MONTHLY

EPITOME,

EXTRACT FROM THE INTRODUCTION.

"THE claffes of readers to whom the following work will be interefting and permanently useful, are so numerous, that it will not be furprising fhould an enumeration of fo vaft and ramified a detail of the fine works of art, collected and accumulated through fucceffive centuries, by princes, nobles, pontiffs, and religious communities, be fometimes tedious to those who cannot feaft their eyes, with beholding all they fee defcribed in the following pages. But on thefe occafions the author has recollected the peculiar wants, the urgent demands and folicitations of men of tafte, who, during his twelve years refidence at Rome, conftantly complained to him that fo magnificent a city, fo vaft a repofitory of the arts, fhould be totally deftitute of any work adapted to the English connoiffeur: a work which

EDITOR.

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he might carry with him to the various objects, that ancient city prefents, and derive fome affiftance, as from a guide, to direct his refearches or his tudies, among thofe beauties he had travelled fo far to admire, or in purfuit of that tafle, it was his defire to form and to correct.

"To thefe he would point out a few of the finest models felected by artifts for their peculiar ftudy, and particularly thofe on which architects have fixed their eye.

"The firit and pureft fpecimen of the Corinthian order is exhibited in the three columns of the Campo Vaccino, fuppofed to have belonged to the temple of Jupiter Stator. Both their proportions and their execution justly render them archetypes for ftudy, fince even Palladio has bestowed on them the highest encomiums of admiration. "The columns of the Temple of Concord are the only eminent fpecimens in Rome of the Ionic order, where the volutes of the capital ftand in a diagonal direction. Had they been equally well executed with fome other remains of ancient magnificence, they would have been perfect models. From them Scamozzi compiled his Ionic capital, fo generally admired and adopted. The Arch of Titus is a work of moft excellent fculpture: the baffo-relievos that adorn it exhibit the true forms of the facred veffels brought from Jerufalem, and its columns are the best models of the Com. pofite order.

"The Pantheon is by many efteem. ed a perfect model of a peculiar ftyle of architecture: while in works of utility the aqueducts and other public buildings demonstrate the great and perma nent advantages arifing from a national attention to a national accommodation.

"The best modern fpecimens of architecture are thofe of Michael Angelo, Vignola, and Sangallo. The deligns of Bernini were grand and full of effect, though he led the way for many innovators. The foremost of thefe was Borromini, whofe extravagant works are disfigured by caprice and a conftant thirst for novelty."

"In fculpture, one of the firft and boldeft fpecimens among the moderns is the Mofes of Michael Angelo, in the church of St. Peter in Vinculis.

"In painting, the antique frefco of a Roman marriage, at the Villa Aldobrandini, and the arabefques copied

by Raphael and his fcholars at the Logie of the Vatican, which last are clofe compilations from antiques, exhibit the fame fuperiority in compofition, defign, and execution, poffeffed by the ancients in architecture and fculpture. Among the moderns, the paintings and frescos of that immortal artift are the fineft ftudies. In his School of Athens and his Heliodorus are difplayed the grandeft compofition with the pureft outline and most elevated expreffion. In Michael Angelo's fine paintings in the Cappella Šiftina are many fublime and accurate figures. The Defcent from the Crofs by Daniel da Volterra, the frefcos of Domenichino in the churches of St. Andrea della Valle and St. Carlo Catinari, together with the Aurora of Guido, and his picture of the Trinity in the church of Trinità de' Pelegrini, are works deferving the most critical examination.

"No hiftory-painter should neglect to ftudy the general ftyle of architecture in Rome, particularly that of the middle ages. The forms it exhibits may be copied as claffical, and are well adapted to back grounds through an extenfive range of hiftorical painting. It is thus that Nicholas Pouffin has adorned moft of his works with excellent fuccefs and effect.

