Before I quit a subject so interesting in every respect, I ought to mention, that this assemblage of the chefs-d’œuvres of former times, begins already to hold out the promise of improving the taste of modern painters. I saw artists of both sexes, occupied in taking copies of the most celebrated subjects; and as curiosity led me to observe some of these unfinished attempts, I discovered, with infinite pleasure, that the figures, and even the countenances of the most striking objects, were in several instances successfully imitated. It is indeed, almost impossible, that the study of such unrivalled works should be pursued, without considerable benefit to the individual, and improvement to the art. To me it appears highly probable, that, assisted by the great facilities and advantages which this gallery affords, painting will, in the course of twenty years, recover all its former splendour.
An English lady[3], who has long very deservedly enjoyed a considerable portion of public praise, is now employed in copying the principal pictures in the museum; and from her designs, prints are to be published, the proposals for which are already circulated at Paris. If she should execute her plan as well as one has reason to expect from her known talents, the collection will become highly valuable and interesting, not only to those who have seen the originals, but likewise to such as have not had that advantage.
The musée, like every other establishment of the kind in this town, is conducted on principles of liberality, truly honourable to the government and the nation. The gallery is open to foreigners and artists, every day of the year; but to the public, only once or twice in each week. No fee or recompense is either required, expected, or received by any of the attendants; and the exquisite pleasure of contemplating these sublime pictures, for which indeed it would be difficult to fix any adequate price, is enjoyed gratuitously[4].
The gallery of antiquities, containing statues, busts, and basso-relievoes, is immediately under the gallery of pictures. It is divided into la salle des saisons, la salle des hommes illustres, la salle des Romains, la salle de Laocoon, la salle de l’Apollon, et la salle des Muses.
Were I to attempt an account of all these statues, my letter would never end. I shall therefore only mention those by which the rest, however excellent, are rendered petty, and contemptible, in comparison with them. I mean the Apollo Belvidere, and the Laocoon[5]. These masterpieces of human ingenuity are also so well known, and have been so well described, that I shall confine my remarks to their present state and present situation. The Apollo seems to have received no injury from the journey, and has as just claims as ever to the preeminence which, for so many centuries, has been allowed it. Did I not fear to appear presumptuous in hinting at any defect in a statue, esteemed so perfect, I should say, that the ancles were rather too thick, in proportion to the rest of the leg, and to the general lightness of the figure. I should have concealed my criticism, if a friend, on whose judgment and knowledge I can rely, had not assured me, that the objection was not novel, and that many connoisseurs have suspected that the legs are modern.
Not having had the happiness of seeing this wonderful statue in Italy, I cannot draw a comparison between the spot where it formerly stood, and that which it at present occupies. I certainly think, that it is not now seen to the greatest advantage. The room is not either high or large enough for the purpose, and too many statues are crowded together.—The Apollo Belvidere stands between the Venus d’Arles and another female figure, within a railed space of no great dimensions. The catalogue gives the following history:
“No. 145. APOLLON PYTHIEN,
DIT APOLLON DU BELVIDERE.
(After describing the statue and the subject).
“Cette statue la plus sublime de celles que le tems nous ait conservées, a été trouvée, vers la fin du quinzième siècle, à Capo d’Anzo, à douze lieues de Rome, sur le rivage de la mer, dans les ruines de l’antique Antium, cité célébré et par son temple de la Fortune, et par les maisons de plaisance, que les empereurs y avaient élevées à l’envi, et embellies de plus rares chefs-d’œuvres de l’art. Julius II, n’étant encore que cardinal, fit l’acquisition de cette statue, et la fit placer d’abord dans le palais qu’il habitait près l’église de Santi Apostoli. Mais bientôt après étant parvenu au pontificat, il la fit transporter au Belvidere du Vatican, où depuis trois siècles elle faisait l’admiration de l’univers, lorsqu’un héros, guidé par la victoire est venu l’en tirer, pour la conduire et la fixer à jamais sur les rives de la Seine....
“On ignore entierement le nom de l’auteur de cet inimitable chef-d’œuvre. L’avant-bras droit et la main gauche qui manquaient out été restaurés par Giovanni Angelo da Montorsoli, sculpteur élève de Michael Ange.”