lonnade of St. Peter, the pulpit placed at the end of the church, the grand staircase of the Vatican, and an infinite number of mausola figures, and busts, as well for Rome, as for foreign courts. Every one knows the pressing solicitations made to him by the great Colbert, on the part of Louis XIV. to induce him to come to Paris, for the purpose of superintending the works then carrying on at the Louvre, and the extraordinary honours that were paid him, when, after having with some difficulty obtained the pope's consent, he proceeded to Paris. He was received in his progress, and on his arrival, as a sovèreign would have been. He remained eight months at the court of France; but, after having received some considerable presents, and a pension for himself and his son, his design not being adopted, he left to Perrault the glory of contributing to the embellishment of the palace.

Bernini, it is said, on observing the works of this skilful architect, had the modesty to say, "When there are men of such talents at home, it is unnecessary to seek elsewhere." This anecdote has been related by the ingenious author of the Historical Essays on Paris, who asserts that Bernini, far from admiring the designs of Perrault, evinced the utmost alacrity to carry his own, in preference, into effect: adding, that he had been promised an annuity of 3000 livres, if he would remain at Paris, which he refused, and that on the eve of his departure this sum was brought to him with an offer of a ension of 12,000, which he very coolly received. Be that as it may, the king was desirous of having his bust taken by the hand of this celebrated artist, making him a present of his portrait encircled with diamonds. Bernini, at this moment, displayed at Versailles all the address of a cour tier. While drawing the portrait of Louis XIV. be placed a lock of hair on the monarch's head, saying,

"The forehead of your majesty may be seen by the whole world." He paid likewise a very happy compliment to the queen, who commending the portrait he had just executed of the prince, he added, "Your majesty is pleased with the portrait, because you admire the original."

On his return to Rome he hastened to execute an equestrian statue of Curtius in marble, which is now placed at Versailles, and dedicated it to Louis XIV. as a mark of his gratitude. Clement IX. proved no less a zealous protector of Bernini than his predecessors, and employed him to decorate the bridge of St. Angelo.

His last work was a demi-colossal figure of Christ, which he bequeathed to the Queen Christina of Sweden. He died in 1680, leaving behind him, as it is said, property to the amount of two millions of livres, (80,0001.)

The manners of Bernini were austere, and his character rough and impetuous; but, among the chef-d'œuvres of Rome, were reckoned the works of this great master. The principal are, the equestrian statue of Constantine, the choir of St. Peter, the group of Apollo and Daphne in the Villa Pinciana, and the church of St.Andrew at Rome, which was constructed after his designs. Bernini was

only fourteen years of age, when he was by accident in the church of St. Peter, at the moment when Annibal Caracci, with other painters, were noticing a situation where the principal altar ought to be placed. "Trust me," said Caracci, "the day will come when a superior genius shall rear under the cupola, and in the body of the church, two monuments proportionate to the grandeur of this temple." Upon which young Bernini exclaimed, "Heaven grant it were myself:" and his wish was accomplished. His bust of Louis, in which the character of that great

prince is no less ably pourtrayed than are the features of his face, will be for ever admired. The equestrian statue of Marcus Curtius may be compared with the finest works of antiquity. He was employed on it fifteen years. Although he left behind him, as we have stated, considerable property, the Queen Christina, upon learning the amount, exclaimed, "Had he attached himself to my service, I should have felt shame at his leaving so little."