 
 fimilar to that at Florence, found a pur- 
 
 f A catalogue of this colle6lion, which was as Wim- 
 bledon, was printed in 1787. 
 
 s This fum was to he remitted by the emprefs of Ruffia 
 to her agent, who failed, when Mr. Brown liad received only 
 the firft inftalment. The magnificent Catherine refifted 
 every folicitation to indemnify him, and availed herfelf of 
 the poffeflTion of the marbles. 
 
 C c 3 chafer 
 
390 SCULPTURE, 
 
 chafer In Mr. Duncorabe of Yorkfliire, for 
 looo/. 
 
 An Athlcta of the early Greek fculpture 
 was fold at the fame time, to L/ord Ca^ 
 do2!:an. 
 
 The former gentleman has, likewlfe, a 
 Difcoholus, from Mr. W. Lock's collection, 
 of which there is a repetition in the Muf. 
 Pio-Clem. Mr. Townley's Difcobolus is de- 
 livering the quoit and ftooping forward, with 
 the left arm thrown back. Mr. Buncombe's 
 has juft delivered it, p,nd has the right arm 
 mil extended as watching its fuccefs, with 
 another quoit in the left. 
 
 A few marbles, collected by Lord Vere, at 
 Hanworth, were fold in 1798. 
 
 Lord Bateman has a Mercury, and Lord 
 Exeter a Bacchus ; either of which w^ould 
 grace any collection, even in Italy. 
 
 I m.uft not omit, that in this kingdom are 
 fome vafes of extraordinary elegance and exe- 
 cution. The Barbarini vafe ^\ now the duke 
 
 ot" 
 
 An account of the Barbarini vaie is given by Lumif- 
 den, Antiq. of Rome, p. 68 ; M. D'Hancarville, Mr. 
 Wedgewood, and in feventeen other publications. It is 
 
 compofed 
 
SCULPTURE. 391 
 
 of Portland*s, is admirably defcribed by Dr. 
 Darwin. One at Warwick Caftle, extreme- 
 ly large and fine, was fent by Sir William 
 Hamilton. Lord Cawdor had another of fu- 
 perior fculpture and nearly as large, found in 
 the ruins of Hadrian's palace, and brought 
 from the villa Lanti ; at his falc it produced 
 700 guineas. The Nuptial vafe, at Wilton, 
 and thofe already noticed in the catalogues of 
 Mr. Townlev and Mr. BlundcU, reflcCl credit 
 on their owners. 
 
 Hitherto 1 have confined myfeif to the 
 antique. There are, moreover, in England, 
 feveral fpecimens of the arts, after their revival 
 in Italy, as well original, as bronze cafi;s from 
 the more celebrated ftatucs, to which (as I 
 attenipt only a catalogue) I will fiightly 
 advert. 
 
 When the gallant and accompliflied Hcnrv 
 Howard, earl of Surrey, had been victorious 
 in the lifi:s of Florence, the grand duke pre- 
 
 compcfcd of glafs, the figures of white opakc, rnifed on a 
 ground of blue. The fubjedl evidently refers to tlie Elcii- 
 I iinian myfleries. 
 
 Or bid mortality rejoice and mourn 
 
 O'er the fine forms of Portland's myrtle urn." 
 
 Darwin, c. ii. 1, 3 1, 
 
 C c 4 fentcd 
 
.'392 SCtJLPTURE. 
 fented him with a fhield, wrought in filvef. 
 It was the work of Johannes Stradenus^ a 
 celebrated artift of the Florentine fchool. On 
 the convex part is reprefented the battle be- 
 tween the Hetrurians and the Romans, 
 where the former are defeated by Cobles, at 
 a bridge. The infide is embellifhed by two 
 florics, thofe of Mutius Sc^svola thrufting his 
 hand into the fire, and Q. Curtius leaping 
 into the gulf. This beautiful piece of work* 
 manfhip, and venerable, on account of the 
 anecdote attached to it, is tv/enty-four inches 
 in diameter, and is now preferved at Norfolk 
 houfe. 
 
 Of the fame ^era and ftyle of execution is 
 a Bell, at Strawberry-hill, by Benvenuto Cel- 
 lini. Lord Befborough has a bufi: of De- 
 mofthe'nes, by the fame artift. 
 
 King Charles I. had the Gladiator of the 
 Villa Borghefe, by Bernini ; which produced 
 300/. at his fale, and is now at Houghton. 
 But his Neptune and Glaucus, fo long the 
 ornament of the gardens of the Villa Ne- 
 groni, at Rome, pafled from Sir Jofhua Rey- 
 nolds to Lord Yarborougb, who has given 
 them to Mr. Aufrere, at Chelfea. 
 
 Others may be clalTed together, as the 
 3 ' bronze 
 
SCULPTURE. 
 
 bronze Borghcfe Gladiator, which once flood 
 in St. James's park, now at Hampton Court. 
 A fleeping Venus, at Holkham, and Her- 
 cules, at Wanftead, by Delveaux ; the Ve- 
 nus ; the Wreftlers ; the Whetter ; and the 
 Faun from the Medici gallery, by Soldani 
 Benzi, at Blenheim. There is like wife the 
 model of Bernini's Fountain in the Piazza 
 Navona, at Rome, the original of which Lord 
 Arundel offered to purchafe. At Sion-houfe is 
 the dying Gladiator, by Valadier, which is re- 
 peated at Wilton, with the Farnefe Hercules, 
 by VerepoiL The befl: cafi: in plaifter of Paris 
 in England, is the Venus de' Mcdicis belong- 
 ing to Mr. Lock, at Norbury park, with 
 fome others by Torenti, at Rome, repetitions 
 of which Mr. Lawrence has likewife pro- 
 cured. The Hercules Farnefe, at Somerfet- 
 houfe, acquires from its prefent ftation \ an 
 efFed equal to the original. 
 
 Defigns, 
 
 i Statues, from the antique, by the nrtifts of the French 
 academy, are the Artemifia, Narciffus, and Galatea, at 
 Verfailles, by Des Jardlns. Hamadryad, by Leranbert, 
 and Milo of Crotona, by Pnget, the Michelagnoulo of 
 France. There are likewife his groupe of Perfeus and 
 Andromeda, Maury's Tritons, Faunus, FJora, and Venus 
 
 de 
 
SCULPTURE. 
 
 Defigns, after the antique, in ftatuary arc rare. 
 Mr. Wilton has finiflied a buft of Milo Cro- 
 toniates at Blenheim, and Mr. Bacon a ftatuc 
 of Narcilfus, for which he Vvas decreed a 
 premium by the fociety for the encourage- 
 ment of arts and fciences. But the moft 
 happy effort of this art in England, is the 
 Hercules of Rysfbrack, already mentioned. 
 
 At Home, there is now flour iftiing in great 
 celebrity, Antonio Canova, a Venetian fculp- 
 tor, who has completed, after the antique, 
 Cupid and Pfyche, Venus and Adonis, and 
 Hercules and Lycus with the Neflkan Shirt. 
 The tw^o former approach nearly to Grecian 
 excellence, both in character and fweetnefs ; 
 and the latter has all the force of the unfinifli- 
 ed torfos of Michelagnuolo. Bernini's groupe 
 of Apollo and Daphne, in the Borghefe villa, 
 is left far behind; and M. Agnuolo would 
 have found a competitor for fame, had he 
 been contemporary wath Canova. 
 
 Lord Cawdor is pofleiTcd of an exquifite 
 
 de Medici by Coyfevox. At Marly, are Hippomanes aiid 
 Daphne in marble by Couflou. The royal gardens are 
 peopled like the Elyfian fields, but the abovcmentioned 
 may be noticed amongft a crowd. 
 
 ftatue 
 
SCULPTURE. 395 
 
 ftatue of Cupid, which amply entitles this 
 lingular artift to the higheft commendation. 
 
 In purfuance of the original plan of thefe 
 pages, the modern ftatuary, now to be feen 
 at Oxford, will be the fubjeft of obfervation. 
 
 About the year 1630, Hubert Le Soeur, a 
 native of France, who had ftudied under the 
 famous John of Bologna^, arrived in England. 
 If he was affociated with Pierre Tacca^ who 
 finifhed the horfe in the equcftrian ftatue of 
 Henry IV. in 1610, left incomplete on the 
 death of his mafter John of Boloma, two 
 years preceding, he muft have been flir ad- 
 vanced in life. Three only of his works in 
 bronze are now known with certainty to 
 exift. The equcftrian ftatue of Charles I. a 
 buft of the fame monarch w^th a cafque in 
 the Roman ftyle, and a ftatue in armour of 
 William Herbert Earl of Pembroke, Lord 
 High Chamberlain and Chancellor of Oxford, 
 The laft was given to the Univerfity by T, 
 
 ^ The Cain and Abel by John Bologna given to Charles I. 
 by the king of Spain, was afterward prefented to Villicrs 
 Duke of Buckingham, who placed it in the garden of 
 York-houfe. There is a cad in lead in the quadrangle of 
 B:azc-nofe College, probably taken from this original. 
 
 Eiirl 
 
39-6 SCULPTURE. 
 
 Earl of Pembroke, about the time of the 
 reftoration. The air of this ftatue is very 
 noble, and the proportions juft, but it is now 
 feen to infinite difadvantage, having been 
 cooped up in a part of the picture gallery, 
 very lov^, and of a {cw feet only in diameter. 
 Surely the centre of the quadrangle had been 
 a more appropriate ftation. It was intended 
 to be larger than life; but it is now placed fo 
 near the eye, that the figure is gigantic. 
 
 The equeftrian ftatue of Charles L was ori- 
 ginally made for the Earl of Arundel in 1633, 
 as the archives of that noble family fhew. 
 How it was concealed during the interregnum 
 is well known; and that it was creeled at 
 Charing Crofs in 1678. Le Soeur made 
 likewife a model of it, one foot and an inch 
 high, which was in the royal collection*. 
 There is likewife a buft of Charles I. in a 
 Roman cafque by Le Soeur, at Stourhead. 
 
 ^ At Gothurft, the ancient feat of the Digbys, are two 
 buds in bronze which cannot be attributed, by any proof, 
 either to Le Soeur or Fanelli, although there is no doubt, 
 that one or both thefe artifts were employed. The ftyle 
 of tliefe hurts is different; in the antique, and the Vandyke 
 or drefs of the times. They reprefent the Lady Venetia, 
 the beloved wife of Sir Kenehn Digby. 
 
 Francefco 
 
SCULPTURE. 397 
 
 Francefco Fanelli, a Florentine, Ihared the 
 royal patronage. The lofs of one eye did not 
 prevent his attaining to excellence as a fculp- 
 tor; though evidently inferior to Le Soeur. 
 Archbifliop Laud employed him to caft the 
 ftatues of Charles and Henrietta to decorate 
 the new colonnade which he had built at 
 St. John's College, after a defign of Inigo 
 Jones. Fanelli was paid 400/. for them. 
 Others of his works have confiderable merit; 
 particularly the figure of Lord Cottington, 
 and the buft of hi.s lady in Weftminiler 
 Abbey. 
 
 In the Cathedral at Gloucefter, are two 
 recumbent figures in white marble of uncom- 
 mon excellence. They reprefent Alderman 
 Blackleach and his wife, and are dated 1639: 
 apparently, they are moft minute copies from 
 Vandyke, and are fo much in the ftyle of the 
 abovementioned, known as the works of 
 Fanelli, that I cannot hefitate to attribute 
 them to that fculptor. Judge Bridgeman's 
 effigy at Ludlow, in the drefs of the age of 
 Charles the firft, may pofiTibly be likewife by 
 his hand. Neither of thefe monuments are 
 claimed by Nicholas Stone, in his ovv'n lift 
 given by Mr, Walpole, and are indeed of 
 
 workmaniliip 
 
398^ SCULPTURE. 
 
 workmanfliip very fuperior, in point of truth 
 and elegance. Several fmall copies from 
 the antique are mentioned in Vanderdort's 
 catalogue of the royal collection, which have 
 been difperfed. He w^as a contemporary with 
 Algardi, but it does not appear that they ftu- 
 died in the fame fchool of fculpture. By the 
 univerfal fame of Bernini, king Charles waa 
 induced to procure the bufts of himfelf and 
 the queen, by his hand. The king's"^ bull 
 was fold by the parliament in 165:2: for 800/. 
 Bernini had received 1000 Roman crowns for 
 it ; but the civil wars prevented his beginning 
 that of the royal confort. Having been re- 
 placed in the palace at Whitehall, it was 
 faid to have been confumed in the fire which 
 happened there in 1697. There are conjee- 
 
 " This buH: was taken from a pi(5):ure by Vandyke, in 
 which the full ffice, the three quarter, and the profile, are 
 exJiibited together. Bernini's obfervation upon the firil 
 light, is quoted by the lovers of phyfiognomy. Mr, Baker, 
 who took the pi6lure to Rome, gave about 150/. for his 
 own buft, which was fold at Sir P. Leley's fale, and is now 
 Lord Hardwicke's. Rysfbrack finifhed a baft of king 
 Charles in marbie from a caft of Bernini's, for the late G. 
 A. Selwyn, who bequeathed it to Mile. Fagnani, now 
 CounteGi of Yarmouth. Lady Jane Cheyney's monument 
 at Chelfea is likewife by Bernini, for which he received 
 500/. There is a bronze buft of C. L in Hammerfmith 
 chapel. 
 
 X tures 
 
SCULPTURE. 399 
 
 tures to the contrary; but the buft has difap- 
 peared from the time of that event". 
 
 At All Souls College is a ftatue of Colonel 
 Codrington, the founder of their library, in a 
 Ptoman military Sagum, by Sir Henry Cheere. 
 The reprefenting an Englilli foldier as a Ro- 
 man, is a facrifice of truth to tafte. We may 
 fee with what efFed; he would have been 
 carved in full uniform in the equeftrian effigy 
 of William duke of Cumberland, in Cavendilh 
 Square. Although omitted by Mr. Walpole, 
 probably becaufe a living artift, Cheere has 
 acquitted himfelf in this ftatue, above medio- 
 crity. 
 
 Of the w^orks of Rysfbrack, and his compe- 
 titor Roubiliac, Oxford can boaft a few fpe- 
 cimens ; but thofe of the latter are inferior 
 to others at Cambridge. Dr. RadclifFe's fta- 
 tue, in his library, by Rysfbrack, has ftrong 
 refemblance, w^ithout grace. Mr. Lock's fta- 
 tue at Chriftchurch, by Roubiliac, is encum- 
 bered with drapery, w^ithout ftyle or charac- 
 ter, either antique or modern. In what fchooi 
 
 ^ Charles, to late times to be tranfmitted fair, 
 Affi^ned his figure to Bernini's care." 
 
 Pope Epilt. Hor. ep. i. 380. 
 
 of 
 
40c^ SCULPTURE. 
 
 of fculpture Rysfbrack was formed, Mr. Waw 
 pole has not fpecified. His firft appearance 
 ki England was about the year 1720, when 
 the Itatuaries of Paris, particularly Le Pautrc, 
 Vancleve, Bouchardon, and Le Gros, enjoyed 
 the firft reputation, and had many fchoiars, 
 whofe invention was exhaufted in the claffi- 
 cal fopperies of the royal gardens. Where- 
 iever he acquired the elements of his art, the 
 talents of a mafterly artifl were expanded in 
 England, to our honour, as a nation. His 
 bronze equeftrian ftatue of King WiUiam"* at 
 Briftol, and his monument of Bifhop Hough 
 in Worcefter cathedral, I would feled as his 
 fuperior w^orks. Rysfbrack, in his principal 
 figures, was generally happy in the choice of 
 his attitudes, and eminently fo in this prelate's; 
 if it be not rather theatrical, the only fault 
 
 ** The befl: In England. Two antique cqueftrian fta- 
 tues only remain. The M. Aurehus in bronze at Rome, 
 and that in marble of Marcus Nonnlus Balhus at Naples. 
 France, before the revolution, pofTefTed Henry IV. by 
 John of Bologna, at P^aris. Louis XIV. by Girardon, in 
 the place de V endome ; the fame at Dijon by Le Hongre, 
 at Rennes by Coyfevox. Louis XV. at Paris by Bouchar- 
 don, and at Bourdeaux by Le Moyne. There is an equef- 
 trian ftatue of George III. in bronze, by Wilton, placed 
 in Berkeley Square, 
 
 which 
 
SCULPTURE. 401 
 
 which can be found in Mrs. Nightingale's 
 monument, or that of General Wade, in 
 Weftminfter Abbey. The attention is fcldom 
 diverted from his principal figures to accom- 
 paniments, as in many modern inftances; 
 and the high finilhing of his draperies is ad- 
 mirable* 
 
 The bufts by his hand are, John Balliol, 
 king of Scots, at Balliol college ; Alfred at 
 Univerfity, finiflied by Wilton ; Gibbs the 
 archlted:, in the Radcliff Library ; Dr. R. 
 Friend, Archbifliop Boulter, and, I pre- 
 fume, the bufts of George I. and II. at Chrift- 
 church, 
 
 Roubiliac wa^ a native of Lyons, a city 
 which had given birth to feveral of the moft 
 famous French fculptors: to A, Coyfevox, 
 N. Couftou, and L'Amoreux, the contempo- 
 rary of Roubiliac, and, with fome probability, 
 his fellow-fcholar, under Couftou. There is 
 a want of fimplicity, and a certain French air, 
 in all the works of this artift; from which 
 the celebrated ftatue of Newton at Trinity 
 college, Cambridge, is by no means exempt. 
 
 At Chriftchurch are fine bufts of Dr. Ma- 
 thew Lee, Dr. R. Frewen, and one of the 
 founder at All Souls. 
 
 D d In 
 
402 SCULPTURE 
 
 In fculpture, as well as in painting, this 
 kingdom had amply enco-araged the ingenious 
 of other countries, without producing any 
 artifts of equal merit, tilLthe appearance of 
 Grinling Gibbons% whofe ftatue in bronze of 
 James II. now in Scotland Yard, is in a true 
 Roman ftyle. In minute ornaments carved in 
 wood. Gibbons has no equal. His works in 
 that manner are frequent; but the beft are at 
 Lord Egremont's at Petworth, Windfor, and 
 the Duke of Norfolk's at Holm Lacey. In the 
 chapel of Trinitycollege, Oxford, are fome ftrik- 
 ing proofs of his genius. But the works of Ba- 
 con, Banks, NoUekins, Wilton, and Flaxman,. 
 will refcue the prefent age from being totally 
 indebted to foreigners for perfeftion in ftatuary. 
 His prefent majefty at Chriftchurch a buft, 
 
 » As ftatuaries, and natives of England, the names of 
 Nicholas Stone and Francis Bird fliould not be paffed over 
 in total fiience. Their vv^orks at Oxford however exhibit 
 Kttle more than the imperfe^Hoii of fculpture in England, 
 when they were confidcred as tlie bell: artifts, 
 
 ' There are others at Somerfet place, in the apartments 
 of the Royal Society and Academy, and of the Society of 
 Antiquaries. 
 
 It is faid of Le Moyne, fculptor to Louis XV. that during 
 the interval from 1730 to 1773, in each year, he finilhed 
 three or four bufts of that monarch, which were fent to 
 diiFerent parts of France. 
 
 by 
 
SCULPTURE. 403 
 
 by the firft- mentioned, has the ftrength of 
 Bernini. 
 
 In the hail at All Souls is a ftatue of 
 Judge Blackftone, fitting and habited in his 
 magiftratical charadler, which is indeed full 
 of fpirit and dignity. It commands attention, 
 and exprefTes importance. But the queftion 
 refpefling the coftum^e will occur to moft 
 fpediators; and Bacon impofed a hard tafk 
 upon himfelf v/hen he undertook fucli a pro- 
 fufion of wig and ermine.. Perhaps fo rigid 
 an adherence to verifimilitude mav be in moft 
 inftances relaxed, with happier efFc6l, if not 
 totally difpenfed with. Nothing, however, 
 between an exad: reprefentation of the drefs 
 of the times and the true antique, fhould be 
 admitted in ftatuary. Kent's fancy drefs for 
 Shakfpeare in Wcftm.infter Abbey, and of the 
 Duke of Somerfet at Cambridge, habited as if 
 he had lived in the reign of Charles the firf!:, are 
 incorreft. In St. Paul's Cathedral the ftatues 
 of Johnfon and Howard, both by Bacon, are 
 in oppofite ftyks. The Philofopher is in the 
 habit of an Athenian, gigantic, rather than 
 cololTalP, whilft the head of the Philanthropift 
 
 is 
 
 p Jean Baptifle Pigalle was famous for the anatomical 
 D d 2 accuracy 
 
404 SCULPTURE. 
 
 is dreffed like that of a gentleman of our' own 
 times. 
 
 When we would tranfmit to pofterity a 
 durable reprefentation of eminent perfons in 
 brafs or marble, we fhould follow the exam- 
 ple and cuftom of the ancients. It is their 
 genius or their virtue which ate brought for- 
 ward to our m/inds by the femblancc of life;- 
 and fo trilling and changeable a circumftance 
 as the drefs of the times they lived in can 
 make no imprcffion. The Romans paid no 
 attention to it, and frequently gave to the 
 flatues of mortals the habits and fymbols of 
 their deities, ftill preferving the likenefs of the 
 individual. 
 
 We Ihould confult like wife the nature of 
 the materials, as w^ell as the power of the art* 
 The eternal buckle in Parian Stone," may 
 be traced to the Emperour Otho, the firft who 
 
 accuracy of his figures, and chofe the follov/ing opportunity. 
 It was propofcd to ere6l a monument to Voltaire in his life- 
 time; and Pigalle undertook the flatue, provided it were 
 diverted of drapery. He executed a figure fcrupuloufly 
 from the life; the leanelt, the ugliefl, and the mofl dif- 
 guiVmg that could be imagined. In the flatue of Johnfoii 
 we difcover the atliletic author, who felled a bookfcller with 
 a folio, before we think of the Rambler. 
 
 wore 
 
I SCULPTURE. 405 
 
 wore a peruke ; and the falfe hair piled ovej. 
 I the forehead of the Emprefs Fauftina, may 
 •vie, for uglinefs, with the wig of Sir Clou- 
 idefley Shovel, in Weftminfter Abbey In 
 I the fimplicity of the antique we have an 
 unerring model ; but the ambition of novelty, 
 and the affectation of the French fchool, and 
 even of Bernini himfelf, have done great vio- 
 lence to fculpture. The ecclefiaftlc coftume? 
 fas far as is confined to broad folds, without 
 the minutias of plaits, flowing wigs, and lace, 
 is the befl of modern ufage, attempted by the 
 chiflel. Many of the flatucs of the Popes at 
 I St. Peter's are in a chaftc and grand ilyle, 
 ^particularly that of Rezzonico (Clement 
 XIII.) by Antonio Canova; who has judi- 
 cioufly departed from the famenefs of the 
 others, all of whom arc pontifically feated. 
 Rezzonico kneels, and his fine countenance 
 cxprefTes the humblcft adoration. But the 
 full drefs of an Englifli judge has infuperable 
 difadvantages ; and few artifts would have 
 fucceeded fo well as Bacon. 
 
