VALE UNIVERSITY LIBRARY 3 9002 05366 9934 PRICE 12 1-2 CENTS. '»m*'f\Bff..ViWJBMi.3u;t.'._!(M|sf|.T1fL'|iHWr'»T"^,J-i''ic CATALOGUE SBOOHD ESniBITIOH fl a|j^ Oi^^ ^ ^^ IPS iv, laj m n SS" Jl isr sfi ©i^aHdHiE^o 3VCDC0CXI. BOSTON : EASTBURN'S PRESS, No. 18 State Street. «J T I I In opening a second exhibition of Statuary, the Committee believe that the numerous additions to be found this year, in the Athenaeum Collection, will render it both highly attractive and instructive. The first exhibition was considered in the light of an experiment, but it was arranged with the hope that it would prove a nucleus from which the future would date, not only the establishment in our city of another and important portion of a museum of fine arts, but the means of cultivating as correct a taste in the community to appreciate the productions of the chisel, as that in which they now behold those of the pencil. That the first exhibition had its desired effect, the Committee have every evidence to suppose, although owing to the lateness of the season at which the arrangements of the gallery were completed, the statuary was not seen by the public generally. The Committee believe that in the tmit ensemble, the present exhibition will be found to be inferior to none ever before established in this part of the world ; and when the difficulty of collecting so many exquisite specimens of the sculptors skill is considered, and that in order to bring them together it has not been necessary to draw from foreign sources, but that most of the marble groups and figures are the property of the institution and indi viduals of our city, a gratifying feeling arises in our minds that so much re finement of taste already exists. The Committee indulge the hope that the present exhibition may increase this taste, and every year be productive of greater attractions, until our Boston Gallery shall attain a high standing among museums of art, I. P. DAVIS, W. T. ANDREWS, T. B. CURTIS, H. GREENOUGH, J. J. DIXWELL, S. H. PERKINS, R. H. EDDY, Boston, June Qth, 1840. CATALOGUE Marble copy of the Head of the Apollo Belvidere, Cast from the same, - ... Cast of the Apollo Belvidere, - - - . The position of the God is that of having just shot his airow at the Python, a monster in the shape of a serpent, which appeared after the deluge of Deucalion, in the morasses of Phocis. The chlarnys is thrown upon the left arm — the right hand has left the string of the bow, while the lips and nostrils are still swelled vvith anger. The triumph of Apollo over this serpent, is one of the most re markable events in Mythology. Viseonti believes this statue to have been made by Roman artists, in the time ofthe Csesars, in imitation of a more ancient figure made in bronze. This statue, according to the same writer, like the Venus of Medicis and the Farnesian Hercules, is but the copy of an ancient one, " purified and ennobled." The expression of West, on seeing this statue in the Vatican, is well known. That artist supposed that it was copied from a figure in bas relief. We have not room here for the reasons of these opinions of Viseonti and West. The Apollo was discovered at the end of the 15th century, near the ancient Antinm, a place of great charms and much frequented by the Roman Emperors. Julius II caused it to be placed by M. Angelo, in the garden of the Belvidere in the Vatican — whence its name. John Angelo of Montorsolo, pupil of that great master, restored the two hands and the advanced arm. This statue is made of marble, called Luni, which resembles the Grechetto — specimens of it have been found at Carrara. It has been fonnd that the left foot is about a 60th part larger than the right. In consequence of an article in the treaty of Tolentino, made in 1797 — "the Statues ofthe Mnseo Pio Clementine (Vatican) shall be transported to Paris." This masterpiece was placed in the Hall of the Apollo in the Louvre, bnt it was restored by the treaty of Paris of 1815, and after infinite risks and dangers arrived in perfect safety in Rome, to the inconceivable joy and delight of the Romans. The cast is Italian. Cast of a copy from a celebrated Antique bust of Homer, Cast of the Gladiator Borghese, - - - - This statue was discovered at Capo d' Anza, (Ancient Antium) in the beginning ofthe 17th century, and it was at that time called a Roman Gladiator. But Antiquarians have since proved that it cannot be one, because independent ofthe inscription (rot seen on the cast) and the manner of the composition, it is now well known that Roman Gladiators were always covered more or less with armour. And as to its being a Greek Gladiator, the style of the statue is more ancient than the period when they were introduced. It is supposed to be a hero, who had performed some signal exploit, and to whom a statue was' decreed, representing, as in the case of Chabrias repulsing the Lacedaemonians, the action he had achieved. The inscription on the base informs us that it was executed by Aga- sias, son orDpsitheus of Ephesus. Winckleman supposes