"It would be impoffible here to detail complete rules for the study of the artift, or pourtray the fainteft idea of fo varied, fo comprehenfive a collection of antiquities, as still remain in Rome, once the metropolis of empire, afterwards of religion, and still of the arts." P. iv.

EXTRACTS.

AMPHITHEATRE OF FLAVIUS, NOW

CALLED THE COLOSSEO.

"THIS wonderful monument of the magnificence and luxury of the ancient Romans, ftands on the fpot formerly occupied by a pond enclosed within the walls of Nero's palace, of which Suetonius writes, Ad inftar

maris circumfpectum, edificiis ad ur'bum fpeciem.' This lake being dried up, Flavius Vefpafian, in the year of Chrift 72, began this celebrated edifice, for public exhibitions and fef tivals, on a plan formed by Auguf tus, nearly in the then centre of the city. It was finifhed by his fon Titus in five years, and was the work of

thirty thousand Jews, brought by him to Rome as flaves. He dedicated it to the memory and name of his father. At the opening of this ftupendous pile, on the day of dedication, five thousand wild beats were killed, and that cruel fpectacle was repeated for a hundred days fucceffively, while gold to the amount of ten millions was difperfed among the people. Its architecture is wonderfully fine, being compofed of very large ftones, and confifting of four ranges of arches, decorated and fupported by very thick columns of the Doric, Ionic, Corinthian, and Compofite orders. The portico that furrounded it was 2350 feet in circumference, its longer diameter 845, and the tranfverfe 700; the arena or space in the middle allotted to the combats 410, and its height 222. It had feats for eighty-feven thoufand perfons, and ftanding room for twenty thousand more,without incommoding each other. The numbers over the arches marked the entrance affigned to their reputed ranks; and at every four arches was an interior flight of fteps, alfo numbered to prevent confufion. To defend the fpectators from the rays of the fun, it was covered with a fheet of cloth, fupported by large beams of metal acrols the building, refting in the holes round the top, and from which odoriferous waters were fhed, and fell in a refreshing mist among the people. In the upper arches were ftatues; and in fome places the fine ornamental ftucco ftill remains. The middle was paved with large ftones, covered with fine fand. This pavement is now buried twenty-five feet under ground. Round the arena were dens for the wild beafts. The feats for the spectators were ranged like an infinite number of fteps furrounding the whole arena, afcending one above another to the fummit of the building. On the first and most commodious for viewing the combats was the throne of the emperor, fuperbly decorated; and adjoining to it other balconies for the princes of the imperial blood. By the fide of these were placed the magiftrates, viz. cenfors, confuls, prætors, ædiles, tribunes of the people, pontifices, ambaffadors, and other foreigners of diftinction. Next to these were the fenators and Roman knights. The reft of the amphitheatre was occupied by the people. There were two large flights of steps on the outfide, for the

further convenience of the fpectators, and to divide the crowd. The prefent remains of this magnificent work are faid to be lefs than half the original pile. The reft is ruined, partly by the injury of time, but much more by the Goths, when they plundered Rome, and by the Romans themfelves, on ac count of the valuable pieces of metal by which the ftones were fattened together, in the fame manner as the arches of Titus and Conftantine. But plunder was not the only cause of the ruin of this fuperb monument of antiquity. At a period when fuperftition had driven fcience from the mind, this noble structure, erected for public pleafure and amufement, was dilapi dated by the Romans, who asked permiffion of Theodoric the Goth to repair the walls of the city with its materials; but after having proceeded to a confiderable extent, it was obferved that the licence granted was directed to the magiftrates and people of Catania, fo to employ the antiquities of that place. Afterwards, under Paul II. the church of St. Auguftine and the palace of St. Mark were conftructed with the fame materials; and Card. Riario built the Cancellaria, and Card. Farnefe the Farnelian palace, out of its ruins. Jofephus informs us, that in the middle of this amphitheatre was an altar dedicated to Jupiter Latiaris, on which it was the custom to facrifice in honour of the fubject for which the games were celebrated. This fpot is now occupied by a crofs. Thirteen fmall altar-pieces furround the arena, reprefenting the paffion of Chrift; and a chapel, built with the charitable con tributions of pallengers and frangers, under the care of a hermit, is erected under the farther gate, in honour of the martyrs who have fuffered here, as Juftin the philofopher, and a celebrated defender of the Chriftian fyftem Ignatius bifhop of Antioch, who difputed with Trajan, and an infinite Benedict XIV. number of others. introduced the exercife of the via crucis, by a brotherhood who have an oratory contiguous to the church of St. Cofmus and St. Damian. It was call. ed the Coloffeum from a coloffal statue of Nero, which flood near it. This ftatue was one hundred and twenty feet high, and furrounded with folar rays of twenty-two feet, for the em peror pretended to refemble that grand luminary. After his death, Commo

