I recollect nothing else built before the days of the Emperors, who, for the most part, were such disgracers of human nature and human reason, that one would almost wish their names expunged, and all their deeds obliterated from the face of the globe, which could ever tamely submit to such truly wretched rulers.
The Capitol, built by Tarquin, stood till the days of Marius and Sylla it seems; that last-named Dictator erected a new one,
which was overthrown in the contests about Vitellius; Vespasian set it up again, but his performance was burned soon after its author's death; and this we contemplate now, is one of the works of Domitian, and celebrated by Martial of course. Adrian however added one room to it, dedicated to Egyptian deities alone: as a matter of mere taste I fancy, like our introducing Chinese temples into the garden; but many hold that it was very serious and superstitious regard, inspired by the victory Canopus won over the Persian divinity of fire, by the subtlety of the Egyptian priests, who, to defend their idol from that all-subduing element, wisely set upon his head a vessel filled with water, and having previously made the figure of Terra Cotta hollow, and full of water, with holes bored at the bottom stopped only by wax to keep it in, a seeming miracle extinguished the flames, as soon as approached by Canopus; whose triumph was of course proclaimed, and he respected accordingly. The figure was a monkey, whose sitting attitude favoured the imposture: our antiquaries tell us the story after Suidas.
As cruelty is more detestable than fraud, one feels greater disgust at the sight of captive monarchs without hands and arms, than even these idolatrous brutalities inspire; and no greater proof can be obtained of Roman barbarity, than the statues one is shewn here of kings and generals over whom they triumphed; being made on purpose for them without hands and arms, of which they were deprived immediately on their arrival at Rome.
Enormous heads and feet, to which the other parts are wanting, let one see, or at least guess; what colossal figures were once belonging to them; yet somehow these celebrated artists seem to me to have a little confounded the ideas of big and great like my countryman Fluellyn in Shakespear's play: while the two famous demi-gods Castor and Pollux, each his horse in his hand, stand one on each side the stairs which lead to the Capitol, and are of a prodigious size—fifteen feet, as I remember. The knowing people tell us they are portraits, and bid us observe that one has pupils to his eyes, the other not; but our laquais de place, who was a very sensible fellow too, as he saw me stand looking at them, cried out, "Why now to be sure here
are a vast many miracles in this holy city—that there are:" and I heard one of our own folks telling an Englishman the other day, how these two monstrous statues, horses and all I believe, came out of an egg: a very extraordinary thing certainly; but it is our business to believe, not to enquire. He saw my countenance express something he did not like, and continued, "Eh basta! sarà stato un uovo strepitoso, è cosi sinisce l'istoria[AE]."
[AE] Well, well! it was a famous egg we'll say, and there's an end.
In this repository of wonders, this glorious campidoglio, one is first shewn as the most valuable curiosity, the two pigeons mentioned by Pliny in old mosaic; and of prodigious nicety is the workmanship, though done at such a distant period: and here is the very wolf which bears the very mark of the lightning mentioned by Cicero:—and here is the beautiful Antinous again; he meets one at every turn, I think, and always hangs his head as if ashamed: here too is the dying gladiator; wonderfully fine! savage valour! mean extraction! horrible anguish! all marking, all strongly characteristical expressions—all
there; yet all swallowed up, in that which does inevitably and certainly swallow up all things—approaching death.
The collection of pictures here would put any thing but these statues out of one's head: Guido's Fortune flying over the globe, scattering her gifts; of which she gave him one, the most precious, the most desirable. How elegantly gay and airy is this picture! But St. Sebastian stands opposite, to shew that he could likewise excel in the pathetic. Titian's famous Magdalen, of which the King of France boasts one copy, a noble family at Venice another, is protested by the Roman connoisseurs to reside here only; but why should not the artist be fond of repeating so fine an idea? Guercino's Sybil however, intelligently pensive, and sweetly sensible, is the single figure I should prefer to them all.