that it was made about the time ofthe fast successors of Alexander. Athenaeum. AtheucEum. Athenaeum. Athenaeum.Athenaeum. SUBJECTS. It is made of marble called Grechetto. The statue is ancient, ex cept one ear, one hand and a part ofthe right arm. This celebrated statue, like the other remarkable sculptures of Italy, has already crossed the Alps twice without injury. The cast is un commonly fine. Cast of a head of Jupiter by Phidias. Cast of a head of Jupiter by Phidias. Cast of Antinous of the Capitol. PKOPRIETOKS. Athenaeum. Atheneeum. . Athenaeum. Antinous was a beautiful youth of Bithynia, exceedingly beloved by the Emperor Adrian. Some writers supposed he was drowned in the Nile, but others supposed that he ofFeved up his own life to save that ofthe Emperor. At his death, Adrian built a temple in his honor, and he was placed amongst the Gods. The statue is perfect, with the exception of the left thigh, whieh is modern. It was carried to Paris in 1797, but was restored to the JMuseum of the capitol in 1815. The cast is uncommonly good. Cast of an antique head of Juno, ... Marble bust of Rubens, ..... Cast of the Venus of the Capitol, ... This Venus bears an evident resemblance to the Venus of Medicis, and confirms the remark that Artists and Antiquarians have often made, that the ancient schools were much governed by a spirit of imitation, — probably the principal reason of tha great perfection they have attained. Artists have pronounced that this statue exhibits a stronger expres sion of timidity and bashfulness than the Venus de Medicis. She is supposed to have just left the bath. This statue was probably copied from a living model— a remark, which nothing in the appearance of the Venus of Medicis will justly apply to that figure. Pliny mentions two statues of Venus seen at Rome, which were greatly admired, but it was not known by whom they were made. This is probably either one of those statues, or a fine copy. There are many copies, particular those at Dresden. This statue is of Parian Marble. It was placed in the Capitol at Rome by Benedict XIV. It is supposed to have been discovered in the valley hetween the Q,uirinal and Viminal. It was transported to Paris in 1797, hut restored in 1815. This is one ofthe best preserved statues of all antiquity. The end of the nose and three fingers are the only parts which are modern. This cast came to this country in fine order. Cast of a Head of Laocoon; probably taken from the group made by Bandinelli, (cotemporary of Michael Angelo's) in emulation of the antique. Marble bust of Raphael, ----- Cast of the Discobolus or duoit Caster, - - . This exercise, a favorite one of the ancients, consisted in casting a circular piece of metal, stone or wood, without either hole, string or handle, like the one represented in the cast, to the greatest distance, and not as in the modern exercise of quoits, at a mark. For this pur- Athenaeum. T. H. Perkins, Esq. Athenaeum. Athenaeum. T. H. Perkins, Esq. Athenaeum. SUBJECTS. PU0PRIET0K3. pose the athletes oiled their bodies in order to give suppleness to the muscles, and just before casting, threw dust or sand on the discus and their own hand, for it was one of the rules of the game, that if the quoit shonld slip from the hand, the athlete was out for that cast. The discus was one of the five exercises admitted at the Olympic games. The statue is naked, and the hair is bound round with the toenia or fillet, bestowed upon the victors at those games. It is supposed to be a copy frorn one made by Naucydes. It is in fine preservation, with the exception of the surface, which is somewhat injured by lime. The marble is Pentelican. It was found three leagues from Rome, in a farm called il Coleri- bano, where the emperor Julian had a country seat. This is also one of the Statues delivered to the French Commissaries by the treaty of Tolentino, in 1797, but in 1815 it was restored to the Vatican. The cast is excellent. Cast ofthe bust of Mr. Pitt, . . . . Marble bust of Byron, original by Thorwaldsen, - Cast of Diana, ...... Diana was the sister of Apollo. In this cast, the Goddess is clothed with a short tunic without sleeves, with a narrow garment about the loins, called by the Greeks " luniation." She is in the act of search ing for an arrow in her quiver. The animal at her feet is supposed to represent the fabled hind of Cyrenea, whose horns were of gold and feet of brass. It was the fourth ofthe twelve labors of Hercules to carry this hind alive to Mycenas in Argolis. After having pursued it through various countries, the hero came up with it in Arcadia, near the river Lado, upon whose banks Daphne was metamorphosed into a Laurel, and as he was on the point of seizing it, Diana appeared, descending from Mount Arthemision, and, threatening Hercules with her arrows, rescu ed the hind. Artists suppose that this is the moment and the circumstance here represented. They moreover have discovered a resemblance between this beautiful Diana and the Pithian Apollo, at least, enough to give