  Paris, October 28, 1801. Having, in my last letter, described to you the outside of the Louvre, (with the exception of the Great Gallery, of which I shall speak more at length in another place), I shall now proceed to give you an account of some of the principal national establishments contained within its walls. Before the revolution, the Louvre was, as I have said, the seat of different academies, such as the French Academy, the Academy of Sciences, the Academy of Inscriptions and Belles Lettres, the Academy of Painting and Sculpture, and the Academy of Architecture. All these are replaced by the National Institute of Arts and Sciences, of which, however, I shall postpone further mention till I conduct you to one of its public sittings. At the period to which I revert, there existed in the Louvre a hall, called the Salle des Antiques, where, besides, some original statues by French artists, were assembled models in plaster of the most celebrated master-pieces of sculpture in Italy, together with a small number of antiques. In another apartment, forming part of those assigned to the Academy of Painting, and called the GalÉrie d'Apollon, were seen several pictures, chiefly of the French school; and it was intended that the Great Gallery should be formed into a Museum, containing a collection of the finest pictures and statues at the disposal of the crown. This plan, which had partly been carried into execution under the old rÉgime, is now completed, but in a manner infinitely more magnificent than could possibly have been effected without the advantages of conquest. The Great Gallery and Saloon of the Louvre are solely appropriated to the exhibition of pictures of the old masters of the Italian, Flemish, and French schools; and the Gallery of Apollo to that of their drawings; while a suite of lofty apartments has been purposely fitted up in this palace for the reception of original antiques, in lieu of those copies of them before-mentioned. In other rooms, adjoining to the Great Gallery, are exhibited, as formerly, that is during one month every year, the productions of living painters, sculptors, architects, and draughtsmen. These different exhibitions are placed under the superintendance of a board of management, or an administration, (as the French term it), composed of a number of antiquaries, artists, and men of science, inferior to none in Europe in skill, judgment, taste, or erudition. The whole of this grand establishment bears the general title of CENTRAL MUSEUM OF THE ARTS. The treasures of painting and sculpture which the French nation have acquired by the success of their arms, or by express conditions in treaties of alliance or neutrality, are so immense as to enable them, not only to render this CENTRAL MUSEUM the grandest collection of master-pieces in the world, but also to establish fifteen departmental Museums in fifteen of the principal towns of France. This measure, evidently intended to favour the progress of the fine arts, will case Paris of a great number of the pictures, statues, &c. amassed here from different parts of France, Germany, Belgium, Holland, Italy, Piedmont, Savoy, and the States of. Venice. If you cast your eye on the annexed Plan of Paris, and suppose yourself near the exterior south-west angle of the Louvre, or, as it is more emphatically styled, the NATIONAL PALACE OF ARTS AND SCIENCES, you will be in the right-hand corner of the Place du Vieux Louvre, in which quarter is the present entrance to the CENTRAL MUSEUM OF THE ARTS. Here, after passing through a court, you enter a vestibule, on the left of which is the Hall of the Administration of the Museum. On the ground-floor, facing the door of this vestibule, is the entrance to the GALLERY OF ANTIQUES. In this gallery, which was, for the first time, opened to the public on the 18th of Brumaire, year ix. of the French republic, (9th of November 1800), are now distributed no less than one hundred and forty-six statues, busts, and bas-reliefs. It consists of several handsome apartments, bearing appropriate denominations, according to the principal subjects which each contains. Six only are at present completely arranged for public inspection: but many others are in a state of preparation. The greater part of the statues here exhibited, are the fruit of the conquests of the army of Italy. Conformably to the treaty of Tolentino, they were selected at Rome, from the Capitol and the Vatican, by BARTHÉLEMY, BERTHOLET, MOITTE, MONGE, THOUIN, and TINET, who were appointed, by the French government, commissioners for the research of objects appertaining to the Arts and Sciences. In the vestibule, for the moderate price of fifteen sous, is sold a catalogue, which is not merely a barren index, but a perspicuous and satisfactory explanation of the different objects that strike the eye of the admiring spectator as he traverses the GALLERY OF ANTIQUES. It is by no means my intention to transcribe this catalogue, or to mention every statue; but, assisted by the valuable observations with which I was favoured by the learned antiquary, VISCONTI, long distinguished for his profound knowledge of the fine arts, I shall describe the most remarkable only, and such as would fix the attention of the connoisseur. On entering the gallery, you might, perhaps, be tempted to stop in the first hall; but we will visit them all in regular succession, and proceed to that which is now the furthest on the left hand. The ceiling of this apartment, painted by ROMANELLI, represents the four seasons; whence it is called the HALL OF THE SEASONS. In consequence, among other antiques, here are placed the statues of the rustic divinities, and those relating to the Seasons. Of the whole, I shall distinguish the following:
Diana, habited as a huntress, in a short tunic without sleeves, is holding her bow in one hand; while, with the other, she is drawing an arrow from her quiver, which is suspended at her shoulder. Her legs are bare, and her feet are adorned with rich sandals. The goddess, with a look expressive of indignation, appears to be defending the fabulous hind from the pursuit of Hercules, who, in obedience to the oracle of Apollo, was pursuing it, in order to carry it alive to Eurystheus; a task imposed on him by the latter as one of his twelve labours. To say that, in the opinion of the first-rate connoisseurs, this statue might serve as a companion to the Apollo of Belvedere, is sufficient to convey an idea of its perfection; and, in fact, it is reckoned the finest representation of Diana in existence. It is of Parian marble, and, according to historians, has been in France ever since the reign of Henry IV. It was the most perfect of the antiques which adorned the Gallery of Versailles. The parts wanting have been recently restored with such skill as to claim particular admiration.