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dus removed the head, and replaced it with his own. The middle of the amphitheatre was fometimes filled with water, and fometimes even with wine, for the naumachia or fea fights. At that time, however, the Romans were fo corrupt as to confider it a luxury to view gladiators fighting, fometimes with each other, till one of each pair was killed; fometimes with beafts, under the fame inviolable cuftom. These gladiators were flaves, fupported at the expenfe of their proprietors, and trained to the art of fkirmishing, first to do honour to the funeral pomp of great men, and afterwards to increase the popularity of their mafters, by contributing to the amufement of the public. They fought with fword and fhield, fometimes naked, fometimes armed from head to foot. At length the custom of indulging the public in this amusement increased to fuch a degree, that the emperors caufed them to fight by thoufands. This barbarous practice was at firft confined to criminals or flaves; but in later times, Roman citizens, knights, and even fenators, not only compromised their dignity, but facrificed their lives, to flatter the emperors, by fwelling this ignominious profeffion. Among thefe was Commodus, who acquired the name of Prince of Gladiators. Of the flaves and criminals, he who killed his adverfary gained his liberty, amid the univerfal acclamation of the fpectators. Sometimes they divided into troops, and fought till the total deftruction of one of the parties decided the conteft. When they fought for hire, as many did in later periods, their pay was called Auctoramentum; thofe who received it, Auctorati; and thofe who recovered their liberty by their valour, Exauctorati. The fighting of men with beafts was not lefs horrid than that of man with man; for, their natural ferocity being further irritated by the attacks of their adverfaries, they made a moft bloody flaughter of the combatants." P. 115.

QUIRINAL VALLEY,

"SQ called from a temple of Romulus, built here forty years after the foundation of Rome, in confequence of the declaration of Proculus the fenator, who folemnly attefted in the prefence of the people, that he faw

Romulus majestically afcend to heaven from this place, and that he had ordered him to declare to the people, that his empire would extend over the greatest part of the world: in confequence of which Numa Pompilius ordered a splendid temple to be erected in honour of him, and adored him as the god Quirinus. Contiguous to this temple was a magnificent portico, with the fine marble steps now before the church of Ara Coeli, and a folar dial, the first in Rome. Two myrtles, one called patricia, the other plebeia, grew near it, which, as Pliny writes, flourished or withered as the power of the nobility or plebeians increased. Fulvius relates that this temple was always fhut, because it was uncertain whether Romulus was buried in Rome or received among the gods. In this fpot the popular negotiations were carried on. This valley, now filled with gardens and vineyards, retains no vef tige of its ancient monuments, except the church of St. Vitalis." P. 182.

LXXVIII. Collins's Account of the English Colony in New South Wales, (Concluded from p. 340.)

EXTRACTS.

SINGULAR CUSTOMS, CEREMONIES, &c.

NO. 5.After walking a fhort diftance, the boys were let down from the fhoulders of the men, and placed in a cluster, standing with their heads inclined on their breafts, and their hands clafped together. Some of the party difappeared for above ten minutes to arrange the figure of the next scene. I was not admitted to witnefs this bufinefs, about which they appeared to obferve a greater degree of myftery and preparation than I had noticed in either of the preceding ceremonies. We were at length defired to come forward, when we found the figures as placed in the plate No. 5.

