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quadrangle at Somerset-house. The buildings sur rounding it were designed by Michael Angelo. Their fronts are adorned with pilasters, but the parts are too crowded together to please a correct eye. On the south side of it is the Tarpeian rock, which did not appear to me to be above fifty or sixty feet deep; and below is a flat part of the rock projecting out, on which it is thought malefactors were thrown; but I am inclined to think they were precipitated from the top of some building or tower which stood here, as there are many old foundations now to be seen in different parts of the capitol. In the centre of the area, on a modern marble pedestal, stands the inimitable equestrian. statue of Marcus Aurelius, executed in Corinthian brass by an unknown artist. So excellent did this statue appear in the eyes of Carlo Maratti, that when he was looking at it one day, he was heard to exclaim, "Go on; dost thou forget that thou art alive?"--The emperor himself is represented in that attitude which it is supposed he assumed when he went out to announce peace to the kings and legates of Persia.---" Cum Marcus in Syriam venisset interfecto Cassio sibi occurrentibus regibus et legatis Persarum pacem confirmawit."--The expression of the head and character of the whole figure seem so perfectly conceived for a great prince and a great philsopher, that I sincerely believe it was never equalled by any other performance. Marcus Aurelius was brave, merciful, and just; and in this unique performance all those virtues are finely exemplified. His right arm stretched out, and his hand ex,

panded, betoken his compliance with the requests of the subjugated. In his aspect there is a mixture of great sternness with benevolence. His brows are compressed, not with the tyrant's frown, but by the pressure of a long life devoted to public cares, toil, and contemplation. The horse on which the emperor rides, is also an admirable work; in it is to be discovered more of the real than the ideal character of the animal. The head being a little turned, gives more variety and playfulness to the outline as he trots along. The legs are so judiciously and naturally placed, that when it is viewed sidewise at a distance the whole body appears to be in action. Respecting some criticisms which have been made on the tail, supposed to be too short and pointed, they occurred to me to be ill-founded. A long tail, cut quite even at the bottom, has a very formal and cumbersome appearance; and is much more suited for the pomp of a cavalcade than for a horse used by a general in the field, where speed oftentimes becomes necessary. In all probability this statue was made after a favourite horse of Marcus Aurelius, and the tail, as well as other parts, may be a close imitation of nature. Warmly as an artist may express himself, when speaking of this rare antique, still no language nor drawings whatever can do it ample justice; even the equestrian statues by John di Bologna, and every other I have yet seen, according to my own judgment, in comparison with this sink into nothing.

In the court of the Conservator's palace are some remains of colossal statues; among which are two

feet, seven feet long, supposed to have belonged to a statue of Apollo: also, a hand six feet long; and the colossal head and hands in bronze, said to be of the statue of the emperor Commodus. The group, in white marble, of a lion tearing to pieces a horse, nearly as large as life, was much studied by Michael Angelo, as a production of the first merit. Opposite the staircase which leads to the apartments above, stands a rostral column on a pedestal. It is about sixteen inches diameter, of the Doric order, and has three anchors on the shaft, with the head and the stern of a ship projecting horizontally. This column was formerly in the forum, raised in honour of C. Duilius, who was the first Roman that triumphed on account of a naval victory over the Carthaginians, and for which he was held in so much esteem by his countrymen, that we are told in history the senate ordered a band of music always to attend him when he went out to supper. The various halls and chambers are finely painted in fresco, and contain a valuable collection of pictures, many from the Roman and sacred histories. In the centre of the third chamber is placed the bronze wolf, which is said to have been struck by lightning on the same day Julius Cæsar was assassinated. This wolf was found in the temple of Romulus, and is supposed to be a copy from that by which he and his brother are fabled to have been suckled. One of the paintings represents Romulus marking the boundary line of Rome with a plough.

The dying gladiator in marble, and the shep

herd Martius in bronze, used to be among the number of statues preserved at the capitol; but they, as well as many other fine antiques, have been removed to Paris. However, there is still left a collection of sculpture, many Egyptian curiosities, with the ancient plan of Rome on a slab of marble, and the three famous doves in mosaic all well worthy the attention of the virtuoso when on the spot.

*

Immediately behind the capitol is the ancient forum Romanum, now called the Campo Vaccino.

This place once so frequented and renowned for its superb edifices, is now no better than a deserted ruin. Nevertheless, the remains of those buildings, though few and imperfect, are still sufficient to announce to the traveller the great magnificence which prevailed in former ages in this part of Rome. Many of the antiquarians have presumed to affix names to them; but as there have ever been many disagreements among themselves, in regard to a variety of particulars, it is, perhaps, most prudent to receive the greater part of their opinions as conjecture.

These antiquities are too well known by prints and drawings to professional men to require much elucidation; but, for the information of the lovers of art in general, I will give as intelligible an account of them as I am able, and some dimensions which I took on the spot. The

* I remember having seen a copy of this mosaic in this country.

remain known by the name of the Vestibule of the Temple of Concord, consists only of six Ionic granite columns in front, with a return-column at each end. The columns have no plinths, except at: the two angles, and are four feet three inches in diameter, with capitals in a bad taste. The entablature has no architrave; and the frieze is quite plain, with the following inscription:

SENATVS POPVLVSQVE ROMANVS

INCENDIO CONSVMPTVM RESTITVIT.

The three fluted Corinthian columns of Parian marble, said to have belonged to the temple of Jupiter Stator, have an exquisite delicacy in the execution, and are the most beautiful piece of ancient architecture in Rome. Their diameter is four feet six inches, and their height is said to be forty-five feet, with an intercolumniation of eight feet. Valuable as these must certainly appear in the eyes of every one, and the architect in particular, it is thought they will not withstand much longer the ravages of time. The entablature is nearly all demolished, and the bases and part of the shafts of the columns are under the ground. Their capitals are uncommonly elegant, as may be seen by a plaster cast of one of them, in Mr. Saunders's collection in Oxford-street, which he brought from Rome as a specimen of their rare beauty.

At the foot of the capitol appears the triumphal arch of Septimius Severus. In each front are four fluted columns of the composite order, resting on