 At Chriftchurch are bufls of General Guife, 
 A.rchbifliop Robinfon, Bifhop Barrington, 
 &c. and at Pembroke College one of Dr. 
 Johnfon, all by Bacon, and elaborately finiflied. 
 
 P d 3 For 
 
4o6 SCULPTURE. 
 
 For a very memorable improvement in le-- 
 pulchral ftatuary v^e are indebted to him. 
 The idea of reprefenting the virtues of the 
 deceafed by fymbolical figures^ if not original, 
 is well applied. It has been confidered as 
 derogatory to a Pope, to give any eulogium 
 upon his tomb, but his charafter is defcribed 
 by lymbolical ftatues. This cuftom originat- 
 ed in the fixteenth century upon the revival 
 of the arts, and has been frequently repeated. 
 Of thefe numerous perfonifications of the 
 virtues, the beft is that of Juftice" on the 
 monument of Paul the third, by Guglielmo 
 Delia Porta. Others of great fame, are the 
 figure which reprefents Painting" on the 
 tomb of M. Agnoulo in the church of S. 
 Croce at Florence, by Battifta Lorenzo, and 
 that of Cardinal Richlieu in the church of 
 the Sorbonne at Paris, upon w^hich is 
 
 Science," by F. Girardon. 
 
 Bacon has adopted this mode very happily, 
 though not without repetition of his firfl 
 thoughts; and has attained to nearly an equal 
 degree of perfection in feveral of his emble- 
 piatical figures, which are feen in ^Weftm^in- 
 
 ^ The monument of Mifs Whyttel. 
 
SCULPTURE. 407 
 
 fter Abbey, the Abbey church at Bath', and 
 Briftol cathedral, where his monument to 
 Mrs. EUzabeth Draper (Sterne's Ehza) is ex- 
 quifitely fimple. In the fame place, is one, 
 defigned by the Athenian Stuart, for Mrs. 
 Mafon, the wife of the poet, to which I give 
 the preference, merely for its more ftrid:ly 
 clalTical form. 
 
 One of Bacon's laft w^orks was a monu- 
 ment for Mr. Whitbread, which is a beauti- 
 ful compofition. His figure of Benevolence 
 is again introduced, with a variation only In 
 the attitude. It is well worthy the antique. 
 
 Wc muft, however, in candour, confefs 
 that the merit of the defign is not Bacon's. 
 The principal figure, fainting, and fupported 
 by Religion, is almoft a repetition, with the 
 difference only of coftume, of F. Girardon's 
 groupe above mentioned. Benevolence is 
 fubftituted for Science. Girardon finifhcd his 
 figures much higher than Bacon, who, it is 
 much to be regretted, had never vifited Italy; 
 and appears to have been not very fufccptible 
 of ideal beauty. His female figures are faith- 
 ful models from elegant life. 
 
 r Of Lady Miller. 
 
 D d 4 
 
 But 
 
4o8 SCULPTURE. 
 
 But another marble, fcarcely finllhed at 
 the time of his death, will fecure him a laft- 
 ing fame for originality and claffical tafte. 
 It is the Coenotaph lately erefted at Weft- 
 minfter Abbey to the poet Mafon. A Mufe 
 holding his profile on a medallion, reclines on 
 an antique altar, on which are fculptured, in 
 relief, a lyre, the tragic mafque, and laurel 
 wreath ; all of the moft corred: form, as feen 
 on ancient farcophagi of the pure ages. 
 
 To return to the ftatuary at Oxford. — 
 Francis Bird's ftatues at Chriftchurch are 
 inferior, and it could fcarcely be imagined by 
 the fame hand as that of Dr. Bufby in Weft- 
 minfter Abbey. In the Picture Gallery are 
 the bufts of Newton and of Sir Chriftopher 
 Wren, by Edward Pierce the elder, his fcholar 
 and affiftant, which evince a proficiency, con- 
 fidering the ftate of the arts at that time. 
 
 A head in the ftyle of the antique of a 
 young Bacchanal, lately prefented to this 
 gallery, is fmgular, not only for its beauty, 
 but as the work of the Hon. Mrs. Damer'. 
 Amongft the ancients, no female fculptor 
 had attained to excellence fufHcient to be 
 
 » It is infcribed ANNA SEIMOPIS AAMHP EnOIEI." 
 
 recorded ; 
 
SCULPTURE. 409 
 
 recorded; but on the revival of the arts, we 
 have one very extraordinary inilance. 
 
 Propertia de' Roffi was born at Bologna, at 
 the clofe of the fifteenth century. As her 
 liiftory, no lefs than her talents as an artift, 
 are interefting, I will relate it^ 
 
 The mallet and chiffel are not ufually feen 
 in the heads of the Graces. Propertia was 
 not only vxrfed in fculpture, but profefled 
 painting and mufic, in both of which fhe 
 had reached no common excellence. Her 
 firft works were carvings in wood, and on 
 peach -ftones, eleven of which were in the 
 mufeum of the Marquis Graffi at Bologna, 
 each reprefenting on one fide one of the 
 apoftles, and on the other feveral faints. In - 
 thefe minute attempts having gained unlverfal 
 applaufe, flie then gave a public proof of her 
 genius in two ange]s,which fhe finiflied in mar- 
 ble, for the front of the cathedral of St. Pe- 
 tronius. A buft of Count Guido Pcpoli was 
 equally admired. The rules of perfpe6tive 
 and architefture were not only familiar to 
 
 * Vafari. V. I. p. 171, edit. 1568, in which is a por- 
 trait engraved in wood, and of uncertain refemblance. 
 No mention is made of her in Pilkington's Di6lionary of 
 Painters. 
 
 her, 
 
410 SCULPTURE. 
 
 her, but Ihc is knovv^n to have fketched many 
 defigns in thofe arts; yet with all thefc talents, 
 and a fame unrivalled by her fex, Propertla w^as 
 moft unfortunate. In early life fhe had been 
 married without fympathy, and had fixed her 
 afFeftions on one whofe heart was totally in- 
 fenfible. As her health w^as daily yielding 
 to defpair, fhe undertook a bas-relief of the 
 ftory of Jofcph and Potiphar's wife, which 
 Ihe lived juft long enough to finifli, and died 
 young in 1530. It was at once a monu^ 
 ment of her hopelefs paffion and of her ad- 
 mirable fkill". Who does not envy the pof- 
 feflbr of fuch a relique, if it ftill exifts, with 
 fuch a tale belonging to it ? 
 
 Mrs. Damer firft ftudied the elements, and 
 was inftrufted by Ceracchi, w^ho has repre- 
 fented her as the Mufe of Sculpture, and 
 received farther affiftance in the fchool of 
 Bacon. 
 
 Two Kittens, in white marble, with the 
 fliock dogs, and the ofprey eagle in terra 
 cotta, at Strawberry-hill, now her own re- 
 fidence, have merited the elegant encomium 
 of Horace Walpole ^. 
 
 " Infandum fi fallere poffit amorem." 4. v. 85. 
 
 * Non me Praxiteles fecit at Anna Damer." 
 
 Thefe 
 
SCULPTURE. 411 
 
 Thefe firft mentioned are amongft her 
 early performances, and promifed the future 
 excellence to which Ihe has attained A 
 ftatue of his prefent majefty, larger than life, 
 at Edinburgh ; thofe, of admirable refem- 
 blance and grace, of Lady Melbourn and 
 Lady Elizabeth Fofter ; of Mrs. Siddons in 
 the charadler of the Tragic Mufe ; the heads 
 cf Tame and Ifis, for the bridge at Henley ; a 
 beautiful Greyhound % and the Bacchanal 
 above mentioned, are works upon the merit 
 of which a profeffional artift might fecurely 
 reft his fame. Thefe fmgular proofs of ge- 
 nius will command the admiration of pofte- 
 rity, as well for grandeur as elegance ; nor 
 will the obfervation of Quintilian upon Poly- 
 cletus be applicable, even to a female fculp- 
 
 y *' Long with foft touch iliall Darner's chliTel charm, 
 With grace delight us, and with beauty warm — 
 Fofter's fine form fliall hearts unborn engage, 
 And Melburne's fmile enchant another age. 
 
 Darwin. 
 
 ^ Exhibited in the Royal Academy, 1 799, with the fol- 
 ]o^ying infcription. 
 
 ANNA. ^EIIMOPI^. EnOIEI. AA.AIHP. TOTTIi. HIS, 
 TON. ATTHI. KTXAPION. 
 
 tor. 
 
4u SCULPTURE. 
 
 tor. Quin aetatem graviorem dicitur refu'* 
 gifle, nihil aufus praster leves genas^." 
 
 As a ftatuary, Mrs. Darner is unrivalled, 
 but in modelling in terra cotta ^, not an in- 
 ferior branch of the art, as it refpecfts defign, 
 but only in point of difficulty as to execu- 
 tion, flie has feveral competitors of her own 
 fex. 
 
 The firft tragedian of the Englilh ftage, 
 Mrs. Siddons, has executed the bufts of her- 
 felf and her brother, Mr. John Kemble, with 
 aftonifhing truth and effeft. Mifs Boyle, 
 now Lady E. Fitzgerald, Mifs Ogle, the late 
 Mrs. Wilmot, and Mifs Andrafs, have merit- 
 ed the approbation of the public by various 
 exhibitions of their genius for fculpture and 
 modelling. 
 
 It has been the objedl of this compilation, 
 by detailing fo circumftantially the collec- 
 tions of the virtuofi of England, to give an 
 authentic account of the treafares of anti- 
 
 a Lib. xii. c. X. p. 425. 
 ^ Andrea Verocchio, who died in 1488, was the firft 
 who invented and pradiled the method of taking ofF the 
 features of any face in plafler. 
 
 I qultj 
 
SCULPTURE. 413 
 
 quity prefcrved in this country, rather than 
 to enumerate the works of modern fculp- 
 tors. 
 
 The great fepulchral repofitory at Weft- 
 minfter is equally obvious to infpeftlon and 
 criticifm, and there is too wide a fcope, both 
 for praife and blame, to be comprehended in 
 thefc curfory pages. 
 
 Upon a general view of thefe multitudi- 
 nous fpecimens of fculpture, the admirer of 
 the pure antique will be greatly dlfappointed. 
 Bacon in defign and execution, and Stuart 
 in defign only, have dared to deviate from 
 the French manner, fo fuccefsfully intro- 
 duced by Ryfsbrack and Ptoubiliac, in whofe 
 works theatrical perfonifications abound, and 
 the attempt to embody metaphyfical ideas, 
 is much more frequent than happy. 
 
 Bacon's monument to the poet Gray, is 
 due to the claffical defign of his friend Mafon. 
 That to Lord Chatham certainly difplays 
 a very grand groupe. The Britannia is the 
 Urbs Roma, and the Thames is the Tiber of 
 the Capitol, copied with the appropriate va- 
 riation of the attributes. The monument to 
 Lord R. Manners exhibits the antique Nep- 
 tune, 
 
4T4 SCULPTURE. 
 
 tune, and the ftatue of Catherine Lady Wal- 
 pole, was finilhed at Rome, by Valory, from 
 the celebrated Livia or Pudicltia, in the villa 
 Mattei, 
 
 Stuart's defign for the monument of Ge- 
 neral Watfon, is original ; and compofed 
 with admirable fimplicity and tafte. 
 
 The ftriking defefh of many female figures 
 is not only in grace, but anatomy, whilfl: the 
 unfavourable attitudes of others required more 
 fkill than the fculptors evidently pofTeffed. 
 But the Genii are ftill more unclaffical, as 
 they are heavy with the chara6teriftics of 
 aerial lightnefs, and the wings are almoft uni- 
 verfally overcharged. 
 
 With the Englifh fchool of fculpture, 
 founded by Bacon, Banks, Nollekins, and Wil- 
 ton, no nation, excepting Italy, will offer a 
 fuccefsful competition. A mongft many mo- 
 dern fepulchral monuments which I obferved 
 at Rome and Florence, few appeared to have 
 that degree of merit which every vifitant 
 would exped: to find. Thofe in the pan- 
 theon at Rome, erefted to Winckelmann 
 and Metaftafio, are not fuperior' to many in 
 England, for fimpiicity or elegance. This 
 
 obfervation 
 
SCULPTURE. 415 
 
 obfervatlon applies only to the monuments 
 of private perfons, not thofe of the pontiffs 
 and cardinals. 
 
 We have a rifing artift of uncommon me- 
 rit. Flaxman"" has acquired the very fpirit 
 of the antique, but rather of the Etrufcan, 
 than of the Grecian ftyle. He is the Pouffin 
 of fculpture, and will add grace to corred- 
 nefs, and execution to boldnefs of defign, 
 as he advances in his profeffion. A more 
 claffically conceived bas-relief is feldom feen 
 than that which commemorates the poet Col- 
 lins in the cathedral at Chichefter. 
 
 But have we a national claim to infift on, 
 that in the honourable acquifition of fo many 
 of the fineft works of ancient fculpture^ 
 every admirer of the arts will avow his obli- 
 gation to thofe gentlemen w^ho have dedi- 
 cated fo mrach of their opulence and atten- 
 tion to form collections, little inferior, either 
 
 He has made a feiies of defigns from ^fchylus and 
 Homer, which are pubiifhed. Mr. Hope is in pofTefiion 
 of another taken from Dante. All thefe are unrivalled 
 for ftrength and originality. His monument for the poet 
 Collins, in Chichcfler cathedral, exhibits the true charac- 
 ter of the antique, without fervility of imitation. 
 
 6 in 
 
4i6 SCULPTURE. 
 
 in extent or merits to thofe of the Italian 
 princes. Nor are the Galhc fpoilers to be 
 envied for their bafe poffeffion of fo many 
 of the invaluable relics of ancient art. 
 
 That infuperable vanity which charac- 
 terizes their nation w^ill ever render them in- 
 fenfible to the fimple beauties of the antique. 
 Perfedion itfelf can have no model to offer, 
 ■which fuch ambition of excellence will not 
 attempt to improve. The claffical fopperies 
 with which their public reforts were crowd- 
 ed at the beginning of this century will 
 fcarcely be correfted in their future works of 
 fculpture, unlefs a total reformation of tafte 
 fliould be effefted by a more judicious appre- 
 ciation of the antique examples, of which 
 thev arc become maftcrs. 
 
 PART 
 
PART THE THIRD. 
 
 PAINTING. 
 
 Sum ex iis qui mirer antiques, non tamen, ut quidam tem- 
 porum noftrorum ingenia defpicio. 
 
 Plin. Epifl. 1. V. ep. 21. 
 
 Li Poete di pingono con le parole 3 li pittori parlano con 1' 
 opere, Annibale Caracci. 
 
 Ee 
 
PART THE THIRD. 
 PAINTING. 
 
 SECTION L 
 
 The late Lord Orford, better known in 
 the literary world as Mr. Horace Walpole, 
 made the hiftory of painting in England in- 
 terefting to common readers, and decorated 
 a fubjed: barren in itfelf % by the novelty of 
 his remarks, and by an animated and perfpi- 
 cuous ftyle. He allows, that our national 
 claims to more than barbarous attempts in 
 the arts, were not fuperior to thofe of our 
 
 -1 quae 
 
 Defperes tradlata nitefcere pofTc. Hor. 
 
 E e northern 
 
420 PAINTING. 
 
 northern neighbours at the fame period. To 
 trace, however, the progrefs from fuch rude 
 efforts to eventual perfection, required that 
 a certain aera of the original introduction 
 (for invention we have no proof) fhould be 
 afcertained with precifion. With his ufual 
 ingenuity, he has combated fome proofs of 
 their exiftence in this kingdom, which the 
 zeal of George Vertue induced him to confider 
 as authentic, and with equal judgment has dif- 
 criminated others which were no lefs deci- 
 five of w^hat can be termed painting, than 
 of the age to which thej may be pofitively 
 afcribcd. 
 
 We lej^rn, that in the early reigns, after 
 the conqueft, Greek enamellers, upon the 
 polfelTion of Conftantinople by the Croifaders, 
 were induced to follow them into Europe, 
 and found an ample patronage in England. 
 They were, at firft, employed for emblazon-r 
 ing of arm.s on fcpulchral m.onuments, as in 
 Weftminfter Abbey ; perhaps of thofe w^hich 
 were borne on the fhields of the heroes of 
 chivalry, but of this conjecture there is no 
 abfolute proof. Cups, either for the fervice 
 of the altar or the banquet, were moft richly 
 finifhed by thofe artifts. Tvv^o of greater 
 
 celebrity. 
 
PAINTING. 42f 
 
 celebrity, which are ftill prefcrved, are of 
 very curious workmanfliip. The more an- 
 cient is that given by king John, with their 
 charter, to the corporation of Lynn, in Nor- 
 folk ; the other from a cypher with a mitre, 
 w^hich is engraven on it, traditionally belong- 
 ed to Thomas a Becket, and is now in the 
 cabinet of the duke of Norfolk. Of chalices 
 which were ftill more elaborate and fplendid, 
 and of which there are fufficicnt notices in 
 the inventories of plate given to monafteries, 
 the dcvaftation committed upon their fup- 
 prefTion has left us only the verbal defcrip- 
 tion. 
 
 The crofier of Vv-^illiam of Wykcham be- 
 queathed by him, and now in high preferva- 
 tion at New College, is rich in ornament, 
 and exquifitely wrought. Thofc of other 
 prelates were, probably not inferior to it in 
 value and beauty ^. 
 
 The art of painting in frefco upon walls 
 and ceilings, with colours compounded of re- 
 
 ^ Bequeathed by the founder in 1403. It is fix feet 
 to the crook, and fix inches more to the top ; and is accu- 
 rately given in Carter's Antient Sculpture and Painting. 
 
 E e 3 finous 
 
422 PAINTING. 
 
 finous gums, is very ancient in England, and 
 being confined chiefly to ecclefiaftical build- 
 ings, it was frequently praftifed by the more 
 ingenious monks. 
 
 In the chapel of our Lady, behind the choir 
 of Hereford cathedral, are many beautiful 
 frefco defigns, not unlike the early iketches 
 of Cimabue or Giotto, and a fpecies of large 
 mofaic work, ftill perfecT:. They are of the 
 age of Edward 1. when feveral Greek and 
 Italian artifts had fettled in England. Thefe 
 frefco pahitings on the walls were made m 
 cxacl imitation of the veneered marbles, 
 •which, from being fo eafily procured, were 
 ufed even as an external ornament in Italy. 
 
 The outfide walls of the Duomo and Cam- 
 panile at Florence, are faced with three kinds 
 of marble, red, white, and black, difpofed in 
 filial 1 oblong fquares. The fime artifts, who 
 were once employed in applying the real ma- 
 terial, introduced this imitation of it, as the 
 richeft decoration in countries, where it could 
 not be found. 
 
 Buildings in the north of Italy, were imi- 
 tated in the reigns of Henry III. and Ed- 
 w~ard I. as far as their fhrine work, and 
 more ornamental architedlure, which appears 
 
 from 
 
PAINTING. 423 
 
 from many now to be fcen there in unperlfli- 
 ing marble, inftcad of triable ftoue and evane- 
 fcent colours. It is faid, that even in the 
 more early ages of the monadic Inftitution, 
 its votaries were encouraged to accpire feve- 
 ral of the liberal arts. In writing, then con- 
 fined to a few, they were ambitious to excel, 
 and the miffiils were illuminated by them. 
 We may tairly conjefture, that they acquired 
 all that they were capable of learning and 
 praftifing from profeffional artifts, fo that, in 
 procefs of time, they fupplied their place, and 
 the interior cmbellilhments of churches were 
 finifhed by the Monks themfelves. The por- 
 celain tiles for the pavement of the high al- 
 tar, were certainly prepared for the kiln by 
 them, and they difcovered neatnefs in the 
 penciling of the armorial bearings, and fancy 
 in the fcrolls and rebus, which were the more 
 common fubjeds. 
 
 A very curious MS. of the lives of the Ab- 
 botfj of Glouccftcr, throws much light on 
 this fuppofition. Abbot Wygmore, who prc- 
 fidcd in the reign of Edward II. is reported % 
 
 nut 
 
 c In the MS. before cited (p. '23) qnod in diverfis 
 artibus multum dilcclabatur, ut ipi'c (sEpiflline operetur, et 
 
 E c 4 muhos 
 
/ 
 
 424 PAINTING. 
 
 not only to have encouraged the liberal and 
 mechanic arts in his monaftery, but to have 
 excelled in them himfelf, and to have em- 
 broidered doves of filver upon a green fatin 
 cope, for the office of Pentecoft, v^ith his 
 own hands. 
 
 In his great dining room were portraits of 
 all the kings of England, prior to Edward IL 
 to whom he gave a fumptuous feaft ^. Judg- 
 ing only from what yet remains, we are apt 
 to fix the true aera of the introdu£tion of 
 feveral of the fine arts into this country per- 
 haps feveral centuries below^ the true date. 
 
 A ferics of figures in dlftemper were once 
 near the altar at Merton College ^ Before 
 the dofe of the fourteenth century, many 
 portraits of princes and eminent men have 
 been executed, which w^ere defaced by the 
 indifcriminating zeal of the reformers. 
 
 One of the mofl: authentic, and of the 
 
 multos (liverfos operarios in di6ta arte percoleret." At the 
 high altar of the cathedral of Gloucefter is a beautiful 
 pavement of painted bricks, placed there by Abbot Se- 
 broke. 
 
 d Id. MS. 
 « A. Wood. Antic^, Oxon. 
 
 greateft 
 
PAINTING. 4^5 
 
 greateft merit as a painting, is the portrait ot 
 Richard II. in Weftminfter Abbey, faid to 
 have been retouched by Vandyke. From 
 the circumftance of the general obliteration 
 of colours from the walls of churches at the 
 reformation, this fpecics of painting is now 
 rarely feen in any degree of excellence. 
 
 The art of ilkiminating on vellum is of 
 high antiquity in this kingdom. Mifials 
 wxre made fplendid, according to the dignity 
 of the pofleiTor, by the moft delicate limn- 
 ings in miniature, which were not confined 
 to fcriptural fubjeds, but frequently exhibited 
 the portrait of the owner, and his immediate 
 relatives ^ There are feveral in the cabi- 
 net at Norfolk -houfe of extreme curiofity and 
 value. 
 