"The group on the left are the boys and thofe who attended them; fronting them were feen two men, one feated on the ftump of a tree bearing another man on his shoulders, both with their arms extended: behind these were feen a number of bodies lying with

their faces toward the ground, as clofe to each other as they could lie, and at the foot of another ftump of a tree, on which were placed two other figures in the fame pofition as the preceding.

"As the boys and their attendants approached the first of these figures, the men who formed it began to move themselves from fide to fide, lolling out their tongues, and ftaring as wide and horribly with their eyes as they could open them. After this mummery had continued fome minutes, the men feparated for them to pafs, and the boys were now led over the bodies lying on the ground. Thefe immediately began to move, writhing as if in agony, and uttering a mournful difmal found, like very diftant thunder. Having paffed over thefe bodies, the boys were placed before the fecond figures, who went through the fame feries of grimaces as thofe who were feated on the former ftump; after which the whole moved forward.

"A particular name, boo-roo-mooroong, was given to this fcene; but of its import I could learn very little. I made much inquiry; but could never obtain any other anfwer, than that it was very good; that the boys would now become brave men; that they would fee well, and fight well.

"No. 6.-At a little diftance from the preceding fcene the whole party halted; the boys were feated by each other, while oppofite to them were drawn up in a half circle the other party, now armed with the fpear and the fhield. In the centre of this party, with his face toward them, food Boo-der-ro, the native who had throughout taken the principal part in the bufinefs. He held his fhield in one hand, and a club in the other, with which he gave them, as it were, the time for their exercise. Striking the fhield with the club, at every third Broke the whole party poifed and prefented their fpears at him, pointing them inwards, and touching the centre of his fhield.

"This concluded the ceremonies previous to the operation; and it appeared fignificant of an exercile which was to form the principal bufinefs of their lives, the ufe of the fpear.

"No. 7.They now commenced their preparations for #triking out the tooth. The first fubject they took out was a boy of about ten years of age:

he was feated on the shoulders of another native who fat on the grafs, as appears in this plate.

"The bone was now produced which had been pretended to be taken from the ftomach of the native the preceding evening; this, being made very sharp and fine at one end, was ufed for lancing the gum, and but for fome fuch precaution it would have been impoffible to have got out the tooth without breaking the jaw-bone. A throwing-stick was now to be cut about eight or ten inches from the end; and to effect this, much ceremony was ufed. The flick was laid upon a tree, and three attempts to hit it were made before it was ftruck. The wood being very hard, and the inftrument a bad tomahawk, it took feveral blows to divide it; but three feints were conftantly made before each stroke. When the gum was properly prepared, the operation began: the smallest end of the stick was applied as high up on the tooth as the gum would admit of, while the operator ftood ready with a large ftone apparently to drive the tooth down the throat of his patient. Here their attention to the number three was again manifeft; no ftroke was actually made until the operator had thrice attempted to hit the throwing - ftick. They were full ten minutes about this first operation, the tooth being, unfortunately for the boy, fixed very firm in the gum. It was at laft forced out, and the fufferer was taken away to a little distance, where the gum was clofed by his friends, who now equipped him in the ftyle he was to appear in for fome days. A girdle was tied round his waift, in which was stuck a wooden sword; a ligature was put round his head, in which were stuck flips of the grafs-gum tree, which being white, had a curious and not unpleating effect. The left hand was to be placed over the mouth, which was to be kept fhut; he was on no account to speak; and for that day he was not.

to eat.

"In like manner were all the others

treated, except one, a pretty boy about eight or nine years of age, who, after fuffering his gum to be lanced, could not endure the pain of more than one blow with the ftone, and breaking from them made his escape.

"During the whole of the operation the afliftants made the most hideous