what they call a " family air." This Statue haa been in France since the reign of Henry IV, but it is not known how it was brought there or whence it came. It was removed from Versailles by Bonaparte, first Consul, to the Hall of Diana, near the Louvre, where it still remains. The cast is French. Cast of a bust of Hamilton, by Carrachi, Cast of a bust of Dr. Bowditch, by Bail Hughes, Cast of the Venus de Medicis, . - . . Byron in Canto IV of Childe Harold, thus speaks of the Etrurean Athens. There too the Goddess loves in stone, and fills The air around with beauty ; we inhale The ambrosial aspect, which beheld, instils Part of its immortality ; the veil Of Heaven is half undrawn ; within the pale We stand, and in that forra and face behold What mind could make, when Nature's self would fail. See No. 80. Athenaeum.J. Coolidge, Esq. Athenaeum. Athenaeum. H.I.Bowditch,M.D.Athenaeum. SUBJECTS. PROPKIETOES. Cast of a bust of H. G. Otis, Esq., by Clevenger, Marble bust of Rev. Dr. Kirkland, by Greenough, Cast ofa bust of Gen. W. H. Harrison, by Clevenger, Marble statue of the Minerva after the antique, Cast of a statue of Cupid, by Trentanpve, Marble statue of Flora, after the antique, Plaster bust of Henry Clay, by Clevenger, Marble bust of John Lowell, Esq., by Frazee, - Bust of Nicholas 1st, the present Emperor of Russia, Marble bust of Americus Vespucius, Cast of a bust of Dr. James Jackson, by Clevenger, Cast of the Laocoon, The fable of Laocoon has been much treated by ancient writers, and, though posterior to those of which Homer has sung, there is great diversity among them concerning it. The account of Virgil, however, is generally preferred, as most conformable to the appear ance of the group, though he is supposed never to have seen it. (Vide Aen. B. 2. v 40. et 201.) Laocoon, descended from the Trojan Kings, was priest of Apollo. Suspecting the treachery of the Greeks, he advised his countrymen not to receive the wooden horse, and upon this occasion used the cel ebrated expression, "Timeo Danaos et dona ferentes." But Minerva was resolved upon the destruction ofthe Trojans, and in order to compel them to reject the suspicions of Laocoon, and to avenge the indignity of which he had been guilty in hurling a spear into the sides ofthe horse, she caused two enormous serpents to is sue from the ocean in the direction of Tenedos and to bite and crush to death Laocoon and his two sons, while engaged in offering a sacra- fice to Neptune on the sea-shore. He is here represented to have sunk upon the altar, now covered by his mantle which has fallen from his shoulder. These figures, as well as most of the casts in the Athenaeum, are nearly naked, but the conventional costumes ofthe heroic and mytho logical times allowed little dress. This work is of Greek marble, finer than the Parian, called in Italy Marino Grechetto. Itis made of six blocks — it was found at Rome about the year 1506, and was placed in a niche in the hall of the baths of Titus. The right and projecting arm of the eldest son and the right arm ofthe other are modern. It was made by three Rhodiaas, in the time of the first Cmsars, Agesander, Polydorus and Athenodorus. The cast is French and came to this country in excellent order. Cast of a bust of Edward Everett, by Clevenger, Cast of a bust of the present Empress of Russia, Marble bust of a Cherub, after Thorwaldsen, Marble bust of T. H. Perkins, by Frazee, Cast of a bust of Hon. D. Webster, by Clevenger, The young Augustus — a marble copy from the antique, Athenaeum.Athenaeum.Athenaeum. T. H. Perkins, Esq. AthenEBum.T. H. Perkins, Esq. Athenaeum.Athenaeum.Athenasum. J. Coolidge, Esq. Athenseum. Athenaeum. Athenaeum. Athenaeum. S. Austin, Esq. Athenasum.Athenaeum. F. C. Gray, Esq. SUBJECTS. PKOPRIETOKS. Plaster cast, representing a Venus as having just left the bath, ..... This is a modern restoration of a celebrated antique torso or trunk, the artist of which is not known with any certainty. The original torso is considered as one of the finest specimens of sculpture extant. It is also uncertain what was the design of the original, whether it was intended for a Venus or some Nymph. There have been many attempts to restore the fragment by the addition of the head and limbs, but never with much success. Flora in marble, by Gibson, .... Cast of a bust of Ellen Tree, by Dexter, Cast of a bust of Dr. Ingalls, by Dexter, Cast of a bust of Washington Alston, by Clevenger, Cast of a bust of Dr. James Freeman, by Clevenger, Cast from the Appollino, a celebrated antique statue, rep resenting the youthful Apollo, The original of this cast, is situated in the roora called the Tribune in tbe Florentine gallery, and nearly opposite the Venus de Medicis. From a similarity of style, these two statues are by many attributed to the same master. They being both made ofthe same kind of mar ble and in the same state of prfeservation, is a fact slightly confirming this theory. Cast of a bust of Lafayette, by Cogdell, - Marble bust of Homer, copy from the