She is reclining against a tree
with her cheek appuyed on one hand; one of her feet is uplifted and laid
along the other leg as if she were reposing from a dance. The extreme
beauty of the leg and foot, the pulpiness of the arms, the expressive
sweetness of the face, and the resemblance of the marble to wax in point of
mellowness, gives to this beautiful statue the appearance of a living
female brunette. It was a long time before I could withdraw my eyes from
that lovely statue.
The next object that engaged my attention was a group representing a Nymph
reclining on a couch semi-supine, and a Cupid at her feet. The luxurious
contour of the form of this Nymph is beyond expression and reminded me of
the description of Olympia:
Le parti che solea coprir la stola
Fur di tanta eccellenza, ch'anteporse
A quante n'avea il mondo potean forse.[91]
Parts which are wont to be concealed by gown
Are such, as haply should be placed before
Whate'er this ample world contains in store.
- Trans. W.S. ROSE
This group is destined for the Prince Regent of England. Another beautiful
group represents the three Graces; this is intended for the Duke of
Bedford. Were it given to me to chuse for myself among all the statues in
the atelier of Canova, I should chuse these three, viz., the Ballerina, the
Nymph reclining, and this group of the Graces.
Canova certainly is inimitable in depicting feminine beauty, grace and
delicacy. Among the other statues in this atelier the most prominent are: a
statue of the Princess Leopoldina Esterhazy in the attitude of drawing on a
tablet with this inscription:
Anch'io voglio tentar l'arte del bello.
This lady is, it seems, a great proficient in painting.
Here too are the moulds of the different statues made by Canova, the
statues themselves having been finished long ago and disposed of; viz., of
the Empress Maria Louisa of France; of the mother of Napoleon (Madame
Mere as she is always called) in the costume and attitude of Agrippina; of
a colossal statue of Napoleon (the statue itself is, I believe, in the
possession of Wellington.[92]) Here too is the bust of Canova by Canova
himself, besides a great variety of bas-reliefs and busts of individuals,
models of monuments, etc.
And now, my friend, I have given you a precis not of all that I have
seen, but of what has most interested me and made on my mind impressions
that can never be effaced. I trust entirely to my memory, for I made no
notes on the spot. Many of the things I have seen too much in a hurry to
form accurate ideas and judgment thereon; most of what we see here is shewn
to us like the figures in a lanterna magica, for in the various palazzi
and villas the servants who exhibit them hurry you from room to room,
impatient to receive your fee and to get rid of you. I am about to depart
for Naples. On my return to Rome I shall not think of revisiting the
greater number of the palazzi, villas and churches; but there are some
things I shall very frequently revisit and these are the two Museums of the
Vatican and of the Capitol, St Peter's, the Coliseum and antiquities in its
neighbourhood, the Pantheon, and last but not least the atelier of the
incomparable Canova.
You may perhaps be unwilling to let me depart from Rome without some
information as to theatricals. With regard to these, Rome must hang down
her head, for the pettiest town in all the rest of Italy or France is
better provided with this sort of amusement than Rome. There is a theatre
called Teatro della Valle, where there is a very indifferent set of
actors, and this is the only theatre which is open throughout the year.
Comedies only and farces are given. The theatres Aliberti and Argentino are
open during the Carnaval only. Operas are given at the Argentino, and
masquerades at the Aliberti. But in fact the lovers of Operas and of the
Drama must not come to Rome for gratification. It is not considered
conformable to the dignity and sanctity of an ecclesiastical government to
patronize them; and it is not the custom or etiquette for the Pope,
Cardinals or higher Clergy ever to visit them. The consequence is that no
performer of any consideration or talent is engaged to sing at Rome, except
one or two by chance at the time of the Carnaval. In amends for this you
have a good deal of music at the houses of individuals who hold
conversazioni or assemblies; in which society would flag very much but
for the music, which prevents many a yawn, and which is useful and
indispensable in Italy to make the evening pass, as cards are in England.
I intend to stop several days here on my return from Naples, for which
place I shall start the day after to-morrow having engaged a place in a
vettura for two and half louis d'or and to be spesato. I am not to be
deterred from my journey by the many stories of robberies and
assassinations which are said to occur so frequently on that road.
By the bye, talking of robberies and murders, a man was executed the day
before yesterday on the Piazza del Popolo for a triple murder. I saw the
guillotine, which is now the usual mode of punishment, fixed on the centre
of the Piazza and the criminal escorted there by a body of troops; but I
did not stop to witness the decapitation, having no taste for that sort of
pleasuring.
