Michel Piu Che Mortal, Angel Divino.[88]

Michael, less man than Angel and divine.

- Trans, W.S. ROSE.

Among the various splendid marble monuments with which this temple abounds is one erected to the memory of Pope Rezzonico, constructed by Canova and reckoned one of his masterpieces. The Pope is represented in his canonicals. Behind and above him is a colossal statue of Religion with a cross in one hand and rays in form of spikes issuing from her head. I do not like these spikes. On the dexter side of this monument, is a beautiful male youthful figure representing a funereal genius with an inverted torch. The signal delicacy, beauty and symmetry of this statue forms a striking contrast with the figure of an immense lion sleeping on the sinister side; and this lion is an irrefragable proof that Canova excels in the delineation of the terrible as well as the beautiful, for it is admirably executed.

At another monument is a superb female figure of colossal size representing Truth. It was formerly naked, but they have contrived to execute in coloured marble a vestment to cover her loins and veil her secret beauties. The reason of which is, that this beautiful statue made such an impression once upon a traveller (some say he was an Englishman, others a Spaniard) that it inspired him with a sort of Pygmalionic passion which he attempted to gratify one night; he was discovered in the attempt, and since that time, to prevent further scandal or attempts of the sort and to conceal from profane eyes the charms of the too alluring Goddess, this colored marble vestment was imagined and executed. This story is borrowed from Lucian.[89]

There is also here a fine statue of Pope Gregory XIII and a magnificent bas-relief, the subject of which is the reform of the calendar by that Pope. Here too is a monument to Christina Queen of Sweden, and a bas-relief representing her abjuration of the Lutheran Faith.

But why should I attempt to detail all these monuments, while it would require folios for the purpose; let me rather introduce you to the hero and tutelary saint of this sanctuary. St Peter, a superb bronze statue something above the usual size of men, is seated on a curule chair in the nave of the church on the right hand side as you approach the baldachin. He holds in his hands the keys of Heaven. He receives the adoration of all the faithful who enter into this temple, and this adoration is performed by kissing his foot which, from the repeated kissings, is become of a bright polish and is visibly wearing away. The statue was formerly a statue of Jupiter Capitolinus, but on the grand revolution among the inhabitants of Olympus and the downfall of Jupiter, it was broken to pieces, melted down and fabricated into an image of St Peter, so that this statue has lost little of its former sovereignty and still rules Heaven and Earth if not with regal, with at least vice-regal power, tho' under a different name.

In the Sistine Chapel is the celebrated painting al fresco of the day of Judgment by Michel Angelo, an aweful subject and nobly and awefully executed.

In the porch under the facade of St Peter's are two marble statues on horseback, one at each end of the porch: they represent Constantine the Great and Charlemagne, the two great benefactors of the holy Catholic Church; the one, in fact, its founder, the other its preserver.

As the Palace of the Vatican stands close to the Church of St Peter's and communicates with it by an escalier, I ascended the escalier in order to behold and examine the famous Museum of the Vatican, the first in the world, and unique for the vast treasures of the fine arts that it contains; treasures which the united wealth of all Europe and India to boot could not purchase at their just price. Here in fact it may be said are preserved the riches and plunder of the whole world, which was stripped of all its valuables by those illustrious brigands the ancient Romans. And mark in this point the good fortune of Rome; instead of losing them again as other nations have lost their trophies, Superstition came to her aid and caused them to be respected and preserved, 'till an enlightened age arose which guided by Philosophy, Humanity and Science will for ever preserve them secure against all attacks of barbarians in a sanctuary so worthy of them.

Museum Vaticanum[90]

A superb flight of steps leads into a hall of immense length filled on each side with statues, busts, sarcophagi, altars, urns, vases and candelabra, all monuments of antiquity and of the most exquisite workmanship. The walls on each side of this hall are inlaid with tablets bearing inscriptions in Greek, Latin and Etruscan. One is quite bewildered amongst such a profusion of Gods, Semi-Gods, Heroes. I must single out a few of the most remarkable for their workmanship. Here is a group representing the sacrifice of Mithras. On ascending a few steps at the other end of this hall, in a small octangular room, are the statue of Meleager; the famous Torso; the tomb of Scipio with bas-reliefs. On leaving the chamber you come into an octangular gallery, issuing from which are four circular chambers; each chamber contains a masterpiece of art. In one is the Apollo Belvedere, in another the Laocoon (both safely arrived from Paris); in the third Antinous; in the fourth the Perseus of Canova, with Medusa's head and his famous group of the two pugilists. Descriptions of the three first would be superfluous - for of them

Mills altri han detto e con via miglior plettro,

and even with respect to the Perseus of Canova, I shall content myself with remarking that the sculptor had evidently the Apollo Belvedere in his ideal, and if he has not quite equalled that celebrated statue, it is because it is impossible; but he certainly has given the nearest possible approximation to its excellence.

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