antique, - Cast of a bust of Voltaire, by Houdon, - - - Marble bust of Walter Scott, - - - - Marble statue of a Boy, after the antique, Cast of a celebrated antique, representing a boy extracting a thorn from his foot. The original is celebrated for its simplicity, grace, and truth. No. 76 is a copy in marble from the same original. Marble bust of Franklin, .... Cast of a bust of the Duke of Wellington, Marble bust of Washington, by Trentanove, a pupil of Canova's, - - - Cast from a colossal statue of Minerva, by Phidias, Marble bust of Napoleon, when first Consul, Plaster bust of Washington Irving, by B. Hughes, Marble bust of J. F. Cooper, by Greenough, Cast from an antique fragment of a statue of Hercules, called the torso, . . - . - This piece of sculpture was found in the field of Flora, in the Pon tificate of Julius II. We refer, to works of Winckleman and Mengs, those who may wish to read the poetical and enthusiastic descriptions which those celebrated men have written of this work of ait. It is enough for our purpose to remark that it is generally believed in the schools that upon this model Raphael and Michael Angelo perfected theraselves in then- studies. Indeed, it has been called to this day, the Torso of Michael Angelo. Athenaeum. F. C. Gray, Esq. Athenaeum.Dexter.Athenaeum. T. B. Curtis, Esq. Athenaeum. Athensum.R. G. Shaw, Esq. Athenaeum. R. G. Shaw, Esq. J. C. Warren, M. D. Athenaeum. Wm. G. Hodgkinson. Athenaeum. Athenaeum.Athenaeum.J. Coolidge, Esq. Athenfeum. A. Greenough, Esq. Athenaevim. SUBJECTS. PROPRIETORS. It is supposed to be a Hercules, from the shape of the body, and also from the lion's skin on which he reposes. The inscription upon the plaster is to the following efiiect, " Apollonius son of Nestor the Athenian made this." In relation to this inscription, a distinguised antiquarian makes the following remark " The memory of tho greatest Statuary would have perished, if time had not respected this fragment." On account of the shape of the letters on this inscripiion„ Winck leman supposes this statue to have been wrought posterior to the days of Alexander. This statue was also included in the treaties of Tolentino of 1797, and of Paris of 1815. The cast is Italian and remarkably good. Torso is an Italian terra of Sculpture, applied to a body without a head, and without arms or legs. Cast from a bust of Edmund Burke, ... Cast from an antique colossal statue of Bacchus, - Cast from a bust of Sir Isaac Newton, - - . Ariadne, marble statue after the antique. Cast from a bust of G. Listen, Esq., ... This gentleman was at one time the English Minister to this country, and afterwards Ambassador from the British Court to Con stantinople, where he died. Flora, a marble statue, - - . . . Cast in plaster of Shakespeare, .... The original model of Ball Hughes' very popular group, of Uncle Toby and the Widow Wadman, — ^ 1 am half distracted, Capt. Shandy, said Mrs. Wadman, holding up her cambric handkerchief to her left eye, as she approach'd' the door of my uncle Toby's sentry box a mote or sand or something- 1 know not what, got into this eye of mine— do look into it — it is not in the white In saying which, Mrs. Wadman edged herself close in beside my uncle Toby, and squeezing herself down upou the comer of his bench, she gave him an opportunity of doing it, without rising up— Do look into it — said she. Honest soul ! thou didst look into it with as much innoeency of heart, as ever child look'd into araree show box ; and 'twere as much sin to have hurt thee. If a man will be peeping of his own accord into things of that nature — I've nothmg to say to it. My uncle Toby never did ; and I will answer for him, that he would have sat quietly upon a sofa from June to January, (which, you know, takes in both the hot and cold months) with an eye as fine aa the Thracian Rhodope's beside him, without being able to tell whether it was a black or a blue one. The diificulty was to get my unde Toby to look at one at all. 'Tis surmounted. And I see him yonder with his pipe pendulous in his hand, and the ashes falhng out of it — looking and looking^ then rubbing his eyes and looking again, with twice the good nature that ever Galileo look'd for a spot in the sun. In vain I for, by allthe powers which animate the organ Widow Wadman's left eye shines this moraent as lucid as her right — there is neither mote, or sand, or dust, or chaff, or speck, or particle of opaque raatter floating ia it there is nothing, my dear paternal' nncle ! but Athenaeum.Athenaeum.Athenaeum. Wm. G.. Hodgkinson- Athenffium. R. G. Shaw, Esq. Chickey & Garey- Athenaeum. 