按键盘上方向键 ← 或 → 可快速上下翻页，按键盘上的 Enter 键可回到本书目录页，按键盘上方向键 ↑ 可回到本页顶部！
————未阅读完？加入书签已便下次继续阅读！
y feeling that enthusiastic admiration with which others are inspired at sight of this statue： a statue which in reputation equals that of Cupid by Praxiteles； which brought such a concourse of strangers of old to the little town of Thespiae。 I cannot help thinking that there is no beauty in the features of Venus； and that the attitude is aukward and out of character。 It is a bad plea to urge that the antients and we differ in the ideas of beauty。 We know the contrary； from their medals； busts； and historians。 Without all doubt； the limbs and proportions of this statue are elegantly formed； and accurately designed； according to the nicest rules of symmetry and proportion； and the back parts especially are executed so happily； as to excite the admiration of the most indifferent spectator。 One cannot help thinking it is the very Venus of Cnidos by Praxiteles； which Lucian describes。 〃Hercle quanta dorsi concinnitas！ ut exuberantes lumbi amplexantes manus implent！ quam scite circumductae clunium pulpae in se rotundantur； neque tenues nimis ipsis ossibus adstrictae； neque in immensam effusae Pinguedinem！〃 That the statue thus described was not the Venus de Medicis； would appear from the Greek inscription on the base； KLEOMENIS APPOLLODOROI ATHINAIOS EPOESEI。 Cleomenes filius Apollodori fecit； did we not know that this inscription is counted spurious； and that instead of EPOESEI； it should be EPOIESE。 This； however； is but a frivolous objection； as we have seen many inscriptions undoubtedly antique； in which the orthography is false； either from the ignorance or carelessness of the sculptor。 Others suppose； not without reason； that this statue is a representation of the famous Phryne； the courtesan of Athens； who at the celebration of the Eleusinian games； exhibited herself coming out of the bath； naked； to the eyes of the whole Athenian people。 I was much pleased with the dancing faun； and still better with the Lotti； or wrestlers； the attitudes of which are beautifully contrived to shew the different turns of the limbs； and the swelling of the muscles： but； what pleased me best of all the statues in the Tribuna was the Arrotino； commonly called the Whetter； and generally supposed to represent a slave； who in the act of whetting a knife； overhears the conspiracy of Catiline。 You know he is represented on one knee； and certain it is； I never saw such an expression of anxious attention； as appears in his countenance。 But it is not mingled with any marks of surprise； such as could not fail to lay hold on a man who overhears by accident a conspiracy against the state。 The marquis de Maffei has justly observed that Sallust； in his very circumstantial detail of that conspiracy； makes no mention of any such discovery。 Neither does it appear that the figure is in the act of whetting； the stone which he holds in one hand being rough and unequal no ways resembling a whetstone。 Others alledge it represents Milico； the freedman of Scaevinus； who conspired against the life of Nero； and gave his poignard to be whetted to Milico； who presented it to the emperor； with an account of the conspiracy： but the attitude and expression will by no means admit of this interpretation。 Bianchi； ＇This antiquarian is now imprisoned for Life； for having robbed the Gallery and then set it on fire。＇ who shows the gallery； thinks the statue represents the augur Attius Navius； who cut a stone with a knife； at the command of Tarquinius Priscus。 This conjecture seems to be confirmed by a medallion of Antoninus Pius； inserted by Vaillant among his Numismata Prestantiora； on which is delineated nearly such a figure as this in question； with the following legend。 〃Attius Navius genuflexus ante Tarquinium Priscum cotem cultro discidit。〃 He owns indeed that in the statue； the augur is not distinguished either by his habit or emblems； and he might have added； neither is the stone a cotes。 For my own part； I think neither of these three opinions is satisfactory； though the last is very ingenious。 Perhaps the figure allude to a private incident； which never was recorded in any history。 Among the great number of pictures in this Tribuna； I was most charmed with the Venus by Titian； which has a sweetness of expression and tenderness of colouring； not to be described。 In this apartment； they reckon three hundred pieces； the greatest part by the best masters； particularly by Raphael； in the three manners by which he distinguished himself at different periods of his life。 As for the celebrated statue of the hermaphrodite； which we find in another room； I give the sculptor credit for his ingenuity in mingling the sexes in the composition； but it is； at best； no other than a monster in nature； which I never had any pleasure in viewing： nor； indeed； do I think there was much talent required in representing a figure with the head and breasts of a woman； and all the other parts of the body masculine。 There is such a profusion of curiosities in this celebrated musaeum； statues； busts； pictures； medals； tables inlaid in the way of marquetry； cabinets adorned with precious stones； jewels of all sorts； mathematical instruments； antient arms and military machines； that the imagination is bewildered； and a stranger of a visionary turn； would be apt to fancy himself in a palace of the fairies； raised and adorned by the power of inchantment。
In one of the detached apartments； I saw the antependium of the altar； designed for the famous chapel of St。 Lorenzo。 It is a curious piece of architecture； inlaid with coloured marble and precious stones； so as to represent an infinite variety of natural objects。 It is adorned with some crystal pillars； with capitals of beaten gold。 The second story of the building is occupied by a great number of artists employed in this very curious work of marquetry； representing figures with gems and different kinds of coloured marble； for the use of the emperor。 The Italians call it pietre commesse； a sort of inlaying with stones； analogous to the fineering of cabinets in wood。 It is peculiar to Florence； and seems to be still more curious than the Mosaic work； which the Romans have brought to great perfection。
The cathedral of Florence is a great Gothic building； encrusted on the outside with marble； it is remarkable for nothing but its cupola； which is said to have been copied by the architect of St。 Peter's at Rome； and for its size； which is much greater than that of any other church in Christendom。 ＇In this cathedral is the Tomb of Johannes Acutus Anglus； which a man would naturally interpret as John Sharp； but his name was really Hawkwood； which the Italians have corrupted into Acut。 He was a celebrated General or Condottiere who arrived in Italy at the head of four thousand soldiers of fortune； mostly Englishmen who had served with him in the army of King Edward III。； and were dismissed at the Peace of Bontigny。 Hawkwood greatly distinguished himself in Italy by his valour and conduct； and died a very old man in the Florentine service。 He was the son of a Tanner in Essex； and had been put apprentice to a Taylor。＇ The baptistery； which stands by