 In the later centuries fimilar embellifii- 
 ments were added to chronicles and tranfla- 
 
 f The Sherborne Mifiil'il, one of tlie moft curious cx- 
 tant, was compiled by John Whas, a monk, in 1339. It 
 is a large folio, containing very numerous and beautiful 
 illuminations of portraits, &cc. It was taken into France, 
 bought by M. Dc Calonne, and became the property ot 
 G Mills, Ef(|. at whofe fale it produced 210'. given by the 
 duke of Northurabejland. 
 
 tions 
 
426 PAINTING. 
 
 tions of the claffics when they were compil- 
 ed by command of a noble patron. A ma- 
 nufcript of the fourteenth century, now in 
 the Bodleian library, is probably the moft 
 ancient in England of equal merit It is a 
 
 chronicle 
 
 « AmongH: the MSS. given by archbWliop Laud, is a 
 folio fragment, containing eleven beautiful illuminations, 
 entitled " Cy commence le fecond volume des Chroniques 
 D'Angleterie, &cc.'* chap. xxix. It is fuppofed to be part 
 of the Ghronicle mentioned by Bale, as having been com- 
 piled by William Pakington, fecretary to Edward the 
 black prince, and prebendary of Mapefbury. As no ac- 
 count has appeared of this curiofity, I (hall add a defcrip- 
 tion of its embeiliduiients. i. A portrait of Philip, king 
 of France. 2. A BiQiop and courtiers kneeling, each 
 having a fquare black patch over the right eye. 3. The 
 aflault of the cadle of Sallehrun by the Scots, and their re- 
 pulfe. 4. (which is the moft carious) " De la maniere 
 et ordonnance de la grand Felte et Jouftes que le noble roy 
 d'Angleterre fait pour I'amour de la contefTe de Salefburie, 
 &;c." chap. xl. The king is reprefented as fitting under a 
 canopy of (late, between hve ladies, who have high fu gar- 
 loaf bonnets, with flowing veils. The point of time is the 
 overthrow and confequent death of John, eldeO: fon of 
 Henry Vifcount Beaumont. The ladies, excepting the 
 countefs, are all fplendidly drefled, exceptce Madame 
 Alys, comtelTe de Salefburie, qui fut le plus fimplement 
 atournee, pour quel ne vouloit que le roy s'abandonnoit 
 trop fort a la regarder. Car elle n'avoit volunte ne penfer 
 
 a nul 
 
PAINTING. 427 
 
 chronicle of the wars of the vicflorious Ed- 
 ward III. In the Britifh Mufeum is preferv- 
 ed a manufcript FroilTart, with numerous and 
 highly finifhed illuminations \ The Miffal 
 given by Jacquetta^ duchefs of Bedford, to 
 'her nephew Henry VI. was in the pofleffion 
 of the late duchefs of Portland Books pre- 
 iented to the Univerfity of Oxford by Hum- 
 phrey duke of Gloucefter, and John Tiptoft, 
 earl of Worceller^ as well for general litera- 
 ture as the fervice of the church, abounded 
 in thcfe exquifite fpeclmens of ancient art. 
 Bifhops Grey and Fleming in particular pro- 
 cured many for the libraries which they 
 
 a nul vllain cas, qui en obciffant le roy peuft toriier a def- 
 honeur a Ton mari ne a ellc." 5. Siege of Calais. 6. Roy 
 ^'Empire. 7. Edward the black prince and his followers 
 in battle. 8. Battle, views of Coutances and Guiennp. 
 9. A ftorm overtaking the Englifh at Chartres. 10, A 
 pacification and treaty. 1 1 . The battle of CrelTy . 
 ^ MS. marked 4380. 
 i This Miffal is eleven inches long by fevcn and a half 
 wide, with gold clafps, and defcended from the earl of Ox- 
 ford to his daughter, the late duchefs of Portland. At the 
 fale of her mufeum (May 24, 1786) it was purchafcd by 
 Mr. Edwards, bookfeller, for 213/. his majelly declining 
 the gDmpetition. Gough's Sep. Mon. v. ii. p. 114. 
 
 founded 
 
4^8 PAINTING, 
 
 founded in the colleges of Balliol and Lin- 
 coln, moft of which are now known only 
 upon record ^. 
 
 ^ The only relique of duke Humphrev^s donation is a 
 Valerius Maximus, very finely illuminated. Warton's 
 Eng. Poet. V. ii. p. 45-50; and in v. ii. p. 400, is an ac- 
 count of Englifhmen who tranfcribed the MSS. at Rome 
 and Florence. The Florentines were the moft excellent 
 illuminators, of which there are innumerable fpecimens in 
 their hbraries, particularly of their own poet Dante, in the 
 Laurentian. Michelagnoulo's genius was fo fimilar to that 
 of Dante, that he filled the margin of his copy with de- 
 figns, which invaluable book was loft between Livorno 
 and Civita Vecchia. The Princeps editio (Ferrara 1485) 
 the only copy in England, was bought for the king, at 
 Dr. Afkew's fale, for 85/. Don Giulio Clovio, who died 
 in 157S at 80 years of age, was the moft celebrated illumi- 
 nator. In the Vatican are many MSS. ornamented by 
 him with portraits, retouched by Padre Ramelli, which be- 
 longed to the dukes of Ferrara. 
 
 At Strawberry-hill, Mr. Walpole had RafFaelle's MiiTal, 
 and the book of Pfalms by Giulio Clovio, which latter be- 
 longed to Lord Arundel, and was purchafed at Tarthall by 
 the late earl of Oxford. It is dated 1537, and was bought 
 at the duchefs of Portland's fale by Mr. Walpole, for 
 169/. This admirable artift fpent nine years in finiftiing 
 a pi6lure of Nimrod building the tower of Babel ; and an 
 ant fo incredibly fmall, that the moft minute member was 
 as perfe6t as if drawn of the full fize. General Oglethorpe 
 gave to Corpus College, Oxford, a bible in French, finely 
 illuminated. 
 
 At 
 
PAINTING. 429 
 
 At Lambeth is a MS. with the portraits of 
 Edward IV. his queen, and fon, earl Rivers, 
 and Caxton the printer. When thefe MSS. 
 contain the hkenefles of their royal or noble 
 proprietors, it gives them a confidcrable va- 
 lue, as no other portraits of equal authenticity 
 exifted at that time, and there is fufficient 
 evidence that they were genuine. Nor were 
 they confined to MSS. Tn the Tully's Epif- 
 tles, printed by John Fauft, the inventor, 
 now in the library of Emanuel College, Cam- 
 bridge, are portraits of Henry VIII. when a 
 boy, and his preceptor. That of Richard 11. 
 at Weftminfter, and another given by James 11. 
 to Lord Caftlemaine, now at Wilton, are 
 probably the moft ancient and genuine. 
 
 When portraits have been ftained on glafs, 
 although many have been demoliflied, they 
 have had a better chance for prefervation. 
 In feveral churches a genealogical feries of 
 their benefaftors was placed, fome of v/hich 
 have furvived, in an imperfcdl ftatc, the de- 
 cays of time and the rage of fanatics. Mr. 
 Walpole denominated two crowned heads, 
 w^hich he procured, Henry III. and his queen ; 
 and many with curled hair and forked beads 
 are faid to reprcfent the Edwards, Richard II, 
 
 and 
 
430 PAINTING. 
 
 and Henry IV. from that falhion prevalent 
 in their reigns, and remarkable on their 
 coins, which circumftance, on a curfory view, 
 may juftify the furmife. Generally fpeaking, 
 the whole-length figures with crowns and 
 fceptres are imaginary Jewifli monarchs, con- 
 nected with fome fcriptural hiftory; they are 
 univerfally fo when exhibited in profile. 
 Bilbops and abbots may be fuppofed to be 
 portraits by fair conjeClure ; they are diftin- 
 guiflied by their holding the croifier in their 
 right or left hand, the former only perform- 
 ing the office of benediction. 
 
 A difficulty occurs in fixing with fatisfac- 
 tion the true ^ra of hiftorical fubjeCts on 
 ftained glafs, which are not abfolutely fcrip- 
 tural. 
 
 In the Bodleian Library are two pieces of 
 a very early date, given by Mr. Fletcher, a 
 late mayor of Oxford. One of them repre- 
 fents a penance performed by Henry II. for 
 the murder of Thomas a Becket \ and the 
 
 other 
 
 1 In the cathedral of Canterbury is a frefco painting of 
 the martyrdom of Becket, and flained on glafs in the pa- 
 rifti church of Brereton, in Chefhire. Carter's Ancient 
 
 Sculpture 
 
PAINTING. 431 
 
 other Is merely a royal marriage, which, 
 though the difpofition of the figures agrees 
 with that of Henry VI. and Margaret of An- 
 jou, at Strawberry-hill, cannot pofitively be 
 faid to be that of Edward IIL Henry IV. 
 or of his fon ; at leaft there is nothing appro- 
 priate to either of thefe fovereigns. It was 
 once in the church at RoUright, Oxfordflbire. 
 
 Mr. Fletcher was likewife poffeffed of the 
 portraits of Henry V. and cardinal Beaufort, 
 removed, according to tradition, from the 
 prince's chamber at Queen's College, to 
 which fociety he has generoufiy reftored 
 them. Amongft the feries of portraits 
 known to have exifted, or ftill remaining, 
 arc thofe of the Clares"" and Dcfpencers, 
 earls of Gloucefter, at Tewkcfbury ; the 
 firft knights of the garter, at Stamford", in 
 Lincolnfhire ; the Fitzalans, at Arundel"; 
 
 Sculpture and Painting. Archaeolog. v, x. p. 51. In 
 the north tranfept of Chrift Church is a fragmented fub- 
 }cdi of T. a Becket. Fitznarfe, one of the affaffins, bears a 
 {hield with liis arms. 
 
 ™ Engraven in Carter's Ancient Sculpture and Paint- 
 ing. 
 
 • In Afliinole's Hid. of the Garter. 
 
 • Vifit. Suffejj. 1634. ColL Arms MSS, 
 
 3 and 
 
432 PAINTING. 
 
 and the Beauchamps ^ at Warwick. Thefe 
 confift of many individuals, each of whom 
 is charafterized by an efcocheon or furcoat of 
 arms. For fuch information we are chiefly 
 indebted to Dugdale and other ingenious he- 
 ralds, who did not omit to delineate all the 
 armorial portraits w^hich they found in the 
 courfe of their provincial vifitations. 
 
 In the old church at Greenwich, was the 
 likenefs of Humphrey, duke of Gloucefler, 
 with his furcoat of armorial diftinftions. No 
 other marks can pofitively afcertain the re- 
 femblance of other founders and benefaftors, 
 fometimes feen at parochial churches. 
 
 At Balliol and Queen's are fome of the 
 moft: ancient figures of ecclefiaftics in Ox- 
 ford, and at All Souls are fome fmall whole- 
 lengths, w^ell executed, and certainly of the 
 asra of the founder, archbifliop Chichelcy 
 
 In the church of the Priory of Little Mal- 
 vern, in Worceftcrfliire, are the portraits of 
 
 P Dugdale's Warwicklhire. 
 1 The portraits originally placed there, were thofe of 
 Edward III.; Henry IV. V. and VI. ; John of Gaunt j 
 John Stratford and Henry Chichely, archbifliops of Can- 
 terbury. A. Wood, p. 486. Edit. Gutch, 
 
 1 Edward 
 
PAINTING. 433 
 
 Edward IV. his queen, Elizabeth of York, 
 and her fillers, which are hkewife feen in a 
 window contributed by that monarch to Can- 
 terbury cathedral. Sir Reginald Bray, a fa- 
 vourite of Henry VII. and a connoiffeur in 
 architefture, who fuperintended his chapels 
 at Weftminfter, and St. George, at Windfor, 
 built likewife the church of Great Malverne, 
 w^here he placed the portraits of Henry VII. 
 his queen, prince Arthur, J. Savage, T. Lo- 
 vell, and himfelf, all in furcoats of arms, and 
 very richly executed, as we may judge from 
 thofe of prince Arthur and Sir R. Bray, which 
 only have efcapcd demolition. 
 
 The window of St. Margaret's, Weftmin- 
 fter, the fubjed: of which is the crucifixion, 
 was intended, by the magiftrates at Dort, as a 
 prefent to Henry VII. whofc portrait and 
 that of his royal confort are introduced. So 
 excellent is this performance, that five years 
 were fpent in completing it. Having been 
 firft placed in Waltham Abbey, and removed 
 in 1540, by Henry VIII. to the chapel of his 
 palace at New-hall, in Effex, it was reftorcd 
 by W. Price, for Mr. Conyers, of Copthall, 
 neas Epping, and purchafed for 400/. in 1758. 
 The feries of windows in the chapel of King's 
 
 F f College, 
 
434 t A I N T I N G. 
 
 College, Cambridge, each of which exhibits 
 a parallel ftory from the Old and New Tef- 
 tament, are likewife of this age ^ At Bal- 
 liol College are the martyrdom of St. Cathe- 
 rine (1529), and the paffion, refurredlion, and 
 afcenfion of Chrift, by an unknown artift, 
 but of fufEcient merit to induce the founder 
 of Wadham College to offer ^00/. for them. 
 Single figures of faints and ecclefiaftics were 
 introduced into England from Normandy, 
 and executed principally in the Low Coun- 
 tries. Stained glafs was brought from Rouen, 
 in 13 1 7, for Exeter cathedral, the weft win- 
 dow of which was put up in 1390'. The 
 cathedral of Salifbury is faid to have been 
 furniflied^ both with painted ^ and plain glafs, 
 
 ' la Walpole's Anecd. v. i. p. 173, James Nicholfon 
 is fald to covenant for eighteen new windows at King's 
 College, as Bernard Flower had done at Weftminfter. 
 The ftory of Ananias and Sapphira appears to have been 
 copied from RafFaelle's Cartoons. 
 
 ^ Account of Exeter cathedral, publiHied by the Society 
 of Antiq. 
 
 t Stained or painted glafs was anciently called royal," 
 as in Lidgatc. 
 
 *' In her oryall-wher fhe was 
 Clofyd with roial ghs" 
 
 even 
 
PAINTING. 435 
 
 even in the thirteenth century, foon after the 
 erection of that fplendid pile, and the win- 
 dows at New College and Merton arc cer- 
 tainly contemporary with Edward III. 
 
 The great call windov/ at York was the 
 work of Thomas Thompfon of Coventry, in 
 the reign of Henry IV. when it is probable, 
 that the art had exifted in England at leaft 
 for one century Glafiers (if they deferve 
 not the name of artifts), who compofed figures 
 and hiftories, were eftablillied in London, 
 Southwark, Coventry, Briftol, and York, of 
 whom there are various notices adduced, and 
 agreements with them recited by Mr. Wal- 
 pole, in his Anecdotes of Painting. 
 
 I am inclined to think, from the contrails 
 made between benefactors to ecclefiaftical 
 buildings in the middle centuries after the 
 conqueft, that the glafiers furniflied the ftain- 
 ed glafs, which was cut into various fliapes, 
 and inclofed with lead as the colours wxre 
 required \ The pattern or defign from which 
 
 the 
 
 u Drake's Eborac. p. 527. 
 ^ Dugdale recites the prices of ftained glafs. In the 
 reign of Henry VIII. tlie arms and poefics put up in 
 Chriftchurch-hall coft 
 
 F f Forty 
 
436 PAINTING. 
 
 the windows were compofed, were firft given 
 by the fame artifts who painted the walls in 
 frefco. 
 
 The ftained glafs in the church of Fair- 
 ford, in Gloucefterfliire, has long been the 
 boaft of that county. About the year 1492, 
 John Tame, a wealthy merchant of London, 
 took a Spanilh velTel bound from a Flemifli 
 port for South America, laden with this trea- 
 fure ; and according to the expenfive piety of 
 thofe days, founded a church of very regular 
 Gothick, for its reception. There are twen- 
 ty-five of thefe highly embellifhed windows, 
 the beft of which is the third, in the nortli 
 aifle. The fubje6l is the falutation of the 
 virgin, in which is a fine architedlural per- 
 fpe6tive of the temple. The great windows, 
 both eaft and weft, retain their original 
 perfeftion : of the firft mentioned, the fubjeft 
 is Chrift's triumphant entry into Jerufalem, 
 in which the efFed: of the crimfon velvet and 
 gilding is truly furprifing ; and the ftory of 
 the other is the laft Judgment. Gothick 
 
 £■ s. d. 
 
 Forty-feven Arms 15 13 8 
 
 Two hundred and forty-fix Devices . . 12 6 o 
 
 27 19 8 
 
 fancv 
 
\ 
 
 PAINTING. 437 
 
 fancy lias been indulged to the extreme in 
 thefe defigns, which are at once horrible and 
 ludicrous. So brilliant are the colours, and 
 fo delicate the drapery of the fmaller figures 
 in this aflemblage, that an equally interefting 
 fpecimen of ancient art will rarely be found 
 in England, or on the Continent. 
 
 We can trace the invention of ftained glafs 
 to Germany and the Low Countries. In 
 Italy, the w^alls of their churches are adorned 
 -with mofaic or paintings in frefco, and the 
 windows are, in general, fmall, and a minor 
 part only of internal architecture : but in 
 that ftyle which the Italians denominate il 
 gottico tcdefco," they occupy a principal di- 
 vifion of the whole ftrufture ; and therefore 
 were made the receptacles of the moft fplen- 
 did ornament. I ncglecSed no opportunity 
 in my tour on the Continent, of examining 
 Gothick churches as they occurred. At 
 Bruflels and Ratifbon, the ftained glafs is par- 
 ticularly fine. Neither at Rome, nor in other 
 Italian cities could I difcover any ^'decorations 
 
 of 
 
 y There Is fome llained glafs in the Duorno at Florence, 
 and we learn that the great window in tlieclioir oFtiie Duorno 
 at Orvietto, was painted by Francefco di Antonio, a Cif- 
 
 F f 3 teiciaii 
 
438 PAINTING. 
 
 of this kind, which had a great degree of me- 
 rit, excepting in the convent of Santa Maria 
 Novella, at Florence, where they nearly re- 
 femble thofe at Fairford, both in defign and 
 execution. There is a tradition that the fa- 
 mous Albert Durer furnifhed the latter draw- 
 ings, w^hich will not bear the teft of chrono- 
 logy, for he was not twenty years old when 
 thefe windows were put up, nor it is proba- 
 ble that he had then attained to fuch profi- 
 ciency. 
 
 In the parifli church of Buckland, near 
 Campden, in Gloucefterihire, are three well- 
 preferved compartments of ftained glafs, re- 
 prefenting the feven facraments of the Ro- 
 mifh religion. The firft compartment con- 
 tains fix, the fecond two, and the third nine 
 figures. 
 
 It will be deplored by the lovers of ecclefi- 
 aftic m.agnificence, that during the civil com- 
 motions in the reign of Charles I. and to 
 prevent the facrileglous deftruclion commit- 
 ed by Cromwell's foldiers, whofe rage againft 
 
 tercian monk of that city, in 1377. " Fra Francefco ino- 
 naco Ciilercienfe, per mano del quale dovevano deplngerfi 
 i vetri del fineftrone del coro." Storia del Duoni. di Or- 
 vietto, p. 1 26 J Qto. 1 791. 
 
PAINTING. 439 
 
 painted windows was infatiable ^, that fo little 
 opportunity or ikill was found by many who 
 wiilied to prefervc thefe valuable decorations, 
 after the reftoration. Some care was taken 
 to replace the fractured pieces, or fuch as had 
 been concealed in a more perfed: ftate, in 
 their original ftations, fo as to complete their 
 defigns. But it muft be confefTed, that the 
 perfons employed either defpaired of fuccefs, 
 or were extremely incompetent ; and there- 
 fore fitted the pieces together in haftc, and 
 without arrangement. Fortunately for this 
 venerable art, more tafte and more patience 
 have been exerted in our own times, and ar- 
 tifts have been found, who under the direc- 
 tion of connoiflieurs have fucceedcd admirably 
 in reftoring them to their priftlne beauty. 
 
 Dr. Lockman in 1774, made up of frag- 
 ments the great weft windovv^ at Windfor ; 
 and two of fnio:ular effedl have been defi2;ncd 
 and finilhed at Cirencefter in Glouceftcrfliirc, 
 
 2 The foldiers were particularly fcandalized by figures 
 at Magdalene and Trinity Colleges, which they broke by 
 jumping on them in their jack-boots. 
 
 nec fana rurfus, nec fcneftram 
 
 Caucafise hanc maculent volucres ! Mus. Anglic, 
 
 F f 4 by 
 
440 PAINTING. 
 
 by the prefent ingenious diredor of the So* 
 ciety of Antiquaries, who has fuperintended 
 their completion with equal induftry and 
 judgment. 
 
 SECTION 
 
PAINTING. 
 
 441 
 
 SECTION II. 
 
 After the reformation In England, v;e 
 may trace a new aera of ftained glafs, which 
 may be faid to have commenced with the 
 feventeenth century. The prcjvidices of the 
 firft reformers having relaxed in certain points, 
 relative to the internal decoration of churches, 
 the introduction of fo fplendid a mafs of 
 ornament and of one fo congenial with the 
 architecture ftill remaining, was no longer 
 profcribed by a pofitive injunction. Our 
 commercial intercourfe with the low coun'« 
 tries, where the arts had began to flourilh, 
 and where a fchool of painting had been 
 eftabllfhed, facilitated the acquirement of 
 ftained glafs, which emerging from its former 
 rudenefs, now exhibited a certain regularity 
 of defi2!;n. Durln«; the reims of Elizabeth 
 and James I. '^armorial bearings and ^fmall 
 
 portraits 
 
 a 7'he Earl of Shrewfbury's houfe in Broad Street, , 
 London, was fo ornamented in the reign of Elizabeth. 
 Lodge's Illuftrations, v. ii. p. 209. 
 
 ^ There are finall portraits of Charles 1. and Henrietta 
 
 (1633) 
 
442 PAINTING. 
 
 portraits in circles, were the ufual decoration 
 of the bay windows in the great manerial 
 halls; but complete fcriptural hiftories in 
 which the figures were well defigned and 
 grouped, were rarely feen excepting in the 
 private chapels, in the houfes of nobility''. 
 
 About 
 
 (1633) at Magdalene and Wadham colleges; and thofe of 
 founders at Brazenofe and St. John's. Archbifhop Laud 
 in 1634 Tet up painted windows at Lambeth and Croydon. 
 Rufh worth, v. ii. p. 273. 
 
 ^ Mr. T. Warton, in his life of Sir T. Pope, 8vo. p. 
 16, mentions, that James Nicholfon was a glafs ftainer, 
 inuch employed in the 16th century ; and Mark Willem.s 
 who died in 1561, is recorded in Walpole's Anecdotes, as 
 fupplying the glafs ftainers and arras makers of that time 
 with defigns for their feveral works. 
 