9 SUBJECTS. PROPRIETORS. one lambent delicious fire, furtively shooting from every part of it, in all directions, into thine — If thou lookest, uncle Toby, in search of this raote one mo ment longer — thou art undone. [Tristain Shandy, Chap. 24.] Dancing girl in marble, after Canova, - - - " This figure is seen in the midst of the sprightly dance, which she animates with the sound of the cymbals, held elegantly up over her head ; she is clothed in the thin drapery, whicii does not, however, wholly conceal her delicately and finely formed limbs, and her feet are adorned with elegant sandals." Cast in plaster of a Cupid and Bird, ... Dancing Girl in marble, after Canova, . - - " This figure is beginning the dance and has gathered up her long and elegant dress to give the necessary freedom to her feet, in doing which, she displays her finely proportioned limbs to advantage ; her face, which is turned towards her left shoulder, is beautiful and se rene, and the smiles, which slightly separate her lips, with a corres ponding glance, tend to create in us the most pleasing allusions. Scagliola Vase and Pedestal, . . . - The celebrated statues of Night and Day, by Michael Angelo, ....-- The originals of these casts (which form a part of the monument erected in honor to Julio de Medici, in the church of San Lorenzo, at Florence,) are universally considered among the most sublime and poetical conceptions of M. Angelo. For minute criticisms of this tri umph of modern art, we would refer the reader to the description by Vasari and the opinions of other distinguished writers on the arts. The casts were presented to Col. T. H. Perkins, by our townsman H. Greenough, now residing in Florence, and are by the kindness of Col. Perkins, deposited with the Athenteum. The following extract from a letter from Mr. Greenough to Col. Perkins, will serve to show that they may be considered as rare acjuisitions to the lovers of the fine arts in this country. " I became possessed a few months since, of casts from the cele brated statues by Michael Angelo, representing Night and Day. " They are proof casts, made to try the moulds ordered here by the King of the French, and were, by the terms of contract, a perquisite to the moulder. They are for all purposes of study and criticism iden tical with their originals, and are in the best state and quite new." [Extract from " Historical Sketches ofthe Old Painters."] Michael Angelo deeply deplored the unhappy state of Florence. The lines written by him under the figure of Night, are expressive of the state of hia feelings. Though the softer elements of his character had not been fostered by maternal kindness, there was not wanting a deep spring of sensibility which circumstances sometimes caused to overflow. Under the celebrated statue of Night, which had been in tended for the tomb of Medici, Baptist Strozzi wrote the following lines : G. Parkman, M. D. Chickey & Garey. G. Parkman, M D. Athenaeum. T. H. Perkins, Esq. 10 SUBJECTS. PROPRIETORS. Night, whom thou seest so calmly sleeping Was by an Angel formed. Though by this marble held in keeping. By life the figure's warraed. Yet, should thy mind of doubt partake. Thou need'st but speak, and she'll awake. ORIGINAL. La Notte, che tu vedi in si dolci atti, Dormire, fu da un Angelo scolpita. In questo sasso ; e perche dorme, ha vita ; Destila, se noi credi, e parleratti. M. Angelo shortly after observed the writing, and with an emotion which fully evinced his sensibility, vfiote this reply, in the person of Night. Grateful to me is this repose ; More grateful still to be of stone. While o'er my country evil flows, To see nor feel is peace alone. Then let me sleep o'er ills forgot : Speak low! I pray thee wake me not. ORIGINAI,. Grato mi e il sonno, piii I'esser di sasso ; Mentre cho il danno e la vergogna dura, Non veder, non sentir m'e gran ventura. Pero non mi destar ; deh parlar basso V Vase and Pedestal, Scagliola, - - . . Cast after Canova, crouching Venus, - . . Cast of Milton, by Chantry, ..... Marble copy of the celebrated antique statue of the boy extracting the thorn from his foot, - - . Marble copy of a group of Mars and Venus, by Canova The Countess Albrizzi reraarks of this work, "This group presents an outline, in some parts, bold and forceful— in others soft and flow ing ; and possess so entire a harmony and unity of efiect, that each figure would lose much of- its eloquent expression by being separated frora the other. The warlike deity prepares to follow where destinv calls him : his forward. step, the homicidal spear which he grasps, and the glearay helmet, all indicate the approaching war. The appeasin" goddess leans fondly against bis side, her right hand and rounded chin" gently pressing upon his shoulder, while her left hand reaching round to his manly neck, caressingly draws his regards towards her. He subdued by her caresses, looks fondly into her eyes, from which he seems to irabibe a pleasing and unusual calm. How fine and iust the sentiraent here, of beauty controlling those fierce and violent passions which are tameable only by its resistless power. ' Marble Group of Forest Children, by Greenough, Copy of the celebrated Portland Vase, - . . The original of this Vase was found' about the middle of the 16th century inclosed in a martle Sarcophagus, within a Sepulchral cham ber in the vicinity of Rome. For more than two centuries it was the pnncipal ornament of the Barberini palace. It was purchased by the Athenaeum.Chickey & Garey, Chickey &, Garey, Robert G. Shaw. Robert G. Shaw.. D. Sears, Esq.