sidered rather as monuments of the victories of this once powerful republic, than as remains of its municipal magnificence under the Romans."

Captain Basil Hall, in his recently published book called "Patchwork," speaking of this leaning tower says, "I established, completely to my own satisfaction, that it had been built from top to bottom, originally, just as it now stands. My reasons for thinking so are, that the line of the tower, on that side towards which it leans, has not the same curvature as the line on the opposite, or what may be termed the upper, side. If the tower had been built upright, and then been made to incline over, I conceive that the line of the wall on that side towards which the inclination was given, would be, more or less, concave in that direction, owing to the nodding or 'swagging over' of the top, by the simple action of gravity acting on a very tall mass of masonry, which is more or less elastic, when placed in a sloping position. But the contrary is the fact, for the line of wall on the side towards which the tower leans, is decidedly more convex than the opposite side. I have, therefore, no doubt whatever, that the architect, in raising his successive courses of stones, gained or stole a little, at each layer, so as to render his work less and less overhanging as he went up; and thus, without betraying what he was about, really gained stability.”

CHAPTER III.

THE APOLLO BELVIDERE. - RAFFAELLE'S SCHOOL OF ATHENS.-LEONARDI DA VINCI'S LAST SUPPER.-ANACHRONISMS OF PAINTERS. THE BATTLE OF ARBELA. THE GREEK CHURCH.-CONCLUSION.

The Apollo Belvidere, spoken off in the twelfth Letter, is very well known as a most exquisite production of the chisel, and casts of it are very common. Some particulars respecting it, collected from different sources, may not be uninteresting.

This statue is esteemed, by the majority of artists, the most excellent and sublime of all the ancient productions. It is a standing figure, almost naked, and about seven feet high. It has, in the whole attitude, and especially in the turn of the head, a freedom, a grace, and a majesty, that surpass any other known antique. The god is represented with his quiver hanging behind his right shoulder, and his pallium, or cloak, over his left arm, which is extended. The left hand holds the remains of a bow, from which he is supposed to have just discharged an arrow at the serpent Python. On this account the statue is sometimes called the Apollo Pythius. The whole soul of the god seems to be bent upon the success of his aim, which he appears to be watching with majestic confidence. On the stump of a tree, introduced in order to strengthen the figure, is a serpent, the symbol of medicine, of which Apollo was the presiding deity. The figure of Apollo, in this statue, has been graphically described as "a complete composition of sublimity, elegance, activity, and youthful beauty."

When West, the painter, first saw this celebrated statue, he was struck with its resemblance to the figure

of a Mohawk Indian; and it has been remarked that the Mohawks are a particularly fine and well proportioned race of men. Galt, in his Life of West, gives an interesting account of that artist's first view of the Apollo. West, who was an American and a Quaker, had arrived in Rome, and had been introduced to Mr. Robinson, afterwards Lord Grantham. At an evening party, to which Mr. Robinson conducted him, West was introduced to Cardinal Albani, who was blind. The notice taken of him by his Eminence, "occasioned," says Galt, "inquiries respecting the youth; and the Italians,-concluding that, as he was an American, he must, of course, have received the education of a savage, -became curious to witness the effect which the works of art in the Belvidere and Vatican would produce on him. The whole company, which consisted of the principal Roman nobility and strangers of distinction then in Rome, were interested in the event; and it was arranged, in the course of the evening, that, on the following morning, they should accompany Mr. Robinson and his protegé to the palaces.

"At the hour appointed, the company assembled; and a procession, consisting of upwards of thirty of the most magnificent equipages in the capital of Christendom, and filled with some of the most erudite characters in Europe, conducted the young Quaker to view the masterpieces of art. It was agreed that the Apollo should be first submitted to his view, because it was the most perfect work among all the ornaments of Rome, and consequently the best calculated to produce that effect which the company were anxious to witness. The statue then stood in a case, inclosed with doors, which could be so opened as to disclose it at once to full view. West was placed in the situation where it was seen to the most advantage, and the spectators arranged themselves on each side. When the keeper threw open the doors, the artist felt himself surprised with a sudden recollection altogether different from the gratification which he had expected; and, without being aware of the force of what he said, exclaimed, 'My God! How

like it is to a young Mohawk warrior!' The Italians, observing his surprise, and hearing the exclamation, requested Mr. Robinson to translate to them what he said; and they were exceedingly mortified to find that the god of their idolatry was compared to a savage. Mr. Robinson mentioned to West their chagrin, and asked him to give some more distinct explanation, by informing him what sort of people the Mohawk Indians were. He described to him their education; their dexterity with the bow and arrow; the admirable elasticity of their limbs; and how much their active life expands the chest, while the quick breathing of their speed in the chase, dilates the nostrils with that apparent consciousness of vigour which is so nobly depicted in the Apollo. I have seen them often,' added he, 'standing in that very attitude, and pursuing, with an intense eye, the arrow which they had just discharged from the bow.' This descriptive explanation did not lose by Mr. Robinson's translation. The Italians were delighted, and allowed that a better criticism had rarely been pronounced on the merits of the statue."

This statue was found, about the close of the fifteenth century, at Capo d' Anzo, in the ruins of the ancient Antium, about twelve leagues from Rome. Cardinal De la Rovera, afterwards Pope Julius the Second, purchased it, and placed it in his palace, which was near the church of Santi Apostoli. After his election to the pontificate, he placed it in the Belvidere of the Vatican, and thence it obtained the name by which it is usually known.

This master-piece of art has been supposed to be the work of Agathias, or Agasias, an Ephesian sculptor; but there is no authentic information as to who was the artist whose work has immortalized itself but not his

own name.

Most

There has been much idle disputation about the kind of marble from which the statue is chiselled. sculptors incline to the opinion that the marble is Grecian, but some say that it is the marble of Luni or Carrara. At all events, it seems to have been taken from a quarry that is not now known.

When the statue was restored to light, in the fifteenth century, it was in a sadly mutilated condition; the left hand and the right fore-arm having been lost. These were added by Giovanni Angelo da Montosorli, who was a pupil of Michael Angelo.

When Napoleon plundered Italy of the finest treasures of art the world can boast, the inauguration of this statue, in Paris, was attended with much of that show of which the French are so fond. Bonaparte was present, and was accompanied by Lebrun, the third consul. A bronze tablet was presented, on the occasion, by Citizen Vien, in the name of the French Artists, and was placed on the pedestal, on which was engraved the following inscription :-"La statue d'Apollon, qui s'eléve sur ce pedestal, trouvée à Antium sur la fin du XVe siècle, placée au Vatican par Jules II.au commencement du XVIe., conquise, l' an V. de la Republique, par l'armée d' Italie, sous les ordres du général Bonaparte, a été fixée ici le 21 Germinal, an VIII., premiere annee de son consulat.'

The statue is called the Apollo Belvidere, because, as has already been stated, it was placed, by Julius the Second, in the Belvidere of the Vatican. The Belvidere is a term unknown in English architecture, but is in common use in Italy. Its literal meaning is "beautiful view;" and it is applied to edifices which are erected principally or solely with the view of enabling their possessors to enjoy a fine prospect of the surrounding country. They are either detached buildings, or cupolas, raised on the tops of houses, which they terminate ornamentally. Belvideres of the former description are attached to most of the palaces and pleasure-grounds of the great, in Rome; and almost every house in that city has one of the latter description. The Belvidere of the Vatican is the most celebrated edifice of the kind. It was erected by Bramante, as a separate building; but has since been connected with the pontifical palace, by two long galleries.

In France, Belvideres are common. They are generally single saloons, open to the air, or inclosed with