 The moft eminent ftainers in glafs, in Germany, France, 
 and the low countries, have been Luca Van Leyden, 1530. 
 John Pod of Harlaem, 1520. Dirk and Wouter Crabeth, 
 who jointly finifned a window at Gouda in Holland, 1567. 
 Peter Matfys and John Van BronkhorO:, 1630. Jacob 
 Vander Ulft, 1630. Abraham Diepenbeck, a pupil of 
 Rubens, is mentioned with great praife by Sandrart. Peter 
 Kouwhorn and Peter HoUlein, 1650. In France, Jean 
 Coufm, in 1580, ftalned the windows in the chapel of 
 St. Gervais, Paris. Pinegrier, in the Orleans chapel in the 
 church of the Celeflines at Paris, has painted in the windows 
 a feries of the kings and queens of France in the habits of 
 the times from Charles V. (1363) to Henry IL (1559). 
 
 Edward Rowe, glafs painter, died in London in J 763. 
 
 John 
 
PAINTING. 443 
 
 About the middle of the reign of James I. 
 Bernard Van Linge, a Fleming, is fuppofed 
 to have fetted in England; but was at all 
 events the father of glafs painting, in its re- 
 newed and improved ftate, in this kingdom. 
 
 Mr. Walpole remarks concerning the po- 
 pular notion, that the art was totally lofc to 
 us, was founded in ignorance of the true fadl ; 
 it was indeed dormant, but never extin6l. 
 For there is no great interri^ption in the 
 chain of its chronological hiftory to the pre- 
 fcnt day. 
 
 The moll ancient work of Bernard Van 
 Linge which I have been able to authenticate 
 by his name, and a date 1 62,^, exhibits the types 
 and hiftory of our Saviour at Wadham col- 
 lege, for which the donor, according to a 
 tradition, perhaps amplified, is faid to have 
 given 1 500/. There is reafon likewife to 
 fuppofe that fome figures, dated 161 6, were by 
 
 John Stephen Liotard painted on glafs wliich could be 
 viewed only in a darkened room ; the effect of the light and 
 fhade was furprifing, but a mere curiofity. Alonf. Perra- 
 che finiChed fmall pieces moll beautifully. The late H. 
 Key, Efq. of tiatfidd-houfe jiear Wakefield, in Yorklhirc, 
 praclifed ftaining on glafs very fuccefsfully. He excelled 
 in minute fubjccts, fuch as flowers, butterflies, &c. 
 
 the 
 
444 PAINTING. 
 
 the fame artift. Vertue colleded no notices 
 of Bernard Van Linge, nor have we proof 
 that he refided in England. Notwithftanding, 
 from internal evidence, I am inclined to be- 
 lieve that the feven windows at Lincoln col- 
 lege given by Archbilhop Williams, dated in 
 16 ZQ, 30, and 31, and faid to have been 
 brought from Italy, were, in fa6l, the work of 
 Bernard Van Linge. A good effect of glafs 
 windows in the architecture is often repeated. 
 Induftrious and accurate as Vertue is in his 
 refearches after painters in oil, he is ftill filent 
 refpecling Abraham Van Linge, who was 
 probably the fon of the former, whofe numer- 
 ous and extenfive works muft have required 
 his refidence here; and it is a fair conjefture, 
 that we owe to him the continuation of this 
 moft fafcinating art, under the aufpices of 
 Charles the firft, who gave a charter to the 
 artifts. 
 
 At Chrift Church, he finiflied the fubjefts 
 of Jonah, Sodom and Gomorrah, and Chrift 
 wdth the doftors, with the feveral dates, 1631, 
 1634, and 1640; Philip and the Eunuch at 
 Balliol in 1637 ; twelve compartments of a 
 window at Hatfield, and a window at Wrox- 
 ton ; Lord Guildford's, in Oxfordfliire ; the 
 
 Refurreclioa 
 
PAINTING. 445 
 
 Refurredlon at Queen's college 1635, and 
 windows at Univerlity college and Lincolfi's 
 Inn chapel 1641, with another at Peterhoufe, 
 Cambridge. In this enumeration, a fcries of 
 his works is merely attempted; many were 
 probably deftroyed foon after they were fi- 
 nifhed; and fome which ftill remain and are 
 duly authenticated, may have efcaped my 
 notice^. 
 
 Upon Van Linge's leaving England, or his 
 death, the art was dormant. Thofe who were 
 employed to refit the mutilated windows 
 after the reftoration, wxre incapable of any 
 original work ; and the firft evidence that 
 occurs of any good artift is of Henry Giles of 
 York, who appears to have eftablifhed a fchool 
 of glafs painting there, which continued its 
 reputation for more than a century. He 
 finifned a window at Univerfity college dated 
 1 687. William Price, the elder, was his moffc 
 able fcholar and fucceffor, who firft acquired 
 
 *i The portraits of J. King, the lad prior of Ofcney and 
 firfl Bilhop of Oxford, with a view of Ofeney in ruins, 
 taken from a print in the Monailicon, were probably by the 
 elder Van Linge. There are faints with very rich cano- 
 pies, which were certainly brought from that abbey vv^hen 
 deftroyed. 
 
 fame 
 
446 PAINTING. 
 
 fame by his nativity, after Thornhill, at Chrift 
 Church, in 1696. He then ftained the life 
 of Chrift, in fix compartments, at Merton in 
 lyoz^', which performance lofes much of its 
 beauty and effcft by having each compart- 
 ment inclofed in a frame of glaring yellow 
 glafs, which was a m.ere conceit, and certain- 
 ly an unfuccefsful experiment. His brother, 
 Jofliua Price, reftored, with great fuccefs, the 
 windows at Queen's college, originally done 
 by Abraham Van Linge, which had been 
 broken by the Puritans. The prefent date is 
 171^. The Chiaro-fcuro figures of apoftles 
 and prophets in the chapel at Magdalene are 
 by his hand. 
 
 In the cathedral at Chrift Church is a fin- 
 gular curiofity; it is a fmall window repre- 
 fenting St. Peter and the angel, dated 1700; 
 and, as the infcription imports, ftained by 
 P. Oliver, when feventy years old. As a work 
 of merit, it will attrad: notice, and there are 
 grounds for conjecture, that this artift w^as con- 
 neiled with the inimitable miniature painters, 
 who were patronifed by Lord Arundel, and 
 
 * For this window Price received 260/. 
 
 who 
 
PAINTING. 4^7 
 
 who gave fo much luftre to the age of Charles 
 the firft. 
 
 Wilham Price, the younger, was employed 
 for the windows in Weftminfter Abbey, 
 which were voted by parhament, and were 
 put up in and 1735. For the chapel at 
 
 Winton college he ftained a window of the 
 genealogy of Chrift, and feveral at New Col- 
 lege, Oxford, which he had procured from 
 Flanders, originally taken from defigns by 
 Rubens and his fcholars, were in a great de- 
 gree made perfecl by him. Bifhop Benfon 
 procured by his hand, the fubjedl of the re- 
 furrecSion, for the window of his private cha- 
 pel in the palace at Gloucefter. But his 
 chief merit was in his defigns and arrangement 
 of mofaic, of which there are many fpecimens 
 at Strawberry hill, which are examples of fkill 
 and tafte. The Herbert family in a clofet 
 at Wilton, after the coftume of the earlier 
 centuries, are by his hand. 
 
 Of this fchool, eftabliHied at York, was 
 William Peckitt, whofe proficiency was infe- 
 rior to that of his predecefTors, and who pro- 
 duced only an extreme brilliancy of colours. 
 Between the years ]7()5 and 1777, he 
 
 finilhcd 
 
448 PAINTING. 
 
 finiflied the windows on the north fide of the 
 chapel at New College, with arbitrary^ por- 
 traits of the canonized worthies of the church. 
 In 1767, he put up at Oriel college a win- 
 dow of the prefentation of Chrift in the tem- 
 ple, from a defign of Dr. Wall of Worcefter, 
 a phyfician who amufed himfelf by painting. 
 In the Library of Trinity College, Cambridge, 
 he painted a window from a defign of Cipriani, 
 the fubje6l of which is the Britifh Minerva 
 prefenting Bacon and Newton to his prefent 
 majefty. It has 140 fquare feet of glafs, and 
 coft 500/. 
 
 In this reign a new ftyle of ftaining glafs 
 has originated, which is the boaft and pecu- 
 liar invention of our ow^n artifts. 
 
 From the broad window's height 
 " To add new luftre to religious light, 
 " To bid that pomp with purer radiance (hine." 
 
 T. Warton. 
 
 The deviation from the hard outline of the 
 early Florentine or Flemifh fchools to the 
 
 Shapes, that with one broad glare the gazer ftrike — 
 Kings, bifhops, nuns, apoftles all alike, &c. 
 Ye colours that the unwary fight amaze, 
 And only dazzle in the nooiUide blaze. 
 
 T. Warton, 
 
 6 correct 
 
PAINTING. 449 
 
 corre6l contour of Mlchelagnoulo, or the 
 gorgeous colours of Rubens, is not more de- 
 cidedly marked, than the defign and execu- 
 tion of the Vanlinges and Prices, and the 
 mafterly performances of Jarvis. A ftriking 
 deficiency in the compofition of the early 
 artifts, was the neceffity of furrounding the 
 different colours of which the figures confifted 
 with lead, and deftroying, by that means, the 
 harmony of the outline. Harfhnefs was the 
 unavoidable effect which they knew not ei- 
 ther how to corre(?l, or obviate. 
 
 Jarvis, who, a few months fmce, has paid 
 the debt to nature, was firft diftinguiihed for 
 exquifitely finifhing fmall fubjed:s. At Lord 
 Cremorne's villa, Chelfea, is the moft com- 
 plete collection of his early works, confiding 
 of about twenty pieces. The interior of Go- 
 thick chapels and caftles is exhibited with 
 rays of funfhine, producing the richeft efteft. 
 
 In priority of excellence, if not of time, the 
 firft is the great w^ftern window of the chapel 
 at New College, Oxford 
 
 The 
 
 g This admirable piece of art was completed in 17S7. 
 The total expence of the upper compartment was 11 08/. 
 and of the lower 820/. Sir Jolhua's paintings are divided 
 
 G g amon^fl 
 
450 PAINTING. 
 
 The defign was made by Sir Jofliua Rey- 
 nolds, and is divided into two parts. In the 
 lower compartments are placed upon pedef- 
 tals, in chiaro-fcuro, feven female figures,- 
 larger than life^ reprefenting the chriftian 
 graces and the cardinal virtues. It is diffi- 
 ^ cult to determine, which of thefe may claim 
 the higheft merit. Temperance and Charity 
 are generally preferred ; but Sir Jofliua him- 
 felf gave the decided palm to the figure of 
 Hope, reaching forward to heaven. 
 
 The middle compartment of the higher 
 divifion reprefents the Nativity, the leading 
 idea of which is evidently taken from the 
 celebrated " notte" of Correggio, at Modena. 
 
 Antonio PtafFaellc Mengs likewife availed 
 himfelf of that matchlefs compofition in the 
 Nativity, which he painted for the king of 
 Spain's colle6llon, in which the whole breathes 
 gaiety and cheerfulnefs, in contraft to the 
 Crucifixion. Sir Jofhua has introduced por- 
 traits of himfelf and Jarvis, as Ihepherds, a 
 
 amongfl; feveral proprietors. The Duke of Rutland has 
 the Nativity, for which he paid 800/.; the Duke of Portland 
 fome of the accompaniments, bequeathed to him by Sir 
 Jofhua ; and Lord Inchiquin the others, with the fevcit 
 figures. 
 
 hint 
 
PAINTING. 451 
 
 hint poffibJy taken from the picture above 
 mentioned;, m which Mengs h?.s done the 
 fame. On either fide of the great center- 
 piece, are accompaniments formed by beauti- 
 ful groupes of fticphcrds and boys with flam- 
 beaus, and over all, an angel repofmg upon 
 clouds, with a fcroll bearing a paffage from 
 holy writ. 
 
 Mr. T. Warton's elegant verfes to Sir 
 Jofliua Reynolds^ contain fo ample a defcrip- 
 tion and fo jufl: a panegyrick, that humbler 
 praife is neceffarily precluded. A new and 
 peculiar effed: firft attempted by Jarvis, he 
 has marked with precifion : 
 
 " Tv/ixt light and fnade the tranfitory (Irife.** 
 
 and, 
 
 " Her dark illumination wide Che flunsc 
 With new folemnity," 
 
 than which nothing can be more poetical and 
 true. 
 
 Another fine work of Jarvis, affociated 
 w^ith his m.oft fuccefsful pupil Forreil, is the 
 great eaftern window in St. George's chapel 
 
 H Verfes to Sir Jofliua Reynolds on tlie painted window 
 :it New College, quarto, 17S2. 
 
 G g Z at 
 
452 PAINTING. 
 
 at Windfor. The fubjed; defigned by Weft Is 
 the Refurredlion, which is difpofed in three 
 grand compartments'. 
 
 Befide this, Forreft has finiflied three other 
 windows, w hich add to the late embelhfliments 
 of that fmgularly elegant chapel. They are the 
 Angel's Appearance, the Nativity, and the Wife 
 Men's Offering, all likewife from the pencil of 
 Weft, which are dated 1792, 94, and 96. 
 The Crucifixion by the fame artifts, and def- 
 tincd for the fame ftru6lure, is now advanc- 
 ing towards completion. 
 
 In 1776, Pearfon ftained the chapel win- 
 dow of Brazenofe College, Oxford, from car- 
 toons by Mortimer, of Chrlft and the four 
 Evangelifts. This is his moft confiderablc 
 work. His wifc*^, Mrs. Pearfon, has difcover- 
 ed an equal genius, and they have jointly 
 executed numerous fmall pieces of very great 
 merit, which having been publicly exhibited, 
 were finally difpofed of by auction in 1797^ 
 One of the moft correct and beautiful of them, 
 the Aurora of Guido, is now at Arundel caftle^ 
 
 Of 
 
 ^ It is faid to have cofl; 4020!. 
 
 ^ Mrs. Lawrie, another female artiil, promifes confix 
 able eminence in glafs ftaining, when improved by practice. 
 
 ^ At this time rifing under the aufpices and by rnc folc 
 Jirchiteclure of his Grace Charles Duke of Norfolk. To 
 
PAINTING. 453 
 
 Of modern proficients in this exquifite art 
 one of the moft eminent is Eginton, who is 
 cftablillicd at Handfworth near Birmingham. 
 
 His excellence has been progreffive, and his 
 induftry has been duly encouraged, for nearly 
 fifty confiderable works by his hand, arc a 
 very creditable proof of both. At Magdalene 
 College, Oxford, he has reftored the great 
 weft window of the general refurre6tion, ori- 
 ginally done in chiaro-fcuro by Schwartz, 
 from which an engraving has been taken by 
 Sadeler. Eight other windows have likcvvife 
 been lately put up by him in the ante-chapel, 
 in w4iich are whole length portraits, in their 
 proper habits, of Wykeham,Wayneflete, Wol- 
 fey, and Fox, all Bifhops of Winton, The 
 chiaro-fcuro has a w^arm biftre tint. To no- 
 tice fome of the moft remarkable for extent 
 and ingenuity, I fliould fele<$l the Refurre(^l:ion 
 at Salifbury Cathedral, defigncd by Sir Jofhua 
 Reynolds; the fame fubjc6l at Litchfield; the 
 banquet given by king Solomon to the queen 
 
 the defigns, as much as to the patronage of the Earls of 
 Pembroke and Burhngton, Britain is proud to owe the in- 
 trodu6l!on of claflical archite6ture, as the Gothick will its 
 reftoration In a!l its varieties, to the noble pojTefTor of Arun- 
 del. 
 
 G g 3 of 
 
454 PAINTING. 
 
 of Sheba, from a picture by Hamilton, at 
 Arundel caftle ; the Converfion of St. Paul 
 and his Reftoration to fight at St. Paul's church, 
 Birmingham; Chrlft bearing his crofs, from 
 Moralez, at Wanfted church, EiTex; and one 
 of his lateft and moft perfect: performances, 
 the Spirit of a child in the prefence of the 
 Almighty, from a painting by Peters, in a 
 chapel at Great Barrs in StafFordlliire. 
 
 Glafs is the moft perfect vehicle both of 
 found and colour. How exquifitely refined 
 are the tones of the harmonica or mufical 
 glaffes when touched with delicacy and (kill ! 
 and how much have the moft expreffive tints 
 of Reynolds and Weft gained, by their being 
 transfufed over the furface of the ftoried 
 window!" 
 
 SECTIOIT 
 
•FAINTING, 
 
 455 
 
 SECTION IIL 
 
 It has been jufcly remarked by foreigners, 
 that the Engliili l-j^ve ever been more partial 
 to portraits, than any other nation '\ In the 
 earheft introdu6lion of painting into England, 
 family groupcs or fmgle heads were the folc 
 employment of the artifts. 
 
 Any preliminary obfervations, before I pro- 
 ceed to notice a few of the more curious fpe- 
 cimens of this kind of limning, are totally 
 fuperfcded by Walpole's Anecdotes; which 
 abound in fatisfacSory information and judici- 
 ous remarks, to which I am frequently in- 
 debted, if for reference only. 
 
 ^ Several portraits and family pieces of great curiofjtv are 
 preferved, tlic painters of which arc not authenticated. A 
 portrait, called Henry IV. at Hampton Court, Hereford- 
 fhire, but more probably an Earl of Arundel, the ChfFord 
 family at Chifwick, faid to be by John Ab-Eyk, and Hen- 
 ry Percy, the great Earl of Northumberland, at Petworth 
 are well worthy notice. 
 
 G g 4 Mabufe 
 
456 PAINTING. 
 
 Mabufe was certainly the firft painter of 
 merit, who was encouraged by profpefts of 
 patronage to vifit this country. Two of his 
 works now remaining, are highly finiihed. 
 The children of Henry VII. Prince Arthur, 
 Prince Henry, and the Princefs Margaret, at 
 Windfor% and the marriage of Henry VII. 
 and Elizabeth of York, once in the cabinet of 
 Lord Pomifret at Eafton Nefton, and now at 
 Strawberry-hill^ 
 
 In thofe cxcurfions which Mr. Pennant 
 rendered fo interefting to the lovers of anti- 
 quity, he was a happy illuftrator of many for- 
 gotten fpecimens of the early painters of por- 
 trait, now fo frequently expofed to the varia- 
 tion, if not to the inclemency, of our climate, 
 in the very many forfaken or dilapidated pro- 
 vincial houfes of our nobility and gentry. 
 
 b Of this pi6^ure there were four copies, or propably re- 
 petitions, by himfclf. 
 
 c Of feveral extremely curious hiftorical pieces, fuch as 
 ** le champ de drap d'or the embarkation of Henry VIII. ; 
 the battle of the fpurs at Pavia, now at Windfor; the inter- 
 view between Henry VIII. and Anne of Cieeves at 
 Greenwich, now Mr. Fountaine's at Narford, or of others 
 at Penfhurft, and thofe once at Cowdry, it would not be 
 earfy to afcertain the mafler. 
 
 I Ihall 
 
PAINTING. 457 
 
 I fhall attempt in a fummary manner a 
 view of portrait painting from the beginning 
 of the fixteenth to the end of the feventeenth 
 century. For the moft complete collediion 
 of the works of the painters who flouriflied 
 during that period, the follovv^ing refidenccs 
 are the moft worthy infpeftion. 
 
 Of the royal family of England the moft 
 valuable are at Kenfmgton; of the Fitz Alans 
 and Howards at Arundel caftle; of the So- 
 merfets at Badminton; of the Veres at Wel- 
 beck; of the Percys and Seymours at Pet- 
 worth ; the Thynnes at Longleat, and at Pen- 
 lliurft of the Sidneys, though there is no likc- 
 nefs of the illuftrious Sir Philip in that an- 
 cient manfion. 
 
 A Kingfwefton is a ferics of the Cliffords, 
 Crom wells, and Southwells; at Wrcft of the 
 Greys; atGorhambury of the Bacons; at Ditch- 
 ley of the Lees; at Chatfvvorth and Hardvvick 
 of the Cavendi(hcs and Talbots; and of the 
 RufTells at Wooburn Abbey. All thefe which 
 ftrongly recur to my recolleftion, without dif- 
 paragement of others which are lefs known, 
 contain the beft works of the matters who 
 were patronifed by the court and the nobility, 
 from the time of Hans Holbein to that of Sir 
 
 Peter 
 
458 PAINTING. 
 
 Peter Leley. Holbein was invited to England 
 either by Henry Fitz x^lan. Earl of Arundel, or 
 Henry Howard, Earl of Surrey, who had feen 
 and admired his works at Baflc, returning 
 from Italy; but it is allowed that, amongft 
 the nobility, his principal patron was the 
 Duke of Norfolk, w^hofe portrait is at Norfolk- 
 houfe, and another at Windfor. After his 
 eftablifhment in the court of Henry VIII. he 
 drew many portraits, but of thofe attributed 
 to him, fome have no pretenfions to his 
 genuine ftyle, and are only fandlioned by long 
 tradition. His public works'^ in England are 
 
 ^ I. Henry VIII. giving the charter, in Surgeon's hall. 
 2. Edward VI. delivering the charter to the Lord Mayor 
 at Bridewell. 3 and 4. Two large allegorical pi6lures in tlie 
 Steel-yards. Walpole's Anecd. Vol. I. p. 136. The fa- 
 mily of Sir T. More is in difpute, five of tlie fix exifting 
 pi6lures are certainly not hy Holbein. Archbiihop War- 
 ham at Lambeth, and Erafmus at Longford caftle, are un- 
 doubted, and iTJoft excellent. For the laft-mentioned Lord 
 Radnor gave no/, ^s. at Dr. Meade's fale in 1754. 
 
 In Holbein's grouped the eyes are all turned the fame 
 way, and the profeffional drelTes form the leading dilcrimi- 
 nation. RafFaelle's two portraits of the lawyers, Bertolus 
 and Baldus, in the Pamfili palace at Rome, have blackcaps 
 upon a green ground. Holbein's are fo perpetually. Raf- 
 faelle, Titian, and Albert i3urer, ufcd gold in their pictures ; 
 the former but fparingly, and in compliance with a prevail- 
 ing cufiom. 
 
 four 
 
PAINTING. ^59 
 
 four only, as enumerated by Mr. Walpole, 
 which are rather groupes of portraits, than 
 hiftory. Nothing could be more unfavour- 
 able to female beauty, than the drefs of thofe 
 times, particularly the angular coiffeur, like a 
 Gothick pediment, and the fcrupulous con- 
 cealment of the hair. Holbein's men are 
 therefore much more charadieriftic and in- 
 terefting, than his ladies. Even his iVnna 
 Boleyne is deficient in lovelinefs, as he has 
 pourtrayed her'\ In his Hkenefs of Anne of 
 Cleves, he is faid to have facrificed truth to flat- 
 tery, yet the original, in the pofleffion of Mr. 
 Barret of Lee in Kent, is below a mediocrity 
 of beauty. 
 
 A mofl: valuable colleftion of Holbein's 
 Urd fketches, upon paper with crayons, mofl 
 of them probably taken at a fmgle fitting, and 
 reprefenting perfons of quality in the reign of 
 Henry VIII. has been lately publiilied, and 
 engraven as fac fimiles, with the ftrcngth and 
 
 In the king of Spain's colledlion Is a head of Anna 
 Boleyne by Leonardo da Vinci, painted, as his religious 
 prejudices reprefented her, with a meretricious air. 
 