- J. J. Dixwell.- 11 SUBJECTS. PROPRIETORS. Duchess of Portland about thirty years since for 1000 guineas, and has been deposited in the British Museum since 1810. The material is glass, the ground being of a dark translucent blue, which appears almost black except when held against the light ; the figures of opake white, in bas relief. The subject of these figures has not received a satisfactory elucidation ; but, both in design and sculpture, it is esteemed a superb specimen of Greek art. This copy was made by the elder Wedgewood, and is " fiic simile of the original, except in the trans lucent blue of the ground. Darwin supposes the subject to be an allegory taken from the Eleu- sinian mysteries ; one side representing mortal life, the other immor tal, where the manes, preceded by Divine Love and supported by Immortality, is introduced to the regions of Pluto. The bust in the bottom he supposes to be emblematical of the secrecy which presided over the mysteries. See notes to Darwin's Botanic Garden for a full account of his theory. Marble stat\ie of Venus de Medicis, It is the most charming invention in the Mythology ofthe Ancients, says Mirabeau tbe elder, to have personified and rendered divine the soul of nature, and to have made beauty the Goddess of Love and the Graces. This is the Anadyomene or Marine Venus, supposed to have been I forraed from a mass of white foam, which was first seen floating on the sea, near the island of Cytherea, but was afterwards driven by the billows to the island of Cyprus, where the mass suddenly opened and this beautiful Goddess issued from it. Venus is supposed to have just landed on the enchanted island of Cytherea, her hair dressed with care and elegance by the Hours. The attitude of this figure is the samo that Praxiteles gave to his Venus of Cnidos, the fame of whose beauty was so great that travel lers often went to Asia for the purpose of seeing it. The hair of the Venus was gilt and the ears pierced to receive rings. Nothing is known of the discovery of the statue. Sometime about the year 1587, Ferdinand, youngest son ofthe great Cosmo, brought it to Rome and placed it in the villa Medicis— whence its name. It remabed there till 1677, when it was transported to Florence. The bands and the first part ofthe left arm are modern, and also the base, upon which is the following inscription in Greek, (not on the cast] which M. Viseonti supposes, however, to be a copy of the an-- cientone, "Cleomenes, Son of Apollodoras the Athenian, made this. This statue was placed in the Louvre, in Paris, in 1797, and soon after a medal was struck, bearing upon one side a portrait of Napoleon and upon the other an entire figure of the Venus, with this motto, "Aux Arts la Victoire." Tt was restored to Florence iu 1815, and there placed in the tribune ofthe gallery, upon its ancient pedestal, which, durmg its absence, had been occupied by a Venus made by Canova, since removed to the Palace Pitti. ,..,...,¦ i. a The hei»hthof the fi,s-ure without the plinth, is 4 feet, 4 inches, b lines, English. Diana in marble, - - " ' ' Nymph of the Amo, in marble, after Bartolini, - Cleopatra in marble, after the antique, Dancing Girl in marble, after Canova, Hebe in marble, after Canova, - - - " We welcome thia lovely cup-bearer of Jove, the charming God^ dess of eternal youth, as if she had just ascended frora the skies and Wm.G. Hodgkinson. F. C. Gray, Esq. J. Coolidge, Esq. T. H. Perkins T. H. Perkins, Esq. 12 86 87 88 89 90 91 92 93 SUBJECTS. PROPRIETORS. felt inclined to address her in the words of our elegant poet, Ippolito Pindemonte : Whither celestial Hebe dost thou stray, Leaving the banquet of eternal Jove ; Design'st thou to leave the radient fields above, To tread earth's darker and ignoble way ? Immortal sculptor who dost yet outvie Italian art, and reachest attic grace. Life, soft and breathing aspect thou couldst trace ; The sculptured notion cheats the wond'ring eye. Back from that on which entranced we gaze. Her vestments seem to flutter in the wind. Buoyant in many a graceful fold behind ; While nature's self whose law the worlds obey. Deceived by mimic art, believes a stone With motion gifted, swiftly passing on. The light drapery which clothes her, knotted gracefully round the waist, descends below the knee, and leaves uncovered her delicately moulded shoulders and swelling bosom ; this soft dress is pressed by the buoyant wind against her person and partly reveals to us the beauties of her perfect form. Cupid Asleep, a marble figure, - - . . Pauline, Princess Borghese, a marble figure after Canova, Dancing Girl, a marble figure, .... Aristides, a marble figure after the antique, Marble bust of a Nymph, by Gibson, Crouching Venus, copy from the antique. Psyche, in marble, by Greenough, Graces, a marble copy of Canova's celebrated group, bv p'^nL?"""'' '^^f^' '^S'"'='' '"'^ Euphrosyne, are here represented by Canova, grouped m a manner which diff-ers from that of the well It w^^n'h' ^l^'^h have been handed down to us from antiquity scrintTon nr^h"^""^"^ '^' enchanting composition to attempt a de scription of their elegant forms and attributes, their beautiful arms bangs from the arms of Thalia, in the middle ofthe group and ^oat ng playfully seems guided by the hands of modestv herself Th.t' Sr.s-ifjri:tSLr r„»- 1, "-V^ "6 vene appar, ne node accede," ' J. S. Amory, Esq. R. G. Shaw, Esq. W. G. Hodgkinson. T. H. Perkins, Esq F. C. Gray, Esq. W. G. Hodgkinson. F. C. Gray, Esq. B.W. Crowninshield 13 SUBJECTS. PROPRIETOns. 