In this bust, the city of Rome is personified as an Amazon. The helmet of the female warrior is adorned with a representation of the she-wolf, suckling the children of Mars. This antique, of Parian marble, is of a perfect Greek style, and in admirable preservation. It formerly belonged to the Gallery of Richelieu-Castle.
This bronze figure represents a young man seated, who seems employed in extracting a thorn from his left foot. It is a production of the flourishing period of the art, but, according to appearance, anterior to the reign of Alexander the Great. It partakes a little of the meagre style of the old Greek school; but, at the same time, is finished with astonishing truth, and exhibits a graceful simplicity of expression. In what place it was originally discovered is not known. It was taken from the Capitol, where it was seen in the Palazzo dei Conservatori.
This young faun, with no other covering than a deer's skin thrown over his shoulders, is standing with his legs crossed, and leaning on the trunk of a tree, as if resting himself. The grace and finished execution that reign throughout this figure, as well as the immense number of copies still existing of it, and all antiques, occasion it to be considered as the copy of the Faun in bronze, (or Satyr as it is termed by the Greeks), of Praxiteles. That statue was so celebrated, that the epithet of περιζοητος, or the famous, became its distinctive appellation throughout Greece. This Faun is of Pentelic marble: it was found in 1701, near Civita Lavinia, and placed in the Capitol by Benedict XIV.
In this beautiful figure, Ariadne is represented asleep on a rock in the Isle of Naxos, abandoned by the faithless Theseus, and at the moment when Bacchus became enamoured of her, as described by several ancient poets. It is astonishing how the expression of sleep could be mistaken for that of death, and cause this figure to be called Cleopatra. The serpent on the upper part of the left arm is evidently a bracelet, of that figure which the Greek women called οφιδιον, or the little serpent. For three successive centuries, this statue of Parian marble constituted one of the principal ornaments of the Belvedere of the Vatican, where it was placed by Julius II.
This head of Augustus, adorned with the civic crown of oak leaves, is one of the fine portraits of that emperor. It is executed in Parian marble, and comes from Verona, where it was admired in the Bevilacqua cabinet. On quitting the HALL OF THE SEASONS, we return to that through which we first passed to reach it. This apartment, from being ornamented with the statues of ZENO, TRAJAN, DEMOSTHENES, and PHOCION, is denominated the HALL OF ILLUSTRIOUS MEN. It is decorated with eight antique granite pillars brought from Aix-la-Chapelle, where they stood in the nave of the church, which contained the tomb of Charlemagne. Among the antiques placed in it, I shall particularize
This figure represents the poet, honoured by the Greeks with the title of Prince of the New Comedy, sitting on a hemi-cycle, or semicircular seat, and resting after his literary labours. He is clad in the Grecian tunic and pallium.