 When love could teach a monarch to be wife, 
 
 And gofpcl light firft beam'd through Boleyne's eyes. Gray. 
 
 fpirlt 
 
46o PAINTING. 
 
 fpirit of the originals ^ We learn, that after 
 the demlfe of Holbein, they were fold into 
 France, from whence they were brought, and 
 prefented or fold to Charles I. by Monfieur 
 de Liencourt. By the king they were ex- 
 changed with William, carl of Pembroke, 
 for a Saint George, by RafFaelle, now at Pa- 
 ris, which had belonged to Henry VIII. 
 Lord Pembroke gave them to Lord Arundel, 
 who had previoufly enriched his colle(5lion 
 with many of Holbein's original fketches, 
 and his portrait by himfelf Upon the dif- 
 perfion of his cabinet, thefe were purchafed 
 for the crown, and depofitcd in a clofct at 
 Kenfmgton. 
 
 f Imitations of drawings by Holbein, publifhed by 
 J. Chambeilaine, Efcj. and the lives by Edmund Lodoe, 
 Elq. Lancafler Herald, in imperial folio, began in 1789, 
 and completed In 1792. Mr C. has likewife given to the 
 world a part of liis majeity's colledtlon of drawings of the 
 Florentine and Venetian fchools. Thofe of Leonardo da 
 Y'nci appeared in 1796, whofe works were colle6^ed in 
 thirteen volumes, and by him bequeathed to Sig. Melzi. 
 Three volumes became the property of Pompeo Leoni, 
 one of which is conje61ured to have been procured by Lord 
 Arundel, when embafTador to the Emperor Ferdinand 11. 
 in 1633. Engravings from the defjgns of the three Ca- 
 raccis, which were began in 1797, are now completing. 
 
 Merely 
 
PAINTING. 461 
 
 Merely as a portrait painter, Tltiano Vc- 
 celli was invited to England by king Hen- 
 ry VIII. through the agency of Henry Fitz- 
 alan, earl of Arundel, or perhaps from a mo- 
 tive of rivalry to Francis I. who had retained 
 Primatlccio at his court. Whether the 
 terms propofed were inadequate to his claims, 
 or that he thought his talents for hiftorical 
 defign w^ould be depreciated in England, 
 Titian firmly rejed;ed the overture. 
 
 It has been before obferved^ that the attic 
 ftory of the Public Schools at Oxford has 
 been dedicated to the reception of {X)rtraits. 
 Another very ample repofitory is the great 
 hall at Chriftchurch. In fcveral colleges 
 are fingle portraits of merit. Tlie plan I 
 fliall purfue, will be to notice each mafter in 
 chronological ferics, and thofc works which 
 liave a ftronger pretenfion than that of hav- 
 ing; been merely attributed by tradition. The 
 Oxford collediion of portraits w^ill be fpokcii 
 of generally; — their locality will be eafil) 
 found. 
 
 Thofe of the founders were contributed by 
 their fevcral colleges, about the clofe of the laft 
 century, when the gallery was refitted in its 
 
 prefcnt 
 
463 PAINTING. 
 
 prefent ftate. Sunman painted the majority 
 of them, attempting the hard manner of fome 
 of the originals, which he copied, and in- 
 dulging his imagination^, with refped: to 
 others. As very fuperior to the reft, will be 
 obferved the portrait of Sir T. Pope, which 
 is the beft of the four copies of Holbein's 
 pidurc, now at Lord Guildford's, at Wrox- 
 ton ^. 
 
 HOLBEm. 
 
 None in the Pldure Gallery are by his hand,, 
 but in the Chapter-houfe, at Chriftchurch, 
 there are two, which are authenticated as 
 
 S In the feries of founders, John Balliol is the real por-- 
 trait of an athletic blackfmith, and Dervorguilla of Jenny 
 Reekes, a celebrated Oxford beauty of that day. Sunman 
 painted a very fine head of an old woman, at Wadham 
 college. He was the competitor of Ryley, and left Lon- 
 don for Oxford, upon Ryley 's fuperior fuccefs. 
 
 ^ Warton's Life of Sir T. Pope, 8vo. 
 
 At Penfliurfl are the portraits of the condables of 
 Queenborough caflle, frojn Edward lll/s reign to the 
 third year of Henry VII 1. by Lucas Cornelii. Tlie kings 
 of Scothuid, at Holyrood-houfe, are all by one hand, and 
 the bilhops in Chichefter cathedral were painted by Ber- 
 nardi, in 151 9 j confequently all of them imaginary repre- 
 fentations. 
 
 6 havins: 
 
PAINTING. 463 
 
 having belonged to Henry VIII/s colleftion. 
 Both the portraits of that fovereign and Wol- 
 fey, at Chriftchurch, arc hy an inferior ar- 
 tift. The portraits of Henry at Windfor and 
 Kenfington, and thofe of himfelf and fon at 
 Petworth, remove ail doubt on that fubje£l. 
 There is a copy from Holbein's portrait, at 
 Knowle, in Kent ; of H. Howard, earl of 
 Surrey and another of Erafmus, from an 
 original, at Badminton, in the duke of Beau- 
 fort's collection. 
 
 Of Lucas de Heere, Sir Antonio More, 
 Cornehus Ketel, and Zucchero, no well au- 
 thenticated work will be found in Oxford. 
 
 * Of this moit accompli riiecl and Injured nobleman, a 
 chara6ler is very ingenioiifly given by Air. Walpole in liis 
 Royal and Noble Authors, vol. i, p. 96. 2d edit, and a 
 more ckffical and merited encomium by IVIr. T. Warton, 
 in his Hiftory of Poetry, v. iii. feci:. 19. In one of the 
 cabinets adjoining to the ?viedicean gallery of Florence, I 
 remarked a fmall portrait of Lord Surrey, w^itii his arms and 
 an infcription, upon a filver plate. A more curious portrait 
 painted by Guillim Streets, vrith emblematical devices, re- 
 lative to his hiftory, was once in the poITcffion of Sir Ro- 
 bert Walpole, and is now at Arundel callle. See Wal- 
 pole's Anecd. v. i. p. 207. There is a portrait of the fair 
 Cirernldine at Wobuin Abbey. 
 
 ISAAC 
 
4^4 
 
 PAINTING. 
 
 ISAAC OLIVER. 
 
 Sir Thomas Overbury, a large oval on a 
 blue ground, in oil colours. At Lord Guild- 
 ford's, at Wroxton, arc four limilar portraits 
 of perfons in the drefs of the age. Oliver's 
 fame as a miniaturift is fufficiently known. 
 His moft admired work of the three brothers 
 of the Browne family, at Cowdry, noticed by 
 Walpole, was deftroyed by fire in 1793^. 
 
 PAUL VAN SOMER. 
 
 Sir Thomas Bodley, 1597. Probably one 
 of his earlieft pidures, after his arrival in 
 England. Lord Arundel was his firft pa- 
 tron \ 
 
 CORNELIUS JANSEN. 
 
 A very fine half length of Lake, bifhop of 
 Bath and Wells, at New College, is conjec- 
 
 ^ Account of Covvdry, Mon. Vetuft. v. iii. 
 ' He probably owed l)is introdu6tion into this country 
 to the circumftance of having painted a portrait of Henry, 
 Lord Maltravers, only fon of the earl of Arundel, who 
 died at BrufTels, in 1557, aged 19. This pidure is like- 
 wife at Arundel caftle. Walpole, v. i. p. 225, 
 
 3 turally 
 
P A I N T I N G. 465 
 
 turally by his hand. There are others of Sir 
 H. Wootton, King bifliop of London, Cor- 
 bet bilhop of Norwich (1632), and Sir Dud- 
 ley Carleton (1628), which are not unwor- 
 thy of his pencil. 
 
 Cornelius Janfen made moft of his dra- 
 peries black, which is like wife to be obfcrved 
 in feveral of the portraits of Rubens and Van- 
 dyke. 
 
 It feems to add roundnefs, relief, and fpirit, 
 to the fisrures and carnations. He is faid to 
 
 o 
 
 have ufed ultra marine in the black colours, 
 as well as in the carnations, to which may be 
 attributed their luftre, even at this day. He 
 was jealous of Vandyke, and the civil war 
 breaking out, he fled from England. One of 
 liis bell performances is the Rulhout family, 
 at Northwick, in Worceftcrfliire. His fm- 
 gle heads are both numerous and excel- 
 lent 
 
 m One of the finefl in England, is that of Charles I. la 
 Mr. Lenthall's colle6lion at Burford ; but, colIe6lively or 
 fingly, there are none fuperlor to thofe at Ditch ley, in 
 Oxford/hire. The duke of Beaufort, at Badminton, has 
 Corn. Janfen by himfelf, a very capital portrait. 
 
 Hh 
 
 DANIEL 
 
466 
 
 PAINTING. 
 
 DANIEL MYTENS. 
 
 Richard Tomlyns, founder of the anatomy 
 lecfture. I attribute this portrait to him, on 
 account of the warmth of its colouring. 
 Mytens had ftudied under Rubens, and was a 
 popular painter in the reigns of James and 
 Charles 1. 
 
 VANDYCK". 
 
 His mafter, Rubens, remained little more 
 than a year in this country, during which 
 
 time 
 
 n When on his travels in Sicily, he was introduced to 
 Sophonifba Angiofciola, the celebrated paintrefs, who was 
 then 91 years old ; fhe died in 1626, aet. 93. Vandyck 
 declared, that lie acquired more of the theory of his art 
 from her converfation, than from all the Italian fchools. 
 The duke of Devonfliire has Vandyck's pocket-book, with 
 many fketches by Sophonifba Angiofciola. Her portrait 
 is in Lord Afhburnham's collection. Lord Spencer has 
 another fitting at an harpfichord, and Lord Harcourt a 
 third, which was once Mr. Bagnol's. RafFaelle, Rubens, 
 Salvator Rofa, Mengs, and Reynolds, are the only paint- 
 ers 
 
PAINTING. 457 
 
 time he was employed on the ceihng at 
 Whitehall. He found leifure to paint two 
 portraits of Thomas earl of Arundel, one of 
 w^hich is now at Warwick caftle, and the 
 other was in the polTeffion of the late duke 
 of Argyle, and is now at Lord Frederick 
 Campbell's, at Coombank, Surrey. At Of- 
 terley park, is a portrait of Villiers, duke of 
 Bucks, his great patron, and Lord Befbo- 
 rough has Sir Theodore Mayerne, the phy- 
 fician, to which greater praife cannot be 
 given, than to fay, that it equals the firil 
 mentioned. In Lord Spencer's collcdioa is 
 
 crs of eminence, who have written on the rubie6l of the 
 arts. Rubens wrote a treatile in Latin on the imitation of 
 antique ftatues, and it had been well if he had pradlifed his 
 own precepts. Du Frefnoy tranilated it into French. 
 Vandyck painted hiftory in a ftyle httle inferior to that of 
 his great mafter, of which tliere is one fine fpscimen in 
 England, which is the Eniperour Theodofius refufcd the 
 facrament by St. Amjirofe,? now belonging to Mr. Anger- 
 ftein. Vandyck was knighted upon his arrival in Eng« 
 land, in 1632, and died in 164.1. Vanfomer, Vandyck, 
 Dobfon, and Ryley, died before they were hfty years old. 
 A lift of his works, but imperfedlly compiled, is given in Le 
 Compters Cabinet desfjngularitezd'Architedture, Pcinture, 
 &c. V. i. p. 282. The hti\ of Vandyck's works, now in 
 Scotland, are the Holland family at Lord Bredalbane's. 
 
 H h :j Philip 
 
458 PAINTING. 
 
 Philip Howard, when young, who w^as after- 
 ward the laft Englifh cardinal. 
 
 There is only one genuine head of Van- 
 dyck's painting in Oxford. It is of Fran- 
 cifcus Junius or De Joung, Lord ArundeFs 
 librarian, and the author of the Etymolo- 
 gicon, Sketched in chiaro fcuro, w^hich has 
 been frequently engraven. 
 
 Archbifliop' Laud is a copy only from the 
 original by Vandyck, once in the Houghton 
 colle6lion. The univerfity of Oxford is faid 
 to have offered the Wharton family 400/. for 
 it. Lord Orford purchafed the whole of 
 their coUedlion, chiefly by Vandyck. To 
 enumerate his portraits is foreign to my pre- 
 fent purpofe. The fineft colle6lion of them 
 was at Cornbury, in Oxfordfhire, Lord Cla- 
 rendon's, w^hich has been divided and dif- 
 perfed. At Wilton, Mr. Walpole obferves, 
 
 Vandyck is on his throne," and at Pet- 
 worth are many of his ladies of quality. I 
 have feen none equal to that of Lady V e- 
 netia Digby, at Windfor ; and of men, none 
 fuperior to that of Thomas earl of Arun- 
 del, and his grandfon, at Arundel Caftle. 
 
 DOBSON 
 
PAINTING- 
 
 4^9 
 
 DOBSON 
 
 Had merited from Charles I. the title of 
 the Englifh Tintoret, before his premature 
 death, in 1646, at the age of only thirty-fix 
 years. He was the father of the ° Englifli 
 fchool of portrait painting, and, though fome- 
 times unequal, had much of the manner of 
 his mafter Vandyke, As he refided much in 
 Oxford, he has left there the portraits of 
 himfelf P and wife, and of Sir John Tradef- 
 cant, and his friend Zythepfa the quaker, in 
 
 the 
 
 • The Abbe Du Bos (T. ii. p. i5o), fpeaks of the ef- 
 fe£l of the climate of England on the genius of its 
 painters. 
 
 P Dobfon's portrait by himfelf is likevvife at Lord Buck- 
 ingham's, at Stowe, and another at Oftcrley park. Mr. 
 Owen Cambridge has a fine head of Secretary Thurlow 
 by him, and the duke of Devonfhire of Inigo Jones, at 
 Chifwick. Vandredort, Charles I.'s Cicerone, at Hough- 
 ton, was efteemed his mafterpiece. 
 
 Dobfon fometimes painted hiftory. His decollation of 
 St. John Baptift, at Wilton, and the Aftronomer and his 
 family, at Blenheim, are amongft thofe which are moft 
 known and admired. At Devonfliire houfe is a family 
 
 H h 3 groupc 
 
470 PAINTING. 
 
 the ftaircafe of the Aflimolean mufeum. 
 Two capital performances by him, unnoticed 
 in Walpole's Anecdotes, are the Lenthal 
 family at Burford, Oxfordfliire, and a con- 
 verfation piece at Lord Sandys's, at Ombref- 
 ley, in Worcefterfhire, in which are intro- 
 duced Colonel Ruffel, Prince Rupert, and 
 Colonel Murphy, at the drinking table. Sir 
 B. Gerbier, Sir C. Cotterel, and himfelf, are 
 in one pidure, at Northumberland-houfe, 
 
 WALKER. 
 
 His own portrait. He was encouraged by 
 Lord Arundel, who gave him apartments in 
 his houfe. Cromwell preferred him to any 
 other portrait painter, and the Grand Duke's 
 refident is reported to have offered 500/. 
 for an original by him, for the gallery at Flo- 
 rence, 
 
 groupe of Sir Thomas Browne, who indulged a curious 
 fpeculation concerning matrimony in his '* Vulgar Er- 
 rours." He is fmiling with the utmoft complacency upon 
 his children, who furround him. 
 
 LELY. 
 
PAINTING. 
 
 471 
 
 LELY. 
 
 A very characftcriftic and fpirlted portrait of 
 the author of Hudibras, given by S. G. Kncl- 
 ler ; Sir Jofcph Williamfon, fecretary of 
 ftatc ; Selden, a head ; Morley, bifhop of 
 Winton ; Fuller, bifhop of Lincoln ; and 
 Bennct, earl of i\rlington, at Chriftchurch. 
 
 It is allowed, that Lely excelled in female 
 portraits, which he more frequently painted 
 than thofe of men. Lord Bathurft, at Ci- 
 rcncefter, has fix whole lengths of the convi- 
 vial companions of Charles II. by him, which 
 had belonged to his anceftor Sir Peter Apflcy, 
 the king's colrcrer, and are extremely valu- 
 able, not only as being finely painted, but, 
 bccaufe Lely, with few exceptions, dedicated 
 his pencil to the ladies. The beauties at 
 Windfor have been long and fufficicntly ce- 
 lebrated 'I. 
 
 ' " The fleepy eye that fpoke the mehing foul." 
 
 PoPK. 
 
 Aktipat. Epig. 
 
 H h 4 
 
 FULLER. 
 
472 
 
 r A I N T I N G. 
 
 FULLER. 
 
 His own portrait, in a ftate of intoxica- 
 tion % which he has defcribed with fingular 
 fuccefs. As an artift, his talents were not 
 eminent. He painted the altar-piece at 
 Magdalene College, to which even Mr. Ad- 
 difon's elegant Latin poem cannot give fame. 
 At Ombrefley, is a converfation piece formed 
 by fix of the leading whigs in the reign of 
 queen Anne. All its merit is the curiofit}', 
 and the probable refemblance. 
 
 RILEY 
 
 Was Fuller's fcholar, but far farpafled 
 him. If his modefty had not retarded his 
 fame, and his life been prolonged, he would 
 have equalled Kneller. 
 
 Dr. Bulby and bifhop Saunderfon at Chrift- 
 church, and the duke of Ormond, in the 
 
 ' Jofeph Van Cranfbeke, his contemporary, ufed to paint 
 his own portrait with a patch over one eye, and a counte- 
 jnance full of griinace. 
 
 Pidure 
 
PAINTING. 473 
 
 Picflure gallery, are fine portraits, but his 
 mafterpiece is Lord Keeper North, at 
 Wroxton. 
 
 KNELLER. 
 
 Of fo Induftrlous and fo popular an artift 
 as Kneller, there are of courfe many works 
 at Oxford. There are Indeed two portraits, 
 which he never exceeded. Dr. Wallis, the 
 mathematician, and Lord Crew, both for co- 
 louring and expreffion, are in a great ftyle. 
 The laft mentioned was admired and ftudied 
 by Sir J. Reynolds % for fo peculiar an air of 
 nobility as that which it exprefles. The 
 heads only of Addifon and Nelfon are by 
 him, but they are uncommonly free and 
 fpirited. 
 
 Kneller's genius and mercenary negligence 
 were equally confpicuous in the majority 
 of his works. The beauties and admirals at 
 Windfor are well known, and were once 
 
 ' Sir J. Reynolds, when vifiting the Pi6lure gallery, 
 fpoke very highly of a portrait of Dr. Bourchier, a profef- 
 for of law, by an unknown artift, for its fmgular ftrength 
 of charader. 
 
 more 
 
474 PAINTING. 
 
 more celebrated. He himfelf preferred the 
 converted Chinefe at Windfor, to any of hh 
 portraits. I lately faw one of Mrs. Knight ^ 
 a favourite of Charles II. in the character of 
 a penitent kneeling before a crucifix, which 
 is mofk ftrikingly excellent. It is now at the 
 Down-houfe, near Tewkefbury. 
 
 Mr. Baker, of Hill-ftreet, Berkeley-fquare, 
 is now in poffeffion of the Kit-kat club, upon 
 which, as they were all his patrons and 
 friends, Kneller, no longer biaffed merely by 
 venal confiderations, was proud to exert the 
 happieft efforts of his pencil. 
 
 In the Bodleian library is a portrait of 
 Humphrey Wanley, Lord Oxford's librarian, 
 the face of which is in Knellcr's bcft man- 
 ner. 
 
 thornhill''. 
 
 A full length of Charles, earl of Arran, in 
 the gallery, and Sir Chriftopher Wren, in the 
 
 theatre., 
 
 < There is a mezzotint taken from it by Faber, See 
 Granger. 
 
 " His great works in frefco are the infide of the dome of 
 St. Paul's and the hall of Greenwich hofpital. He copied 
 
 Raffaellc's 
 
PAINTING. 475 
 
 theatre are by his hand. The latter he paint- 
 ed in conjunction with Verrio and Kneller, 
 and it has great merit. 
 
 RICHARDSON. 
 
 A portrait of Prior by him in the gallery, 
 with whom he lived in habits of intimacy, 
 is faid to be the beft he ever painted, and 
 to have fewer of the faults which the con- 
 noifleurs have attributed to this artift. 
 
 At Chriflchurch and in the gallery, there 
 are feveral portraits by Dahl and Vandre- 
 bank, none of which are worthy of particular 
 notice in this curfory fketch. 
 
 JERVAS 
 
 Has painted two fmall heads of Swift and 
 Pope, which are placed in the gallery. 
 Pope's praife both of Kneller and Jcrvas is 
 
 RafFaelle's Cartoons, upon which he fpent three years. 
 The duke of Bedford, at Thornhiirs fale in 1735, gave 
 only 200/. for them. Mr. Bryant, in 1800, gave 450 
 guineas for them, and they have been prefented by the 
 prefent duke to the Royal Academy. 
 
 extravagant. 
 
476 PAINTING. 
 
 extravagant. There are few of Kneller por- 
 traits which dcferve 
 
 « Whofe arc was nature, and whofe pidlures 
 thought/' 
 
 Kneller's idea of the antique was very pue- 
 rile ; yet Pope, who had feen his ftaircafes, 
 confulted him for a defign of the fliield of 
 Achilles 
 
 Few who now furvey Jervas's prim por- 
 traits of women, and their faded carnations 
 wrapped up in yards of fatin, will allow the 
 praife in Pope's epiftle to him to be charac- 
 teriftic, or even barely true. 
 
 There are feveral portraits by Hudfon, the 
 beft fcholar of Richardfon, but none of 
 them capital. The moft ftriking is that of 
 Handel. 
 
 * Kneller painted the Venus, Apollo, and Hercules, from 
 the celebrated antique llatues, and gave them to Pope, who 
 bequeathed them at his death to Lord Bathuril: ; and they 
 are now at Cirenceller. The poet returned his thanks iu 
 an epigram, given in Walpole's Anecd. but fupprefTed in 
 Warton's edition of his works. 
 
 REYNOLDS. 
 
PAINTING. 
 
 477 
 
 REYNOLDS. 
 
 At Chriftchurch, the portrait of Robinfon, 
 then bifliop of Kildare (afterward primate of 
 Ireland), dated 1765, was one of the firft 
 which procured him reputation. The car- 
 nations have been more durable than thofe of 
 the portrait of the marquis of Granby at 
 Stowe, and of many at Lord Landfdow^ne's at 
 Bow- wood 5". Two others of Dr. Nichol, 
 and the prefent archbilliop of York, are in a 
 ftronger ftyle. Ludowick Hartcamp, a 
 Dutch painter, when reproached for the 
 evanefcence of his colours, replied, that 
 they lafted longer than the money which 
 paid for them.'' 
 
 y He was a great experlmentalin: with refpedl to the 
 compofition of his colours. At firft, he ufed preparations 
 from vegetables, which he relinquiflied for minerals. He 
 is known to have purchafed pi6tures by Titian or his fcho- 
 lars, and to have fcrapcd ofF the fevcral layers of colour- 
 ing, in order to afcertain it, and difcover his fecret. His 
 thinly painted piflures ftand extremely well, as the cardi- 
 nal Beaufort, &c. 
 