94 9596 97 98 99 100 101102 103104 105 106107 108109 The Guardian Angel, an original group in marble, by Bienaime, ..... The artist, in a letter to Col. Perkins, thus expresses himself. " The idea that the Supreme Being employs invisible agents to defend the innocence of youth, and preserve it frora the snares of vice ia not peculiar to the doctrines of Christianity. We find the origin of it as far back as the book of Genesis, and meet with it throughout the whole of the Old Testament. The story of Tobias in particular, realizes it in so beautiful and touching a manner as to leave little to be superadded by the charms of poetry, and it was un doubtedly the ground work of the compositions of some of the best writers of the Italian School. " Under the belief that Sculpture might derive equal benefit from the same source, I composed this group, endeavoring to render the idea as clearly and simply as possible, this being an indispensa ble requisite in works of our art. In the figure of the boy, I in tended to express innocence, unconscious of the dangers of life and the seductions of vice, submitting itself to the will of its divine mas ter, in a postal e of humility and obedience. The divine messenger directs his footsteps aside, as he perceives the enemy, (typified as usual under the form of the serpent) is lying in wait for him. I endeavored to reflect from the countenance of the Angel that divine goodness which showers its blessings upon all created beings." Cupid and Psyche, a marble group, ... Marble group of Venus and Adonis, by J. Gott, - Wrestler, in terra cotta, by Gott, ... Fidelity, a marble piece, .... Ganymedes, an original by Thorwaldsen, Greyhound Amo, after life, by Greenough, Cupid Sleeping, a marble figure, ... Nymph, marble, after Canova, .... Marble bust, Portrait of a Girl, by Greenough, - Cast ofa bust of Jeremiah Mason, Esq., by Clevenger, - Antique bust of the Poet Ennius, . . - Ennius. This poet who has generally received the glowing ap pellation of the Father of Roman song was a native of Rudiae, a town in Calabria and lived from the year of Rorae 515 to 585. Marble bust of Sappho, .... Marble Figure of Psyche, by a pupil of Bartolini, Spaniel, Kitten and Fruit, a group in marble, by Gott, of Rome, celebrated as the Landseer of Sculpture, Marble group, representing the ascension of a child, con ducted by an infant angel, by Greenough, The late and Rev. C. Follen thus describes this exqui site production. This marble group, consisting of two children, is one of the most interesting works of art ever exhibited in this city. The first sight naturally reminds us of the Chaunting Cherubs, an earlier production T. H. Perkins. W. G. Hodgkinson. J. S. Amory, Esq. F. C. Gray, Esq. R. G. Shaw, Esq. William Appleton. W. Sturgis, Esq. S. Appleton, Esq. S. Appleton, Esq. T. B. Curtis, Esq. Athenaeum.Dr. Bigelow. W. G. Hodgkinson. R. S. Fay, Esq. H. Cabot, Esq. Samuel Cabot, Esq. 14 PROPRIETORS of the same artist ; but the more we reflect on the essential traits of the two works, the more we are impressed vvith the individual character of each; and without attempting to settle the question as to their com- paritive merits, all must agree that the palm of originality belongs to the last efibrt of our gifted countryman. Considering both the origi nal conception and masterly execution of this group, we feel confident that it will be sufliciently appreciated by those who by an extensive study of sculpture are enabled to compare this with other standard works. Its merits will be acknowledged not only by those who are able to analyse and define them, by the artist and the connoisseur, but like all the best productions of genius, its excellence will be felt by every one whose judgment will take counsel of his own eyes and his own heart. The material, the workmanship, the thought express ed in the work, and the sentiments which it is adapted to call forth in the beholder, conspire to render it highly interesting to this or any other cornmunhy of men who have eyes to see, and hearts to feel and admire. The uncomraon purity of the marble, which in the representation of children assumes a peculiar emblematic importance, will be noticed by all. It will be prized more especially when we consider lhat no artist's divination can in the outset detect in a block of marble any in ternal defect, which in the process of the work may mar the most beautiful form into which