The dress of Posidippus, who was reckoned among the Greeks one of the best authors of what was called the New Comedy, is nearly that of Menander, the poet. Like him, he is represented sitting on a hemi-cycle. These two statues, which are companions, are admirable for the noble simplicity of their execution. They are both of Pentelic marble, and were found in the XVIth century at Rome, in the gardens of the convent of San Lorenzo, on Mount Viminal. After making part of the baths of Olympius, they were placed by Sixtus V. at Negroni, whence they were removed to the Vatican by Pius VI. Continuing our examination, after leaving the HALL OF ILLUSTRIOUS MEN, we next come to the HALL OF THE ROMANS. The ceiling of this hall is ornamented with subjects taken from the Roman history, painted by ROMANELLI; and in it are chiefly assembled such works of sculpture as have a relation to that people. Among several busts and statues, representing ADRIAN, PUBLIUS CORNELIUS SCIPIO, MARCUS JUNIUS BRUTUS, LUCIUS JUNIUS BRUTUS, CICERO, &c. I shall point out to your notice,
This admirable remnant of a figure seated, though the head, arms, and legs are wanting, represents the apotheosis of Hercules. The lion's skin spread on the rock, and the enormous size of the limbs, leave no doubt as to the subject of the statue. Notwithstanding the muscles are strongly marked, the veins in the body of the hero are suppressed, whence antiquaries have inferred, that the intention of the author was to indicate the very moment of his deification. According to this idea, our countryman FLAXMAN has immortalized himself by restoring a copy of the Torso, and placing Hebe on the left of Hercules, in the act of presenting to him the cup of immortality. On the rock, where the figure is seated, is the following Greek inscription: ΑΠΟΛΛωΝΙΟΣ By which we are informed, that it is the production of APOLLONIUS, the Athenian, the son of Nestor, who, probably, flourished in the time of Pompey the Great. This valuable antique is of Pentelic marble, and sculptured in a most masterly style. It was found at Rome, near Pompey's theatre, now Campo di Fiore. Julius II. placed it in the garden of the Vatican, where it was long the object of the studies of MICHAEL ANGELO, RAPHAEL, &c. those illustrious geniuses, to whom we are indebted for the improvement of the fine arts. Among artists, it has always been distinguished by the appellation of the Torso of Belvedere.
This figure, represents a barbarian soldier, dying on the field of battle, without surrendering. It is remarkable for truth of imitation, of a choice nature, though not sublime, (because the subject would not admit of it,) and for nobleness of expression, which is evident without affectation. This statue formerly belonged to the Villa-Ludovisi, whence it was removed to the Museum of the Capitol by Clement XII. It is from the chisel of AGASIAS, a sculptor of Ephesus, who lived 450 years before the Christian era.
This charming figure is rather that of a Muse than of the goddess of agriculture. It is admirable for the ideal beauty of the drapery. She is clad in a tunic; over this is thrown a mantle, the execution of which is so perfect, that, through it, are perceived the knots of the strings which fasten the tunic below the bosom. It formerly belonged to the Villa-Mattei, on Mount Esquiline; but was taken from the Museum of the Vatican, where it had been placed by Clement XIV.
Hitherto this admirable figure of a Roman orator, with the attributes of Mercury, the god of eloquence, has passed for that of Germanicus, though it is manifestly too old for him. Here we have another model of beautiful elegance of form, though not of an ideal sublimity. On the shell of a tortoise, at tide foot of the statue, is inscribed in beautiful Greek characters: ΚΛΕΟΜΕΝΗΣ Whence we learn that it is the production of CLEOMENES, an Athenian artist, mentioned by Pliny, and who flourished towards the end of the Roman republic, about 500 years before Christ. This statue was taken from the Gallery of Versailles, where it had been placed in the reign of Lewis XIV. It formerly belonged to the garden of Sixtus V. at Villa-Montalto, in Rome.
In this monument, Adrian's favourite is represented as having scarcely attained the age of puberty. He is naked, and his attitude has some affinity to that of Mercury. However, his countenance seems to be impressed with that cast of melancholy, by which all his portraits are distinguished: Hence has been applied to him that verse of Virgil on Marcellus; "Sed frons lÆta parum, et dejecto lumina vultu" This beautiful figure, of Carrara marble, is sculptured in a masterly manner. It comes from the Museum of the Capitol, and previously belonged to the collection of Cardinal Alessandro Albani. The fore-arm and left leg are modern.
In this colossal bust of the Bithynian youth, are some peculiarities which call to mind the images of the Egyptian god Harpocrates. It is finely executed in hard Greek marble, and comes from the Museum of the Vatican. As recently as the year 1790, it was dug from the ruins of the Villa-Fede at Tivoli. But enough for to-day—to-morrow I will resume my pen, and we will complete our survey of the GALLERY OF ANTIQUES. |
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