 GAINS- 
 
 V 
 
47S 
 
 PAINTING. 
 
 GAINSBOROUGH 
 
 Painted Welbore Ellis (Lord Mendip) at 
 Chriftchurch, in 1763, which is curious, as 
 being one of his earlieft attempts, and Judge 
 Blackftone, in the picture gallery. His car- 
 nations have likewife failed in many inftances 
 which I could particularize. 
 
 LAWRENCE. 
 
 Lely was made ferjeant painter to the 
 king when twenty-five years old ; and Law- 
 rence at an earlier age. Reynolds is ftyled 
 the Titian, or perhaps, more corredly fpeak- 
 ing, the Pordenone of England. If it be fuf- 
 ficient praife to draw a parallel between Tin- 
 toret and Lawrence, he had deferved it, be-- 
 fore Dobfon had reached the fame period of 
 life ; and was fo denominated by his royal 
 matter, Charles I. 
 
 The prefent bifliops of Durham and St. 
 Afaph, at Merton College and Chriftchurch, 
 are dignified and fpirited portraits. To many 
 3 others 
 
PAINTING. 479 
 
 others by his hand, may be attributed PUny's 
 encomium on Ctefdaus, that to the moft no- 
 ble air, which nature had bellowed, he has 
 added both elevation and grace. 
 
 SECTIO!^ 
 
480 
 
 PAINTING. 
 
 SECTION IV. 
 
 There are altar piftures in the different 
 colleges at Oxford, which are well worthy 
 notice. Of thefe the moft valuable is Chrirt 
 bearing his crofs" at Magdalene. Like Ti- 
 tian's Chrifl crowned with thorns at Milan, 
 the countenance expreffes benevolence and 
 humility combined with dignity, under cor- 
 poral fufference. There is a head of Chrift 
 by Guido at Chifwick, which much refemblcs 
 this, and in that mafter s martyrdom of St. 
 Andrew, fmall figures are like wife introduced. 
 Byres of Rome thought that this pidurc 
 was by Ludovico Caracci, Guido's mafter, 
 but I have heard it attributed by a connoif- 
 jfeur of judgment to a Spanifli painter, call- 
 ed, for his peculiar excellence, the divine 
 Moralez""." 
 
 It was taken at the fiege of Vigo, was once 
 a See Cumberland's Anecd. of Spanifli painters. 
 
 in 
 
PAINTING. 4S1 
 
 in the colIecHon of the great Duke of Ormond, 
 and prcfented by Mr.. Freeman to the fociety. 
 At New College is the Angels appearance 
 to the Shepherds/' generally giv^en to Anni- 
 bal Caracci. It was the opniion of Sir J. Rey- 
 nolds, that the out! hies only were by hun, 
 and the colouruig by his fcholars. 
 
 The noli me tangere*' at All Souls Col- 
 lege was painted by Raffaelle Antonio Mengs''. 
 
 ^ "Antonio Raffaelle Mengs was horn at Aufig in Bo- 
 hernia. His firft patron was AuguUus IV.. king of Po- 
 land, and his laft and moft generous was Charles III. king 
 <.if Spain. His grand work was the Apotheofls of St. Eufe- 
 bius at Rome, and his moft beautiful picture, that of the 
 nativity or " notte" at Madrid. 
 
 Azara enumerates 73 eafel pi6lures of Mengs exi fling in 
 Spain, 17 of wiiich are in the roval colledlion, befide the 
 three great frefcos, the Apotheofis of Trajan, the Graces, 
 and the Aurora. He painted likewife the ceiling of the 
 villa Albani at Rome. His work'j, chiefly confifting of 
 eflavs on his art, were publiflied at Parma (2 vols, quarto 
 1780) by his friend and admirer Count D'Azara. There 
 was a great rivalHiip between Reynolds and Mengs, who 
 poflfefTed little original genius, and was a fcrnpulous, if not 
 a fcrvile copyift. He was coldly correct, and the greater 
 plagiary. I remarked in the chamber of painters at Flo- 
 rence, the portraits of Mengs and of R.eynolds by them- 
 felves, ftrongJy charailerifed by the dignified but fallen air 
 of the one, and the univcrfal intelligence and liberality of 
 the other. 
 
 li It 
 
4S2 PAINTING, 
 
 It evidently appears to have been compofed 
 from that of A. Caracci, in the Orleans col- 
 leftion, or from another by P. di Cortona, in 
 the Florence Gallery. The air and counte- 
 nance of the principal figure command a laft- 
 ^ng admiration, cnjus pulchritudo adjecilTe 
 aliquid etiam receptee religioni videtur, adea 
 majeftas operis deum a&quavit''." 
 
 There is a copy by him of the celebrated 
 
 notte" of Coregglo in the chapel at Queen's 
 College, of high finifhing. 
 
 Guido's annunciation" is well copied by 
 Pompeio Battoni** at Corpus Chrifti. At Je- 
 fus college is a copy of his St, Michael, and 
 at Pembroke, a figure of Chrift from Rubens 
 at Antwerp, by Cranch. The merit of thefe 
 is, of courfe, unequal; but the firft- mentioned 
 has much fweetnefs and delicacy* 
 
 The altar piftures in the fifter univerfity 
 have confiderable claims. At King's College 
 is a copy of the taking down from the 
 crofs" by Daniel dl Volterra; Weft's St, 
 
 « Quinft. 1. xii. c. x. p. 245. 
 * Pompeio Battoni was a very excellent copylil, of 
 which talent there are many fpecimens in England ; par- 
 ticularly of the works of RafFaelie, in the Vatican chanr. 
 bers at Northumberland Houfco 
 
 Michad 
 
PAINTING. 483 
 
 Michael at Trinity, the lialutation*' at Clare 
 hall by Cipriani, &c. 
 
 As the fcope of thefe obfervations is chiefly 
 confined to fpecimens at Oxford, I fhall pafs 
 to the collection bequeathed to Chrift-church 
 by General Guife% in 1765, attempting a 
 clafllfication of the fchools, with their fpecific 
 difcriminations; and fele6llng a few pictures 
 which have high pretenfions to original ex- 
 cellence. 
 
 The credit of many collections, as to its 
 foundation in truth, is equally affected by 
 immoderate praife and difeftecm, and this, in 
 particular, has been haftily depreciated. There 
 is certainly a great inequality in the pictures; 
 fome have no claim to the names they bear^, 
 
 c General Jolin Gulfe died governor of Berwick in 
 1765. He ferved under Field-rharflial Wade, and acquir- 
 ed a love of painting from him. By Frederick Prince of 
 Wales he was employed to collect pictures, and he was 
 much patronized by the Duke of Cumberland. In the 
 clofe of life he vifited Rome, where he was drawn, as a 
 Roman General, by Gavin Hamilton, which portrait is now 
 at Sir W. Guife's, at High nam court near Gloucefter. 
 Another is placed with his colle6lion at Ch rift-church. 
 
 ^ So diffident arc the Virtuofi in Italy in giving names 
 to pictures, without pofitive proof, that we frequently fee 
 in their catalogues quadro forprendentc d'un aut^rc in- 
 cognito " Yafi, Uc, 
 
 I i Z cmd 
 
484 PAINTING. 
 
 and others have been injurioufly cleaned and 
 retouched; there are yet many which are ex- 
 tremely interefting both to the artift and 
 connoiffeur. 
 
 VENETIAN SCHOOL. 
 
 Titian is the firft of colourifts. Raffaelle 
 was too monotonous, and avoided yellow and 
 vermilion. The colouring of Coreggio is 
 good, but not fufficiently delicate, as his flefh 
 appears too folid. Rubens ufed to amafs 
 his colours, making one refled; the other, 
 without a fufficient attention to harmony. 
 He preferred Barroccio to any of the Vene- 
 tian School ; from which circumftance his 
 lights, like Barroccio's, are of a peach bloom, 
 and his demi-tints are blue. I am happy to 
 cite the opinion of a very elegant and judici- 
 ous critic. It has often ftruck m.c, that 
 the whole fyftcm of the Venetian colouring 
 (particularly that of Giorgionc and Titian, 
 w^iich has been the great objed: of imitation) 
 was formed upon the tints of Autumn, and 
 that their pidures have from thence that 
 golden hue which gives them (as Sir J. Rey- 
 nolds obferves) fuch a fuperiority over all 
 2 others* 
 
PAINTING. 4^ 
 
 Others. Their trees, &c. have, more ftrongly 
 than thofe of any other painters, the deep 
 and rich browns of that feafon. The fame 
 general hue prevails in the drapery of their 
 figures, and even in their flelh, w^hich has nei- 
 ther the filver purity of Guido, nor the fre£h- 
 nefs of Rubens, but a glow perhaps more en- 
 chanting than either^". Vandyke iiad a deli- 
 cate pencil, but from too great an ufe of re- 
 flection and the accidents of light;, he gave 
 to his carnations the effect of being fhaven. 
 Rembrandt fo thoroughly underftood the na- 
 ture and property of his colours, that he 
 placed every tint in its proper place, and by 
 that means avoided the necelfity of break- 
 ing and torturing, but preferved them in their 
 full frefhnefs, beauty, and luftre. Yet, he 
 appears to have painted molt of his fub- 
 jed:s in a grotto, by a fmgle ray of light, 
 Barroccio, on the contrary, feems to have taken 
 all his, in the open air or in the clouds, fo cx- 
 ceflive is the refplcndence in his pictures. 
 The Caraccis ufed opake colours. But Ti- 
 tian has caught the moft beautiful tints of 
 
 g Price's Eflays, p. 197. 
 
 Ii3 
 
 nature. 
 
485 P A I N T I xN G. 
 
 nature, with the ftricSeft adherence to truth. 
 Montefquieu compares Raffaelle to Virgil, 
 and the Venetian fchool to Lucan. This 
 fchool is remarkable for a fcientific colouring, 
 a confurnmate knowledge of the clear obfcure, 
 touches abounding in grace and fpirit, and a 
 faithful refemblance to nature, contrafted by 
 defign not fufficiently correal, or according 
 with hiftory and antique beauty. In this 
 collection are feveral fine portraits^; a mu- 
 fical party;" and the Pefaro family," a 
 Iketch afterwards completed, and placed in 
 the church De Frari at Venice. "The Duke of 
 
 ^ His Cornaro family at Northumberland-houfe is fuffi- 
 ciently celebrated. King Charles had feventeen of his pic- 
 tures. In Rome only are 54 hiftorical pl6lures and 47 
 portraits, chiefly in the Borghefe and Aldobrandini palaces, 
 and all of diftinguilhed merit. At Florence, in the Medi- 
 cean colle6lion, are 15 of his befl: works, amongft which are 
 Philip II. of Spain, Card. Hippolito, and his own portrait. 
 Reynold's obferves (Difcourfes, p. 130] that his portraits 
 alone from the noblenefs and fimplicity of chara6ler, which 
 he always gave them, will entitle him to the greateft re- 
 fpe6l, as he undoubtedly ftands in the firft rank in this 
 branch of the art." Titian completed his ccntennary 
 within one year. Michaelagnuolo, P. di Cortona, and 
 Leonardo da Vinci, nearly reached it, whilft A. Caracci, 
 Raffaelle, and Correggio, did Jiot attain to fifty years. 
 
 6 Alva 
 
PAINTING. 487 
 Alva and a Venetian nobleman' will readily 
 attraft attention. 
 
 THE ROMAN SCHOOL 
 
 Sprung from the Florentine; the charac- 
 teriftics of which are poetic fire, a bold and 
 correal pencil, and a grand ftyle. In their 
 pidures we difcover too little of antique 
 beauty; they were likewife defecftlve in co- 
 louring, which w^as either too weak, or too 
 glaring. It produced Michael Agnuolo, the 
 firft of defigners. Here are two fore-fliortdn- 
 ed figures of David and Goliath" and Saint 
 Chriflopher," undoubtedly genuine, w^hich have 
 the farther curiofity of being preferved in their 
 original frames. They are bold even to rafli- 
 nefs, as Du Frefnoy obferves, in the ftrength 
 and fvvcU of the muicular parts of the Far* 
 nefian mold. 
 
 The Roman fchool was eftablifhcd by the 
 greatefl painter the world has fecn fmcc tlie 
 rcfloration of the arts. It Is diflinguiflicd by 
 a tafle formed on the antique, a moil cxadl 
 defign and erudite cxpreffion, a vigour of 
 imagination embelliflicd with all that fancy 
 
 I i 4 can 
 
488 PAINTING. 
 
 can Invent, of what is noble, beautiful, or pa- 
 thetic'. The compofition of the greater part 
 of the profeffors of this fchool is elegance it- 
 felf; they do not however poflefs the en* 
 chanting tints of the Venetian and Fiemilh 
 fchools, a defect not uncommon in thofe who 
 aim only at fuperiority in defign. We have 
 here feveral fragm^ents of cartoons by RafFa- 
 elle collected by General Guife, and one, 
 
 i OF the <*Xa^i^;" Vcnufras; Idea vera; Belle Id:e; 
 of " Grace," the firfl poetic examples are the Helen of 
 Homer, the Hero of Mufasus, tlie Venus of Virgil and the 
 Eve of Milton. RafFaelle complained to his friend Count 
 Balthafar Caftigione, that nature had fupplied him with no 
 adequate idea, eflendo careftia delle belle donne io mi 
 fervo di certa idea chi vicne alia mente." His Galatea, fo 
 imagined, now in the Farnefe palace, is inferior to his Ma- 
 donnas, known to have been taken from real life. 
 
 but fhe was fair, 
 Graceful withal, as if each limb were caft 
 In that ideal mold, whence Raftaelie drew 
 His Galatea. Masok. 
 
 See Petrarch, p. I. Sonett. 179. Arioflo. Orl. Fur. 
 Defcription of i\lcina the enchantrefs, Cant. vii. St. 12 to 
 35. TafTo Gicrus. Lib. defcription of Armida, Canto xv. 
 Stanz. 60, 61 and Cant. xvi. St. 25. Ariftinaetus' miftrefs 
 
 Induitur : — formofa eft, exuitur ipfa formal. 
 
 very 
 
PAINTING. 4S9 
 
 very beautiful, of Rachel Gleaning, lately 
 contributed by Mifs Cracherode, "which was 
 her brother's^." 
 
 THE BOLOGNESE SCHOOL 
 
 Is eminently marked by a grand tafte in 
 defign, formed upon the antique and the 
 beauties of nature, a flowing outline, a rich 
 difpofition, and a touch at once noble and 
 elegant. It acquired a compofition of what 
 is excellent and beautiful from the other 
 fchools, by a learned felecflion. The Guife 
 collection can ' boaft fome of the fine works 
 of the Caraccis, particularly one of Annibale, 
 who has given the portraits of his family 
 in a butcher's fhop, employed in felling meat." 
 Their parent was a butcher. There is an 
 anecdote of this pifture, that it was painted 
 in order to mortify the pride of Ludovico, 
 
 ^ Other cartoons by RafFaelle in England, bcfide thofe 
 at Windfor, are the Vifion of Ezekiel and a holy family 
 iSt the D. of Buccleugh's in Northamptonlhire ; a holy fa- 
 inily at Badminton, and the mafiacre of the innocents, 
 whicli telongeU to Mr. Hoare of Bath. 
 
 his 
 
490 PAINTING. 
 
 his brother, who afFeded to conceal the 
 meannefs of his origin ^ One day, it was 
 unexpediedly exhibited in the faloon of the 
 cardinal Farnefe, his patron, when furrounded 
 by Roman nobility, of w^hofe notice and fo- 
 ciety Ludovico was fo ambitious. The fub- 
 je6l is certainly unpleafmg, but the character 
 and colouring are extremely fine. A ftriking 
 refemblance in the heads will be found to 
 thofe, engraved from the originals, in the 
 Mufeum Florentinum. Annibal himfelf is 
 weighing meat, Ludovico is reprefented by a 
 foldier who buys it, the old woman is the 
 mother, Francefco is kneeling on a llieep, 
 and Antonio, called Gobbo,'' on account 
 of his deformity, conceals it by reaching 
 down meat from a hook. In every point of 
 confideration this picture is a great curlofity, 
 a,nd is faid to have coft Gen. Guife looo/, 
 
 1 The Caracci family confilled, i. Ludovico, n. 1555. ob. 
 1619. 2. Agoftino, n. 1558. ob. 1602. 3. Annibale, 
 ji. 1560. ob. 1609. 4. Francefco their coufm, n. 1595. 
 ob. 1622; and Antonio, called Gobbo, the natural fon of 
 Agoftino. In tlie Muf. Florent. it is faid of Ludovico 
 ** il padre fuo era macellajo." He painted himfelf there 
 in a furred gown. In the Orleans co|le6lion was a por- 
 trait of Annibale. 
 
 fterling 
 
PAINTING. 491 
 
 ftcrling at Naples, where it was removed 
 with the Farnefe colleftion. 
 
 The Madonna di Bologna" by Annlbal 
 Caracci. The virgin is reprefented as fitting 
 in the clouds, with a view of that city beneath. 
 This picture was brought from France by Sir 
 James Thornhill, at whofe fale it was pur- 
 chafed, but has fmce fuffered much from 
 cleaning. The fineft landfcape by A. Caracci 
 is in the Doria palace at Rome"", 
 
 Four landfcapes by Antonio, called Gobbo 
 Caracci, and an Italian butfoon drinking by 
 Annibal, are worthy examination. 
 
 The " St. Jerome" receiving the extreme 
 facrament/' is a repetition, in fmall, of the 
 celebrated pifture by Domenichino, in the 
 church of St. Girolamo di carita at Rome. 
 
 All. Caracci perpetually borrowed tlie fitting figure of 
 the woman in RafFaelle's incendio di Borgo, in the Vati- 
 can. His' fineft portrait of the Surgeon of Bologna is in 
 the Bolognetti palace at Rome, where is likewife one of 
 Ludovico by himfelf, who drew the head of Chrill:, as he 
 ^reamed he faw it, now in the Albani palace. 
 
 " Pouflin declared the three fineft pidures in the world 
 to be RafFaelle's transfiguration, Domenichlno's St. Je- 
 rome, and tlie taking down from tlie Crofs by Daniel di 
 Vol terra. 
 
 The 
 
492 PAINTING. 
 
 The communion of St. Jerome at the Char- 
 treux, Bologna, by Auguftino Caracci, is infe- 
 rior only to this of Domenichino, in which 
 all the figures are feen weeping, and exprefs 
 grief for the dying faint, without paying the 
 leafi: attention to the facrament, w^hich is the 
 principal circumftance, or, at leaft, action. In 
 Auguftino's dcfign the leading idea in every 
 charadier is devotion, which fupprelTes the 
 Ihow of compaffion. 
 
 A dying Magdalene" fupported by 
 Cherubs, by Domenichino. In this pivfture is 
 a moft ftriking and beautiful contrail between 
 the morbidezza" of the chief figure, and 
 the glowing carnations of the others. It is 
 indeed almofl comparable with the Martyr- 
 dom of St. Agnes in the Dominican nunnery 
 at Bologna, for its charadcr of grief mixed 
 with hope. The dagger is implanted be- 
 tween her breafts, and the conflict in the 
 fweetefi: countenance that ever was beheld, 
 between bodily anguifh and heavenly confo- 
 lation, is drawn with an expreffion which 
 reaches the utmoft bounds of the art. 
 
 " The fable of Erydhonius," a fmall land- 
 fcape by Salvator Ilofii, has much of the 
 
 grand 
 
PAINTING. 493 
 
 grand effect fo confpicuous In the works of 
 thatartift. Medufa's head/' by Rubens, is a 
 pifture for the admiration of painters. It is 
 horribly fine, and was once in the coIlecSion 
 of Villiers Duke of Bucks, having been fold 
 with it to Mr. Duart of Antwerp, as it is par- 
 ticularized in Bathoe's catalogue. 
 
 Sophonifba," doubtful if by Domenichino, 
 but intercfting. 
 
 " The grief that does not fpeak 
 Whifpers the o'erfraught heart, and bids it break." 
 
 Shakespeare. 
 
 Amongft the copies, the befi: are, the 
 ProdigalSon," fromGuercino,in the Lancel- 
 lotti palace at Rome ; Cupid fliaping his 
 bow/' from Corregio,in the Giuftiniani palace. 
 In the Orleans collection was one by Parme- 
 giano, and his m?jefty has another. ''Cor- 
 rcgio's notte," by Carlo Cignano, from the ori- 
 
 ° Correggio vvns the true painter of beaut v, grace, 
 fweetnefs, and renliMHty. Raffaclie had fimply " venules.'* 
 Guido excelled in angelic charadlcrs, and frequently paint- 
 ed angels, fometimes too theatrically, in the opinion of 
 thofe, who have formed their talle on the fimplicity of the 
 antique. 
 
 ginal 
 
494 PAINTING. 
 
 ginal in the ducal palace at Modena, of which 
 there are feveral " repetitions by the mailer. 
 " The taking down from the Crofs," in fmall, 
 from the original by Daniel di Volterra, in the 
 church of Trinita di Monte at Rome, and a 
 
 Lot and his Daughters," from Caravaggio, 
 Spagnuolett's mafter ; the torfo of one of the 
 females is uncommonly fine. 
 
 Two portraits, one of St. Ambrofe, bifliop 
 of Milan, and the other of a nobleman read- 
 ing a letter, are faid to be by Spagnuolett. 
 They are very fuperior performances; but I 
 am not fufRciently converfant with the ftyle 
 of Spagnuolett to hazard an opinion refpedl- 
 ing their authenticity. 
 
 The collection of drawings and prints be- 
 queathed to the library by Gen. Guife is faid 
 not to be inferior, either in number or excel- 
 lence, to the paintings. 
 
 The gallery adjoining the Bodleian library 
 was originally intended only as the pantheon 
 of literary men, or the patrons of the univer- 
 fity. There are, however, two large pidlurcs 
 by JordaensP, the affiftant of Ilubens, and the 
 
 feven 
 
 p Jordaens of Antwerp has the hnpcrfe^lions of Rubens, 
 but better exprcflioii and more truth. He fludied and 
 
 copied 
 
PAINTING. 49f 
 
 icven Vices in fmall by Sckalken, the pupil of 
 Gerard Dow. The prefent Earl of Harcourt 
 has lately prefented a Ikndfcape by his own 
 hand, which is the only pidlure in England 
 by a noble artift which is publicly exhi- 
 jbited*!. 
 