it may be moulded and fashioned by the hand of genius. The workmanship, the execution, is full of truth and grace. It is true to the natural structure of the human body in childhood, and true to the design of the work. All who are habitually attentive to the frame, the natural attitude and motions of children, the scientific anatomist and the watchful mother, will agree in pronouncing and eulogizing the perfectness of every limb, the precision of every mus cle, every joint, every dimple, in these marble children. It was the design ofthe sculptor, in this group, to represent two dis embodied spirits in the only way in which they can be brought be fore mortal eyes ; that is, by human bodies so full of expression, that our minds being wholly engrossed by the prevading sentiment, lose sight ofthe lifeless material. The whole expression of this group centres in the youngest child. The attitude of the elder child, as well as the expression of his face having reference to the younger, gives to the group that perfect unity which makes the meaning of the whole and of every part at once intelligible and striking. In the face of the smaller figure, we see breaking through the unconcern of childish simplicity, a spirit of blissful contemplation and wonder, an ardent longing, tempered by a tender shrinking of conscious weakness from the excess of glory that is bursting upon the untried vision. That peculiar seriousness, that intense solemnity, which characterises the deepest joy of a living child, ia rising into devout rapture, as it passes from a mortal to an immortal state. The head of the little boy seems pressing back upon the neck as if trying to sustain the intense interest in what he sees revealed before hira. The left foot placed in advance of the other, and the left hand raised forward, seem to indicate that he had been walking on ; but as if overpowered by the glorious view that opens upon him, be seems to shrink from actually entering the untried acenes to which he is called. The right foot remains fixed, the whole body leans slightly toward the right, the right arm with the outstretched hand in the same direction is extended instinctively as it were, to support him in his endeavor to proceed. It is in this position that the infant angel on his left, grasps the forereaching arm to lead onward, while the right arm ofthe angel being placed over the shoul der and back, and the outspread hand a little below the right shoul der, gently support the wavering child. At the same time the open ing mouth and the atill more expressive countenance of the celestial 15 I SUBJECTS. PROPRIETORS. guide, seera to him, " be of good cheer, be not afraid " The in scription on the pedestal of the group : " Quae 7iunc abibis in loca ?" Whither now wilt thou pass ? may be read as clearly in the countenance of the child, as the answer in that of the angel : " Corae up hither, and I will show thee." The angel, who is himself a child, and as such best fitted to be the confidential guide of the little pilgrim from this lower world, shows by his attitude as well as by his countenance, in which the expression of serene seriousness ia blended with thoughtful interest and brotherly kindness, that his heart is in his errand. Hia face, particularly the expansive forehead, as well as hia whole frame, are indicative of greater maturity both of body and mind, and calculated to inspire his younger companion with confidence and courage. While his eye rests upon the surprised, delighted, and intimidated child, there is some thing in his looks which shows that the scenes which the latter ap proaches with the embarasament of a stranger, are farailiar to him. The child conducted by the angel is a striking illustration of Faith guided by Sight. The wings with whicb the angel is furnished seem hardly necessary to raise him and hb mortal charge to those regions for which they both seem fitted, and capable to rise of themselves " on wings of the angel, faith and strong desire." The wings of the angel, formed in the emblematic shape of the dove, do not seem intended to serve him in ascending, but rather as a kind of celestial parachute, in safe ly descending to this lower world, and more particularly as an at tribute that shall assure the timid mortal to whom he is sent, of his high commission as a guide from earth to heaven. The Origin of the Lyre. A cherub with a Lyre, a marble figure, by a pupil of Thorwaldsen, from an original of that artist, ...... Original wax model of a Cameo, Michael Angelo Buona^ retti, by Santarelli, ..... Mask of Sir Isaac Newton, Mask of Oliver Cromwell, .... Mask of Lord Bacon, - - - • Bust of Abbot Lawrence, Esq, by Power, Bust of Amos Lawrence, Esq., by Clevenger, (J5=The public is informed that many of the pedestals in imitation of porphyry, the table tops and vases in the gallery, are placed there for sale. Prices may be learnt of the Door-keeper. S. Cabot, Esq. H. Greenough, Esq, J. Coolidge, Esq. J. Coolidge, Esq. J. Coolidge, Esq. J. H. Wolcott, Esq. E. S. Dixwell, Esq.