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pened to be slaves by the accidents and iniquity of fortune。 The business of painting and statuary was so profitable； that in a free republic； like that of Rome； they must have been greedily embraced by a great number of individuals： but； in all probability； the Roman soil produced no extraordinary genius for those arts。 Like the English of this day； they made a figure in poetry； history； and ethics； but the excellence of painting； sculpture； architecture； and music； they never could attain。 In the Palazzo Picchini I saw three beautiful figures； the celebrated statues of Meleager； the boar； and dog； together with a wolf； of excellent workmanship。 The celebrated statue of Moses； by Michael Angelo； in the church of St。 Peter in Vincula； I beheld with pleasure； as well as that of Christ； by the same hand； in the Church of S。 Maria sopra Minerva。 The right foot； covered with bronze； gilt； is much kissed by the devotees。 I suppose it is looked upon as a specific for the toothache； for； I saw a cavalier； in years； and an old woman successively rub their gums upon it； with the appearance of the most painful perseverance。
You need not doubt but that I went to the church of St。 Peter in Montorio； to view the celebrated Transfiguration； by Raphael； which； if it was mine； I would cut in two parts。 The three figures in the air attract the eye so strongly； that little or no attention is payed to those below on the mountain。 I apprehend that the nature of the subject does not admit of that keeping and dependence； which ought to be maintained in the disposition of the lights and shadows in a picture。 The groupes seem to be intirely independent of each other。 The extraordinary merit of this piece； I imagine； consists； not only in the expression of divinity on the face of Christ； but also in the surprising lightness of the figure； that hovers like a beautiful exhalation in the air。 In the church of St。 Luke； I was not at all struck by the picture of that saint； drawing the portrait of the Virgin Mary； although it is admired as one of the best pieces of Raphael。 Indeed it made so little impression upon me； that I do not even remember the disposition of the figures。 The altar…piece； by Andrea Sacchi； in the church of St。 Romauldus； would have more merit； if the figure of the saint himself had more consequence； and was represented in a stronger light。 In the Palazzo Borghese； I chiefly admired the following pieces： a Venus with two nymphs； and another with Cupid； both by Titian： an excellent Roman Piety； by Leonardo da Vinci； and the celebrated Muse； by Dominechino； which is a fine； jolly； buxom figure。 At the palace of Colorina Connestabile； I was charmed with the Herodias； by Guido Rheni； a young Christ； and a Madonna； by Raphael； and four landscapes； two by Claude Lorraine； and the other two； by Salvator Rosa。 In the palazetto； or summerhouse belonging to the Palazzo Rospigliosi； I had the satisfaction of contemplating the Aurora of Guido； the colours of which still remain in high perfection； notwithstanding the common report that the piece is spoiled by the dampness of the apartment。 The print of this picture； by Freij； with all its merit； conveys but an imperfect idea of the beauty of the original。 In the Palazzo Barberini； there is a great collection of marbles and pictures： among the first； I was attracted by a beautiful statue of Venus； a sleeping faun； of curious workmanship； a charming Bacchus； lying on an antient sculpture； and the famous Narcissus。 Of the pictures； what gave me most pleasure was the Magdalen of Guido； infinitely superior to that by Le Brun in the church of the Carmelites at Paris； the Virgin； by Titian； a Madonna； by Raphael； but not comparable to that which is in the Palazzo de Pitti； at Florence； and the death of Germanicus； by Poussin； which I take to be one of the best pieces in this great collection。 In the Palazzo Falconeri there is a beautiful St。 Cecilia； by Guercino； a holy family； by Raphael； and a fine expressive figure of St。 Peter weeping； by Dominechino。 In the Palazzo Altieri； I admired a picture； by Carlo Maratti； representing a saint calling down lightning from heaven to destroy blasphemers。 It was the figure of the saint I admired； merely as a portrait。 The execution of the other parts was tame enough： perhaps they were purposely kept down； in order to preserve the importance of the principal figure。 I imagine Salvator Rosa would have made a different disposition on the same subject： that amidst the darkness of a tempest； he would have illuminated the blasphemer with the flash of lightning by which he was destroyed： this would have thrown a dismal gleam upon his countenance； distorted by the horror of his situation as well as by the effects of the fire； and rendered the whole scene dreadfully picturesque。 In the same palace； I saw the famous holy family； by Corregio； which he left unfinished； and no other artist would undertake to supply； for what reason I know not。 Here too is a judgment of Paris； by Titian； which is reckoned a very valuable piece。 In the Palazzo Odescalchi； there is a holy family； by Buonaroti； and another by Raphael； both counted excellent； though in very different stiles； extremely characteristic of those two great rival artists。
If I was silly enough to make a parade； I might mention some hundreds more of marbles and pictures； which I really saw at Rome； and even eke out that number with a huge list of those I did not see： but whatever vanity I may have； it has not taken this turn； and I assure you； upon my word and honour； I have described nothing but what actually fell under my own observation。 As for my critical remarks； I am afraid you will think them too superficial and capricious to belong to any other person butYour humble servant。
LETTER XXXIV
NICE； April 2； 1765。
DEAR SIR；I have nothing to communicate touching the library of the Vatican； which； with respect to the apartments and their ornaments； is undoubtedly magnificent。 The number of books it contains does not exceed forty thousand volumes； which are all concealed from the view； and locked up in presses： as for the manuscripts； I saw none but such as are commonly presented to strangers of our nation； some very old copies of Virgil and Terence； two or three Missals； curiously illuminated； the book De Septem Sacramentis； written in Latin by Henry VIII。 against Luther； and some of that prince's love letters to Anne Boleyn。 I likewise visited the Libreria Casanatense； belonging to the convent of the church called S。 Maria Sopra Minerva。 I had a recommendation to the principal librarian； a Dominican friar； who received me very politely； and regaled me with a sight of several curious MSS。 of the classics。
Having satisfied my curiosity at Rome； I prepared for my departure； and as the road between Radicofani and Montefiascone is very stony and disagreeable； I asked the banker Barazzi； if there was not a better way of returning to Florence； expressing a desire at the same time to see the cascade of Terni。 He assured me that the road by Terni was forty miles shorter than the other； much more safe and ea