 In the library at Oriel college is a piclure 
 by Vafari of the fix Italian poets, which Is 
 probably a repetition of that at Florence. At 
 St. John's is a copy of Pvaffaellc's St. John in 
 the Wildernefs, in the Florentine fcaglola^ or 
 
 pietre 
 
 copied nature, yet without fele6ling its beauties or rejedling 
 itstlefe6ts. He painted many altar pieces in the Low Coun- 
 tries. The Duke of Orleans had the Satyr, and Pan, and 
 Syrinx ; at Chlfwick is the " Twelfth Ni^ht," his heft 
 work in England. 
 
 q The landfcapes of Sir George Beaumont and Sir 
 Hoare deferve every encomium. Mr. W. Lock's Death 
 of cardinal Wolfey, and Mr. S. Lyfons's delineation cf 
 Roman and Gothick remains, place them defervedly in th« 
 firft rank of gentlemen artifts. 
 
 ' The Roman Mofaic was introduced by Andrea Zuffi 
 in the thirteenth century, who had learned the rudiments 
 of the art at Conflantinople, Marcello Provcnzale finifhed 
 the portrait of Paul V. in the Borghefe palace in Mofaic, 
 and In Imitation of the antique, if not in a fuperior ftyle. 
 The face alone confifts of two millions of pieces, many of 
 which were not larger than a grain of fand. The famous 
 
 IVlolaics 
 
496 PAINTING. 
 
 pletrc commeffe;'* an art invented and 
 brought to perfefllon by an Englifh monk of 
 Vallom brofa near Florence, named Hug- 
 ford/' changed by the Italians into Ugo- 
 forte.'' This very beautiful fpecimen was 
 procured from the artifi: himfelf by Dr. Dun- 
 can, and prefented by him to that library. 
 
 Another moft ingenious imitation of paint- 
 ing is preferved in the cabinets of the Afhmo- 
 lean mufeum. It is a miniature of the Cru- 
 cifixion, confining of many figures, in a 
 mofaic of feathers, which was probably 
 brou2!;ht from America. Abbe du Bos relates 
 that the Mexicans copied with facility any 
 European paintings w^hich were fliown to 
 them, and . which were afterward brought 
 into Spain, and moft highly valued'. 
 
 Mofaics at St. Peter's are by Cefare Nebbia, ana many 
 by Chriftofari. Agalnft the piers are i8 tablets exadlly 
 copied, both with refpecl to lize and pidlurefque e(Fe6t» 
 from the raofl: celebrated fcriptural fubjei^is in Italy, which 
 have been replaced in Mofaics, with equal beauty and fu- 
 perior durability. It has been calculated that they coft 
 little lels than 5000/. fterling each. 
 
 ^ Refledlions fur la Poefie et fur la Peinture. T. 2. 
 p. 169. 
 
 SECTION 
 
PAINTING. 
 
 497 
 
 SECTION V. 
 
 The revival of the arts, and the confe- 
 quent encouragement given to them, appear 
 to have been extended from Italy to other 
 countries of Europe, about the fame pe- 
 riod. 
 
 Francis I. of France, and the emperour 
 Charles V. became ambitious of pofTefling the 
 bcft pictures which either money or influ- 
 ence could procure. This emulation of col- 
 lecting, if not a tafte for painting, prevailed 
 likewife with Henry VIII. in the firft years 
 of his profafion. He was, indeed, the firft of 
 our monarchs who ornamented his palaces 
 with pi(fturcs upon claffical fubjeCts. The 
 few paintings which had been before placeS 
 there, were portraits or fcripture pieces of 
 very rude performance. A catalogue of his 
 furniture, now in the Augmentation office, 
 particularizes, but vaguely, feveral painted 
 tables,'' as they are dcfcribed, by which w*e 
 
 K k are 
 
4t)% PAINTING. 
 
 are to underftand piftures''. Thefe were 
 the foundation of the royal collection. 
 
 The perfonal vanity of Elizabeth induced 
 her to encourage the profefTors of portrait 
 pciinting only, and to confine their talents to 
 that fnigle branch of the art*". A fafhion fo 
 introduced, was univerfally adopted by her 
 courtiers ; and her affecSation of fplendour 
 difplayed itfelf in proceffions and romantic 
 fopperies, which, though intended to be claf- 
 fical, had little claim to propriety or tafte. 
 
 James I. neither liked nor underftood the 
 arts ; but in his favourite Villiers they found 
 a munificent encourager. When at An- 
 twerp, he was fo ftruck with a colle<5lion 
 made by Rubens, that he tempted the great 
 painter with an offer of 10,000/. This was 
 
 a Catalogue of king Henry Vlllth's furniture and pic- 
 tures in the Augmentation office, and in the Mufeum 
 MSS. Harl. 141 9, fol. 58, in which is fpecified at Green- 
 wich, *' a round table with th' ymage of the kinge." 
 
 To prove how httle the arts were valued in her reign, 
 .It appears from a MS. Inventory (Mufeum. RolL D. 35. 
 Chart. Antiq.) dated 1588, of the effe6ls of Dudley earl 
 of Leicefter, at Wanftead, in Efiex, that three portraits of 
 Henry VIII. queen Mary, and queen Elizabeth, with 
 thirty-fix others, were fold for ^^11, 13. 4. 
 
 % the 
 
PAINTING. 499 
 
 the firft collecftion of foreign pid;ures formed 
 in England, to which were added many 
 others, purchafed for him by Sir H. Wootton, 
 then the refident at Venice. 
 
 Soon after his acceffion. Charles I. began 
 to difplay his magnificence, and indulge his 
 predllediion for works of ingenuity in the 
 fina arts. Rubens foon followed the collec- 
 tion he had fold, and was employed in the 
 ceiling of Whitehall,' W'hich introduced a 
 knowledge of allegory and of claffical fubjeds 
 into England ^ At his inftance, the Car- 
 toons of RafFaelle were purchafed in Holland, 
 and brought here. To fay that they are thQ 
 boaft of our nation, would be fuperfiuous. 
 By his advice, the king contracted with. Vin- 
 ccnzio Gonzaga, duke of Mantua, for his in- 
 tire colle6lion, faid not to have exceeded one 
 hundred in number, for the fum of 20, coo/, 
 but I prefume, many marbles Vv^ere like wife 
 included in a price fo exorbitant in thofc 
 (Jays. The profufion of Charles, and that of 
 
 ^ The fketcb for the middle compartment was purchaf- 
 ed at Sir G. Kneller*s fale, by Lord Orford, and was in 
 xiie Houghton collcdlion. 
 
 K k 2 his 
 
500 PAINTING. 
 
 his rival colledtor Philip IV. trebled the value 
 demanded for pidiures throughout Europe. 
 
 For the reception of thefe paintings, Inigo 
 Jones built a gallery near Whitehall ; the 
 whole number of w^hich, when dlfperfed by 
 fale, were three hundred and eighty-nine. 
 ' The duke of Mantua's original coUedion 
 was extremely increafed after its arrival in 
 England. Amongft them were preferved 
 twenty-five portraits and hiftories, by Titian, 
 and fixty-five by other great mafters, princi- 
 pally by Giulio Romano. 
 
 It is fatisfadlory to know, after fo com- 
 plete a difperfion as that made by the 
 authority of the parliament, that fome of the 
 fincft pictures have reached the royal cabinet. 
 The Cartoons'^ were purchafed for 300/. and 
 
 ^ Richardfon indulged all his enthufiafm for the art, 
 when fpeaking of the Cartoons, " May the Cartoons re- 
 main in that place (Hampton Court) unhurt and unde- 
 cayed fo long as the nature of the materials will poflibly 
 allow. May even a miracle be wrought in their favour, 
 ,as themfelves are fome of the greateft inllances of the di- 
 vine powers interfering to endue a mortal man with abi- 
 lities, to perform fuch ftupendous works of art." Page 63, 
 They are now engraving by Holloway. 
 
 placed 
 
PAINTING, 501 
 
 placed at Hampton Court. In 1763, they 
 were removed, and doubled up to fit the pan* 
 nels of a room at Buckingham-houfe, but 
 have been lately emancipated, and are now 
 in excellent prefervation at Windfor caftle. 
 The twelve C^efars, by Titian, bought for 
 as many hundred pounds, are at Kenfington. 
 It is faid, that the Madonna, by Raffaelle," 
 was ftolen from a church at Venice. At the 
 fale it produced 800/. given by the Spanifli 
 ambaffador, and it is now at Madrid. For 
 farther particulars, I refer my readers to Ba- 
 thoe's catalogues, from which are copious ex- 
 trails in Walpole's Anecdotes of Painting, 
 w^hich I forbear to repeat. The duke of 
 Buckingham's colle(5i:ion was placed at York- 
 houfe, in the Strand, which was his palace. 
 After his aflaffination, the king, the carl of 
 Northumberland, and bifhop Montagu, were 
 purchafers of a few pidures. During the 
 troubles, fome were ftolen, and the remain- 
 der (of which Bathoe has publiflied a cata- 
 logue) were fent over to Antwerp by Mr. 
 Traylman, the confidential fteward of the 
 family, to raife money for the maintenance 
 of the young duke, then in exile. The 
 K k 3 greater 
 
50^ PAINTING. 
 
 greater part were bought by the archduke 
 Leopold, and added to his colledion at 
 Prague, fmce removed to Vienna ; and many 
 by Mr. Duart of Antwerp. His was the 
 " Ecce Homo," by Titian, in which were in- 
 troduced the Pope, Charles V. and Sultaa 
 Suleyman, and for which Lord Arundel is 
 faid to have once offered the duke of Bucks 
 7000/. in land or money. Of this picture, 
 fo curious from this anecdote, there is a good 
 copy at Northumberland-houfe. Whether 
 Lord A. meant by this fumptuous propofal to 
 evince to his rival his defiance of expence, or 
 yielded only to the impulfe of his love of 
 vertii, is doubtful — I fliould prefume the latter 
 motive. 
 
 It is certain, that Lord Arundel's ^ confum- 
 mate tafte was not confined to ftatuary and 
 gems, but that in the acquifition of a moll 
 choice collection of pictures, it was feconded 
 
 c Evelyn was employed by Lord A. to collect pic- 
 tures, but principally Edward Norgate, whom he after- 
 ward appointed Windfor Herald. Fuller (in his Wor- 
 thies) tells a ftory, that Norgate was fo ill fupplied with 
 money by his patron, that he fufFered the greatefl: diftrefs 
 ^t Marfeilles, which may rank for veracity with other tales 
 of the fame author. 
 
 by 
 
PAINTING. 503 
 
 by equal fucccfs. I regret my incompetency 
 to particularize any of greater celebrity, ex- 
 cepting the Aflumption of the Virgin, by 
 llubens, at Wilton, and Raffaelle's Laft Sup- 
 per at Houghton ; as I have never feen a ca- 
 talogue which had the leaft pretenfions to 
 authenticity. Sir Peter Leiy obtained many 
 of his defigns by foreign matters, and fome of 
 the paintings ; and thofe which were retain- 
 ed at Tarthall, in Lord Stafford's polTeffion, 
 when difperfed at the fale, produced, at very 
 low prices, 812/. i8^. A few ftill remain in 
 the colle(ftion of the duke of Norfolk. 
 
 Lord x^rundel was partial to portraits. The 
 Olivers, Rubens, Vandyck, Paduanino, Van- 
 .ibmer, and Walker, were patronifed and em- 
 ployed by him. He and his countefs, arc 
 fald to have fat to each of them. In emula- 
 tion of the Herbert family, at Wilton, the 
 llneft groupe ever compofed and painted by 
 Vandyck, he had engaged him to finifli the 
 Howard family in a fimllar manner. When 
 the great painter died, the likeneffes only 
 were taken, and the fketch made, and a 
 fmall plfture w^as copied from it at Antwerp, 
 by Philip Frluticrs, after the earl had quitted 
 K k 4 England. 
 
504 PAINTING. 
 
 England. This copy was Lord StafFord's, 
 and is now in the pofl'effion of his hneal 
 defcendant. Sir W. Jerningham, at Coffey, in 
 Norfolk 
 
 Paintings are known to have been in Lord 
 Arundel's colle^l:ion, which are marked with 
 a large aflerifk (-) on the back of them. 
 
 Vandyck's private collection were, at his 
 death, chiefly retained by his befl fcholar^ 
 Sir Peter Lely. At the reftoration, Charles II. 
 fliewed no attachment to the arts. As they 
 flattered his vanity or affeClation of magnifi- 
 cence, he encouraged Lely and Verrio in his 
 palace at Windfor. A very few which had 
 .been his father's are preferved there. The 
 Mifers, by Quintln Matfis ; Aretinc, and 
 himfelf, by Titian ; Killigrew, and Carew, in 
 one picture, and Lady Venetia Digby, by 
 Vandyck, with a painter's family, are the 
 moffc efteemed. Other valuable pictures have 
 been fubfequently added. 
 
 In 
 
 ^ Vertue, who was patronized by Edward duke of Nor- 
 folk, engraved a plate from this picture, which was never 
 publiflied. It is now at Norfolk-houfe, and is inferior to 
 none of Vertue's works. 
 
 g George Jamiefone in Scotland was a pupil of Rubens, 
 
 and 
 
PAINTING. 505 
 
 In the reign of Charles II. Robartes^ earl of 
 Radnor, was a collector, or rather the patron 
 of contemporary artifts, as there were but few 
 foreign piilures in the catalogue of his fale. 
 Manby, an Englifli landfcape painter, went 
 to Italy to colled: piilures, w^iich he exhibit- 
 ed on his return, at the Banquetting houfe, 
 Whitehall, and fold unfuccefsfuUy. In fad:, 
 there was little tafte in the nation ; and the 
 only colledions w'hich were then forming 
 were thofe of the earls of Pembroke and 
 Exeter. For a corred: critique upon both 
 thefe, I mufi: refer my readers to Mr. Gilpin's 
 Pidurefque Tours ^. To fuch a judgment I 
 cannot but accede, and my limits will not 
 allow^ me to repeat it. 
 
 Lord Exeter, his fucceflbr, was partial to 
 Carlo Maratti, and has fome of his beft 
 works When at Rome, he introduced that 
 
 painter 
 
 and fcarcely inferior to Vandyck. His befl works are at 
 Lord Marr's and Lord Buclian's. James Gandy, Van- 
 dyck's fcholar, was much celebrated as a portrait painter ia 
 Ireland. The duke of Ormond was his patron. 
 ^ Northern arid Weftern Tours. 
 
 i Carlo Maratti, ob. 17 13. a;t. 88. He was diftln- 
 guiflied for grace, and fketched moft happily from antique 
 
 ftatues. 
 
5o5 PAINTING. 
 
 painter to feveral of the Englilh noblHty, 
 -whofe portraits he drew. 
 
 James II. was poflefTed of a colle6lion at 
 Whitehall, amounting to 1247, ^o{t of 
 which were deftrojed by fire, in 1 697, and 
 amongft them twenty-three were by Titian ; 
 others by Giulio Romano and Tintoret, and 
 many by the Flem.ifli mafters. There were 
 portraits by the Olivers, Vandyck, Lely, and 
 other painters, who were employed after the 
 -reftoration. There were likewife many por- 
 traits of painters by themfelves. 
 
 The piiflures and drawings which Sir P, 
 'Lely had collefted, w^ere fo valuable, as to 
 produce 26,000/. when difpofed of by auc- 
 tion. 
 
 The great duke of Marlborough began the 
 colleftion at Blenheim. Rubens was his fa- 
 vourite artift, by whofe pencil he liad pro- 
 cured no lefs than thirteen capital pi<5lurcs. 
 In Ireland, before their difperfion, the firft 
 made and the fineft affcmblage of foreign 
 
 ftatues. As liis firfl fubjefis were principally Madonnas, 
 his envious contemporaries flyled him, Carluccio delle 
 Madonnine.'* 
 
 paintings, 
 
PAINTING. SO? 
 
 paintings, was that of the attainted duke of 
 Ormond. 
 
 During the reign of queen Anne, Devon- 
 ihire and Bedford^ houfes were adorned 
 with piftures by their noble mafters. That 
 Auguftan age in England, was not only fig- 
 Tialized by literature, but a love of the arts, 
 in fome eminent individuals. 
 
 At Chifwick, Lord Burlington placed fome 
 works of merit ; particularly portraits by Ve- 
 lafques, the Twelfth Night by Jordaens, and 
 the Belifarius, long faid to be by Vandyck, 
 but decidedly by Morillio ; Exmbrant in his 
 painting room, by Gerard Douw, is one of his 
 heft performances. 
 
 It would be difficult to afcertain with pre- 
 clfion the date of the firft forming of collec- 
 tions, or the acqulfition of any fingle cele- 
 brated picture, in the palaces of our nobility. 
 But a talk, to which I confcfs myfelf incom- 
 
 ^ At the fale of Bedford-houfc, prevloufly to its being 
 taken down, in j8oo, Thoriihiirs Cartoons produced 
 472/. lOi. RafFaellc's Sr. John preaching, 99/. 1 ^s. 
 Archduke Leopold's Gallery by Tenicrs, 220/. lOs. Four 
 battle pieces by Caflanovi, 63/. ioj. Cattle by Cuyp, 
 a 10/. 
 
 petent. 
 
5o8 PAINTIxMG. 
 
 ■petcnt, would be to place, them in a fcale of 
 comparifon with each other. The national 
 tafte has not only been greatly improved 
 fince the commencement of the prefent 
 •reign ; but fuch has been the influx of the 
 genuine works of the Italian fchools, efpe- 
 cially that occafioned by the diftracScd ftate 
 of the Continent, that the coUeftions, at firft 
 fo highly eftimated, are deprived of their for- 
 mer celebrity. Individual pictures long praif- 
 ed as originals, muft now hide their dimi- 
 nilhed heads" before the originals themfelves, 
 which have been alienated from foreign pa- 
 laces, and have found their way into this 
 kingdom. Formerly, the artifts in Italy made 
 the copying various ftyles of painting a moft 
 lucrative employment, which our country- 
 men, in their ardour for acquifitions in vertu, 
 wxre better qualified to encourage than to 
 detecT:^ 
 
 / A noted collei5^or in the reign of George I[. confulted 
 Richardfon the painter refpe61:ing a pi6lure which he had 
 purchafed for a Guido. *' There is (faid he) hitle Hugh 
 Howard, who fays it is a copy ; the next time he fays fo, 
 I will certainly knock him down ; now, pray, Mr. Richard- 
 fon, favour me with your candid opinion ! ! ! 
 
 To 
 
PAINTING. 509 
 
 To this general obfervation, however, there 
 were many llluftrious exceptions. The Hough- 
 ton colleftion, the removal of which can 
 never be fufficiently regretted, confifted of 
 genuine pictures. No expence was withheld, 
 and Sir Andrew Fountaine one of the beft 
 connoifleurs of his day, affifted Lord Orford 
 in making fo perfed: a feleftion 
 
 Lord Leicefter, at Holkham, made fbmc 
 refpeftable acquifitions in paintings ; a Re- 
 turn 
 
 ^ Tlie f.vPi work his Ton, Mr. H. Walpole, puhlifhed 
 \vas " ^I'.des Walpolianas," with a catalogue raifonee of 
 the pictures. The whole collection contained 232, 
 which were valued at 40,555/. but for which George, 
 earl of Orford, who fold them to the emprefs of RufTia, 
 received only 36,000/. Mr. Walpole obfcrved, " that 
 the noblefc fchool of painting which this kingdom ever 
 beheld wzlt, tranfported almoft out of the fight of Europe." 
 
 The late J. Wilkes, and G. Stcevens, the commentator 
 on Shalifpeare, had each of them a copy of the '* ^des 
 Walpoliana^," with the valuation of the pidtures. 1 have 
 noted a few of the mofl: remarkable. Vandyck's Holy- 
 Family, i6do/. RaiFaelle's Do6tors, 3500/. Ruben's 
 Magdalene at Chrift's feet, i5oo/. Landfcape, N. Pouf- 
 fm, 90C;'. Ruben's Family by Jordaens, 400/. Flovvcr 
 pieces by Van Huyflum, two at J 200/. 
 
 ° Sir Andrew Fountaine, at Narford in Norfolk, formed 
 a very curious cabinet of earthen ware, finilhcd with Ara- 
 
 befc^ues, 
 
5IO PAIKTING. 
 
 turn from Egypt," by Rubens, which is a 
 repetition of one at Blenheim ; Jofeph 
 and Potiphar's wife/' Guido ; Magdalene 
 in a Cave/* Parmegiano — the pallid counte- 
 nance of a Religeufe/' that fervour of de- 
 votion, the wrapt foul fitting in the eyes," 
 are here expreffcd by a perfe6lion of art fel- 
 dom to be found; Polyphemus and Ga- 
 latea," from Ovid ; Ann. Caracci, in frefco* 
 It was purchafed from the Barbarini palace, 
 of which it was an eminent ornament. The 
 Florentines, whilft bathing in the Arno, 
 alarmed by the approach of the Pifans." 
 This moft curious pid:ure was defigned by 
 Michelagnuolo, and painted by Vafari as a 
 prefent to Francis I. Its identity was difco- 
 vered by Mr. Fufeli, who mentions it in his 
 life of M. Agnuolo, from whence it is quoted 
 in Seward's Anecdotes. The duke D'Arem- 
 burg," Vandyck; one of his fineft pictures. 
 
 befques, &c. after defigns of RatTaelle, or Giovanni da 
 Udlno, his pupil. RafFaelle fell in love v^rith the daughter 
 of a potter, and to gain her afFe6lion condefcended to paint 
 her father's earthen ware. Sir Jofhua Reynolds firft (hovv- 
 ed his genius by painting the gallipots of the apothecary to 
 whom he was apprenticed. 
 
 a repetition 
 
PAINTING. 511 
 
 a repetition of which is in Spain. M. De 
 Calonne had the duchefs and her fon, dated 
 1634. 
 
 The principal colIe£lors, during the reigns 
 of George I. and II. were Dr. Mead ; Sir 
 Luke Schaub ; Sir Paul Methuen ; Sir Gre- 
 gory Page ; Mr. Child, and Mr. Hoare, the 
 bankers; Field-marflial Wade; General Guifc; 
 Frederick, prince of Wales ; and the duke 
 of Norfolk. Thefe pid:ures, confiderable in 
 value and number, not unfrequently changed 
 their poffeffbrs ; and one colled:ion was form- 
 ed upon the wrecks of another. How often 
 they have been transferred, and what accef- 
 fion or diminution of price fuch removals 
 have occafioncd, would compofe a volume of 
 well autlienticated anecdotes. Declining any 
 
 * Mr Bagnol of Roehampton formed his R. Highncfs's 
 coHeclion. Thofe at Norfolk-lioufe were brought from 
 Italy, at a princely expenditure. Dr. Mead's pi6lures fold 
 for 3417/. i:s. and Sh" L. Schaub's, in 1758, 7784/. ^s. 
 Sir G. Page's confifted chiefly of the FlemiHi School. 
 The Van HuyfTum's were taken to Paris. The twelve 
 Cartoons by Luca Giordano, of the Loves of Cupid and 
 Pfyche, were purchafed by Mr. Wefl for the king, for 
 1200/. The remainder were bought by private contract 
 by three perfons for 7000/. There were 2.19 pi(5tures. 
 
 particular 
 
5IZ PAINTING, 
 particular enumeration or criticifm, let me 
 only advert incidentally to a few of the beft 
 Works of the great mafters in England, as 
 they occur to my m.emory. 
 
 Of thofe attributed to the divine Raf- 
 faelle," there are few of our collections which 
 does not boall one which, in fail, does not 
 belong even to his worft fcholar. Lord Orford's 
 
 Confultation of the Dociors of the Church/* 
 undoubtedly his work, is no longer in this 
 country. The Holy Family at Okeover, and 
 another belonging to Mr. Purling, London, 
 have the moft general fufPragc for originality 
 among the connoifleurs ; yet not without dif- 
 fentients. Mr. Pt. P. Knight has purchafed a 
 genuine portrait by him, of cardinal Bibiena, 
 lately brought from Rome, which has no 
 equal, yet imported ^. 
 
 At Rainham, Lord TownlTiend's Belifarius 
 
 P Raffaelle's mofl celebrated work *' the TransfigLi ra- 
 tion," was (lolen by the French from the church of the. 
 Montorio, at Rome, and afterward funk at fca. At Ken- 
 lington is a drawing in black chalk by Cafanova, of tlie 
 fize of the original, eighteen feet by twelve. At Badmin- 
 ton is a Cartoon of the lower part. An excellent copy, 
 faid to be by Giulio Romano, has been lately given to 
 Dulwich college. 
 
 is 
 
PAINTING. 
 
 is the fineft work of Salvator Rofa, which has 
 reached us. The duke of Beaufort has a fa- 
 tlrical picture, reprefenting the dilFerent na- 
 tions of Europe, by emblematical beafts, for 
 which he was banifhed from Rome with dif- 
 grace 
 
 The moft perfe(?l pldlure, by Spagnoulet, is 
 in the chapel of Wardour caftle. So fre- 
 quently has the Cornaro family, by Titian, at 
 Northumberland-houfe, been retouched, that 
 it muft now w^are all claim, as the fuperior 
 of that mailer's works in England. Not only 
 of Lord Exeter's Salvator Mundi," by Carlo 
 Dolce, but of his " Death of Seneca," by 
 Luca Giordano, there are repetitions of near- 
 ly equal pretenfions, at Mr. Methuen's, at 
 Corftiam, and Sir L. Blackwell's, at Eafton, 
 in Norfolk. 
 
 By his prefent majefty, juftly diftlnguifhed 
 for his knowledge and love of the arts, the 
 collediion now at Buckingham-houfe, origi- 
 nally began by Frederick, prince of Wales^ 
 has been increafed to its prefent excellence. 
 
 ^ See Dom. Bernardo Domcn id's Lives of the Neapo- 
 litan Painters. 
 
 Ll The 
 
P4 PAINTING. 
 
 The other colleftions are at Kenfington% 
 Hampton Court, Windfor, and Kew. There 
 are fome capital works by two Italian painters 
 of great merit, who have vifited En£!:land ; 
 Canalettl's Views of London, and feveral 
 landfcapes by Francefco Zucharelh, of Lucca, 
 who had been twice in this kingdom before 
 the year 1771. His beft pictures are at 
 Hampton Court, and others fomewhat infe- 
 rior at Windfor, and at Sir R. Worfley's, in 
 the Ifle of Wight. At the Queen's lodge, 
 Windfor^ is the interior of the Medici gallery 
 at Florence, by ZofFanii, another moft inge- 
 nious Italian artift, whofe labours were not 
 fufficiently rewarded to detain him in this 
 country, which he left for the Eaft Indies. 
 
 Incited by the prevalent example of their 
 fovereign, feveral of the nobility have engag- 
 ed In the purfuit of this branch of vertu, with 
 a competition both of tafte and expence, and 
 the additions they have made, or the collec- 
 tions they have formed, have eclipfed all that 
 had been done by their predeceffors. 
 
 ' Catalogue of the pi6lures at Kenfington, dated 1597. 
 MSS. Mufeum ^025. 18. 
 
 The 
 
PAINTING. 515 
 
 The late Earl of Bute procured fome ex- 
 quifite fpecimens of the Flemifh fchool, now 
 at Luton, particularly a Feaft by Van Harp. 
 Lord Grofvenor, Lord Radnor at Longford 
 caftle, the Duke of Newcaftle at Clumber in 
 Not'tinghamfhire, Lord Egremont, Lord Har- 
 court at Nuneham, Lord Scarfdale at Ked- 
 dleftone, and Lord Afiiburnham and Mr. 
 Agar, are well known to have extenfive and 
 richly furnifhed galleries'. In point of extent 
 only, the laft mentioned but one, muft yield 
 a fuperiority, which it polTefles in every other 
 refped:. In the whole not more than twenty 
 pictures are included. Each of them is in the 
 great ftyle of the mafter, efpecially thofe by 
 Salvator Rofa, and two of Bacchanals by 
 Nicholo Pouflin. There are many other col- 
 lections in London, and the country refi- 
 dences of the nobility, highly deferving any 
 notice I could take of them; and it muft be 
 acknowledged, that where the opportunity of 
 becoming acquainted with their refpeCtive 
 
 » Mr. Gilpin, in his interefting volumes on the fclence 
 of pidlurefque beauty, has given a critique upon moll of the 
 collections of painting vvliich occurred on his tours, and 
 approved himfelf an equal judge of nature and of art. 
 
 L 1 2, merits 
 
5i6 PAINTING. 
 
 merits has not occurred, the charge of an in- 
 vidious omiffion will be liiperfeded. 
 
 Of private gentlemen^ few coUeftlons ex- 
 ceed thofe of Mr. Aufrere", Mr. Angerftein, 
 and Mr. Beckford at Fonthill. A part only 
 of that made by Mr. Hope of Amfterdam 
 has been brought by him to London. He 
 has the woman taken in adultery" and a 
 Landfcape of the Deluge" by Rubens; ano- 
 ther by Salvator Rofa; a Magdalene by Guido ; 
 and a moft choice cabinet of Flemifli pictures 
 
 * Mr. Jennens, of Ormond Street, Weilminfter, had a 
 numerous coileiSllon, now clifpofed of. 
 
 ° Mr. Aufrere, at Chelfen, has about 150 pi(Stures, of 
 \vb>kh tlie molt remarkable are the feveu works of mercy 
 by Sebaftian Bourdone; fix, by the Pouflinsi a ripofo by 
 Albano; and the marriage of St. Catharine by Correggio 
 nud Parnegiano ; mater dolorofa and a boy playing on a 
 lute, by Guido, &cc. Mr. Angerftein, is pofTeffed of the 
 
 Refurrc6tion of Lazarus" l)y ScbalVian del Piombo, and the 
 outlines by Michelagnuolo, from t]\e Orleans colledtion, 
 for which he gave 3500/. lie has likewife the finefl cattle 
 piece by Cuyp in England, and St. Ambrofe refufmg the 
 facrament to the Emperour Theodohus by Rubens or 
 Vandyke, which he purchafed of Mr. Elwyn for 1500/. 
 
 Mr. Beckford has given 6000/. for the two famous land-* 
 fcapes by C. Loraine, which were efteemed the firfl ia 
 Rome, when in the Altieri palace. See Vafi, 6cc, 
 
 exquifitely 
 
PAINTING. 51? 
 
 exquifitely finiflied, by Van HuyiTum, Weenix, 
 Gerard Dow, and Vanderwerff. 
 
 The flime circumftances, which have oc- 
 cafioned their removal to England, have led 
 to our poffeflion of the Orleans coUedlon by a 
 purchafe, vvhich reflects infinite credit upon 
 the fpirit and tafte of thofe noblemen who 
 undertook it. That fumptuous aflemblage of 
 pictures is well known to have owed its origin 
 to the Regent Orleans, and his minifter car- 
 dinal Richlieu/ and its difperfion to his late 
 degenerate fucceflbr. The laft duke mort- 
 gaged them to Walquicr of Bruflels and M. 
 la Borde, of whom they were jointly pur- 
 chafed for 43,500/. by the Duke of Bridge- 
 water, the Earl of Carlifle, and Lord Gower, 
 under the management of Mr. Bryan, in 1796. 
 After having been publicly exhibited, they 
 wxre difpofed of, in 1799, by private contradl; 
 and the remainder by auction, in the next 
 year. The whole contained 296 pictures, 
 and it is faid, that the noble adventurers wxrc 
 indemnified, befide their retention of fome of 
 the fined of them, without price. Every true 
 Tirtuofo will rejoice in this event, which will 
 jeeoncile him to the lofs of Houghton collec- 
 L 1 3 tion, 
 
5i8 PAINTING. 
 
 tion, and place this nation high amongil: the' 
 patrons of the arts'". 
 
 In order to afcertain how greatly many 
 private colleftions muft have been enriched 
 within thefe few years, in fad: fmce England 
 has been known on the continent as ofFerin2C 
 the moft liberal prices ever given for pictures, 
 it will be neceffary to advert cnly to a few 
 colledions, which a prince might have envied, 
 and which have been difmembered by public 
 auction. 
 
 M. Defenfans prefented an exhibition for 
 fale, in which many capital pidlures v/ere 
 eclipfed by the landfcape by Claude Loraine, 
 of the proceffion of St. Urfula, and the eleven 
 thoufand virgins^. In 1795 the pictures col- 
 le6led by M. De Calonne, Baron Nagel, and 
 Sir Jofnua Reynolds, v/ere difpofed of in a li- 
 
 ^ The Duke of Bridgewater has fome of the mofl capi- 
 tal by Titian and Giulio Romano ; Lord Caiiifle, RafFa- 
 elle's Holy Family, the dead Chrift with the four Marys 
 by Annibale Caracci, and Titian's Venus ; and Lord 
 Gower, the noli me tangere" by Agoflino Caracci, and 
 Pouffin*s feven facraments, amongfl: others. 
 
 y Claude Loraine's Liber Veritatis, a colle£lion of his 
 own fketehes, confiding of more than 300 defigns, in none 
 of which are more than three fmgle trees. 
 
 milar 
 
PAINTING. 5T9 
 
 milar manner. Mr. Bryan, who had the ar- 
 rangement of the former fale, fuperintended 
 another in 1798, in which were feveral of the 
 moft celebrated works of Rubens About 
 the fame time Mr. Greaves brought from 
 Rome a very choice feleftlon, in which the 
 Lombard m^afters were predominant, and 
 chiefly Guercino^, whofe Lot and his daugh- 
 ters, for character and colouring, is exceeded 
 by no performance of that very interefting 
 mafter. 
 
 Thefe circumftances are mentioned without 
 the power of particularifmg the prefent pro- 
 prietors of thofe pictures which, during their 
 pubUc exhibition, attracted the popular ap- 
 plaufe, but in confirmation of my aflertion, 
 that England, by fuch acquifitions, is become 
 a fchool of painting rivalled only by Italy^ 
 
 herfelf. 
 
 ^ Ceres and Pomona ; Portrait of a Canon of Cologn ; 
 another of Govartlus; Diana and Satyrs; Mars, Venus, and 
 Cupid; the Death of Adonis: the laft mentioned was 
 bought in at ] 300/. 
 
 » Seven pictures and five {ketches by Guercino, 
 ^ To detail the colle6lions in the palaces at Rome, Na- 
 ples, and Bologna, or even to notice the bell pidures, 
 would require volumes. The Italians are famous for 
 their Cicerone books, in which they are all enumerated 
 
 L 1 4 ^nd 
 
520 PAINTING. 
 
 herfelf. Of the great German colledlons at 
 Vienna, Dufleldorf, and Drefden, the point of 
 advantage, is rather in number than in ex- 
 cellence ^ 
 
 The 
 
 and crlticifcd. The Medici Gallery at Florence contains 
 between five and fix hundred pictures, exclufive of the por- 
 traits of painters by themfelves, began to be colle6led by- 
 cardinal Leopold de Medici, amounting to 340. Seventy- 
 two frames contain 605 portraits in miniature by eminent 
 maflers. There are likewife 300 volumes of original de- 
 figns from the 13th to the i8th century, from Cimabue 
 and Giotto to Mengs and Battoni. Many of the beft of 
 them have been etched by Stefano Mulinari. 
 
 « The imperial colledtion at Vienna by Charles IV. the 
 colle6lion at Prague taken to Vienna in 1657; that of 
 Stahlbourg in 1728, and the whole joined to prince Eu^* 
 gene's in the Belvidere palace, in all being nearly 1300 
 pi6lures. There are 5 M. Angelo, 1 Ann. Caracci, i Lud* 
 Caracci, i Agoftino Caracci, 26 Vandyke, 45 Rubens, 
 14 Albert Durer, 5 Guercino, 9 Guido, 7 Snyder, 
 9 Rembrandt, 49 Titian, and 19 by Teniers, which are 
 the finefl; in the world. Mechel Catalogue, &c. 8vo. 1784. 
 
 The Duffeldorf Gallery of pi£lurcs is now removed to 
 Munich, originally colledled by John William, eledor of 
 the Rhine, in 1710, and contains 358 pldlures. There are 
 forty-fix by Rubens and twenty-two by Vandyke. Of 
 Rubens there is his own portrait with the chain given him 
 by king Charles I. and another as St. Sebaftian. His moft 
 celebrated pidures in the DuiTeldorf Gallery are the Battle 
 
 of 
 
FAINTING. 521 
 
 The Englifh fchool of painting mufl: ac- 
 knowledge Sir Jolliua Reynolds as its great 
 founder, under royal aufpices, in the eftablifli- 
 ment of the Academy. The pure precepts 
 which he laid down in his annual orations 
 were exemplified in his own works. His 
 critique on thofe of Raffaelle and Michelag- 
 nuolo is a mafterpiece of difcriminafion, and 
 the mofl: fcientific of many difcuffions which 
 we find in his literary works;, to w^iich Mengs 
 has produced nothing equal, in his eflTays on 
 painting. Sir Jofliua's moft famous paintings 
 are, i . Garrick between Tragedy and Comedy, 
 which he fxnifhed for the late Lord Halifax, 
 and is now Mr. Angerfteln's; w^ho has like- 
 wife his Venus." ^. The Ugolino in prl- 
 fon," the Duke of Dorfet's, in which he has 
 imitated Michela2;nuolo in his terribil via," 
 as Agoft. Caracci called it in his fonnet on 
 
 of the Amazons ; Samfoii and Dalilah^ Chrift and four 
 penitents ; Rubens witli his firft wife ; the fall of the damn- 
 ed, and the triumph of Silenus. The taking down 
 from the crofs," his clief d'oeuvre, at Antwerp, has been 
 lately deflroycd by predatory and injudicious removal. En- 
 gravings of the Dufleldorf collection were publiflied by 
 figagc in 1778. 
 
 painting. 
 
5li PAINTING. 
 
 painting. It Is Sir Joftiua's^ triumph in the art, 
 3. The ''Nativity" for the window atNew Col- 
 lege, the Duke of Rutland's. 4. Infant Her- 
 cules/' painted for the Emprefs of Ruffia, in 
 which the figure of Tirefias is taken from Dr. 
 Johnfon. 5. '' The death of cardinal Beaufort" 
 for the Shakefpeare Gallery, in which are unit* 
 ed the local colouring of Titian with the chia- 
 rofcuro of Rembrandt. 6. Mrs. Siddons as the 
 <f Tragic mufe," which belonged to Monf. de 
 Calonne, now Mr. VV. Smith's, 7. Portrait 
 of Mrs. Billington, which was fold at Bryant's 
 fale in 1798 to the Duke of Bedford, for 500 
 guineas. 8. '' Robin Goodfellow" for the 
 Shakefpeare Gallery, in a playful ftyle, has 
 uncommon originality. 9. '' Cymon and Iphi- 
 gene," Lord Inchiquin's, is equally characler- 
 iftic. 10. '' Holy family," Lord Gwyder's, 
 which difplays a novel and beautiful manner 
 of treating that very frequent fubjec^t. 
 
 To fpeak generally of the Englifli fchool, 
 their colouring is Icfs glaring, than that of 
 
 ^ Sir Jollma's veneration for Michelagnuolo was en- 
 tiiufiaftic. His feal was a head of the great painter. In 
 one of his difcourfes he exclaims, " I defire that the lafl 
 words I fhouid pronounce in this academy, Ihould be 
 MichelagnuoJo ! Michelagnuolo 1 ! I " 
 
 I " the 
 
PAINTING. 523 
 
 tlie Flcmifli and Venetian mafters. Their 
 talents v.re more admirable in portrait than 
 hiftory, particularly in thofe of females. In 
 the pictures of French women painted by 
 French men, there is ufually a forced fmilc, in 
 which the eyes and forehead do not partici- 
 pate. In thofe by Englifli artifts, there is a 
 natural expreffion of grace and beauty, which 
 indicates the character of the individual. 
 
 Perhaps, it might be difficult to affign to 
 the Englifh fchool, as exhibited in the Royal 
 Academy, any perfeft difcrimination; as each 
 painter either implicitly follows his own ge- 
 nius, or attaches himfelf to that particular 
 manner of the foreign fchools which ap- 
 proaches neareft to his own ideas of excel- 
 lence. But there are ether public exhibitions, 
 in which the beft painters of the age have ex- 
 erted a fuccefsfal competition. Alderman 
 Boydell's Shakefpeare Gallery ; Macklin's Gal- 
 lery of fubjedis taken from the Englifli poets; 
 Bowyer's Gallery of thofe illuftrative of Eng- 
 lifh hiftory; and FufeU's, from Milton, all by 
 his own pencil, are very honourable teftimo- 
 nies of the fpirit of private individuals in the 
 caufe of the arts; and would have been no 
 Icfs fo, in more profperous times, of the public 
 
 patronage 
 
524 PAINTING, 
 
 patronage of the Englifli nation. Mr. Fufeli's 
 boundlefs imagination has attempted, with 
 furprlfuig effe6l, to embody feveral metaphy- 
 fical ideas, which occur In the Paradife Loft. 
 He has gained a free and uncontrolled ad- 
 miffion into the rlcheft regions of fancy; but 
 appears not to be foUcitous about how few of 
 his fpeftators can partially follow him there, 
 or how many of them are utterly excluded. 
 He paints only for learned eyes; and is fo 
 decidedly a mannerift, that artifts of the next 
 century will have a new ftyle to criticife or 
 imitate called the Fufilefque." 
 
 To the prefent prefident of the Royal Aca- 
 demy, the Englilli fchool muft avow many 
 obligations for his excellence, in fcrlptural 
 and hiftorical fubjed:3. The proud w^alls of 
 Windfor are appropriately decorated with the 
 Inftitution of the Order of the Garter, which 
 is his grand work, both in point of compofi- 
 tion, corre6tnefs, and finifiiing. He is faid to 
 prefer the Death of the Stag," founded on an 
 i icident in the life of Alexander the third, 
 king of Scots, to any of his own performan- 
 ces. Colin Fitz Gerald is the hero, and it was 
 painted for Lord Perth. The Death of Ge- 
 neral Wolfc; and the Battles of La Hogue and 
 
 the 
 
PAINTING. 525 
 
 the Boyne, are in the poffcffion of Lord Grof- 
 vcnor. His altar pidlurcs and cartoons for 
 windows are numerous, and of fo near an 
 approximation to eacli other in refpecS to 
 excellence of drawing, that we know not 
 which to prefer^ 
 
 In the courfe of the laft twenty years, fome 
 of the moft able artifts this country ever pro- 
 duced have flouriihed and died. The great 
 landfcape painters of Italy have fcarcely ex- 
 ceeded the Smiths of Chiccfter, Gainfborough, 
 and Wilfon, in truth and nature, and the ac- 
 curacy of their native fcenery. It would be 
 little lefs than injuftice to Wllfon's fame not 
 to mention, even thus curforily, his Phae- 
 ton," " Niobe," and Cicero at his \llla," 
 which laft rivals even Claude himfelf. The 
 
 Cicero," and a repetition of it, are in the pof- 
 fcffion of Sir G. Beaumont and Sir W. W. 
 Wynne. 
 
 Mortimer, who died prcm.aturely, in tlie 
 freedom of his pencil and the favage air of his 
 banditti, his favourite fubjed:, approached 
 nearly to the boldeft efforts of Salvator Rofa. 
 
 * Annibalc Crracci ufed to fay to his fcholars, Bon 
 contorno ! mattone nel ^nezzo." 
 
 Of 
 
5^6 PAINTING. 
 
 Of living artifts I decline fpeaking, with 
 the exception of thofe whofe eminence, as 
 men of genius, has placed them beyond com- 
 petition. In the works of Northcote, Opie, 
 and Lawrence % wc hail the continuance of 
 an Englifii fchool, and the happy application 
 of thofe claffical precepts which its founder. 
 Sir J, Reynolds, delivered with fo much dig- 
 nity and efrecl. The principles of the art 
 are exemplified in their vv^orks, and genius> 
 fo directed, will reach a degree of perfeition 
 which the modern fchools of painting in 
 Europe will afpire to, with unfuccefsful emu- 
 lation. 
 
 I now clofe thefe flcetches, for fuch only 
 they are, and from many caufes, neceflarily 
 I.efs complete than I could wifli them, by de- 
 claring, that were the plan approved of by a , 
 candid public, the opportunity of enlarging 
 and correcting it, would excite my ambition 
 to merit their indulgence. 
 
 f Lawrence's colofTal figures of " Satan and Beelzebub/* 
 froni Milton, now the Duke of Norfolk's ; "Mr. Kem- 
 ble as Corlolanus," Sir R. Worfley's ; and as " Rolla m 
 Fizarro," have gauied unanimous admiration. 
 
 THE END 
 
Lately publijhedy 
 By the fame Author, 
 
 (Late Chaplain and Phyfician of the Britini EmbafTy to the Forte) 
 
 Elegantly printed in One Volume Qtiarto, and illuftrated 
 by Plates and Views, engraved from original Drawings 
 accurately taken on the Spot, and a Iketch of the Geo- 
 graphy of the Troad, Pri<:e iK lis. 6d. in boards,* 
 
 (Dedicated by Permifllon to the Marquis of Bute) 
 
 CONSTANTINOPLE, 
 
 ANCIENT AND MODERN, 
 
 With Excurfions to the Shores and Iflands of the 
 Archipelago and to the Troad. 
 
 Printed for T. Cadell, jun. and W. Davies, Strand. 
 
 A few Copies are printed on Royal Paper, with coloured 
 Plates, Price 3I. 3s, boards. 
 
 T. BtiNSLEY, Printer, Bolt Court, Fleet Stieet, London.