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fresco on the wall by Antonio Viviani d'Urbino ; and on the • marble table is this inscription :

Bis senos hic Gregorius pasiebat egenos,

Angelus & decimus tertius accubuit. " Whilst Gregory here was feeding twelve indigent men at " this table, an angel condescended to sit down and make the "6 thirteenth."

At St. Maria del popola, the marble skeleton representing « death, and the tomb made by Giov. Baptista Gisleni for him• felf, are worth observing. The Epitaph is as follows:

Johannes Baptista Gislenus, Romanus,

Sad Orbis civis potiufquam Viator, 6 Cum Sigismundi ȚII. Uladislai IV.

ac Jchannis Cosimiri I.

" Polonia & Sueciæ Regum
« Archite&tus non uno in Capitolio fuit,

« Omnia bona ut mala fecum tulit,
« Domum hic quærens brevem, alibi æternam,

Suis edoctus fioribus, pomis ac montibus
Vitam non modò caducam esse, fed fluxam ;

sefe vivens exprefit imagine
« Quam non nisi pulvis & umbra fingeret,
Memor vero hominem è plafticâ natum
Hæc artis suæ vestigia fixit in lapide,

Sed pede mox temporis conterenda ;
" Ita mortis fuæ obdurescens in victoria
Ut illan captivam ac saxeam fecerit ;
Picture, Sculpturæ & Architecturæ
Triplici in pugna nulli daturus palmam

Judex non integer scissus in partes.
Anno MDCLX. Juum agebat LXXmum

Cum hæc inter rudimenta præluderet,
# Peregit tandem extremum an. MDCLXXII.
A Te nec plaufus exalurus nec planétus.
Sed in aditu

In exitu

SALVE. John Baptista Giseni, a native of Rome, and rather a citi"zen of the world than a traveller in it, having been the archi“ tect of several capital buildings to Sigismund III. Uladislaus IV. and John Casimir I. kings of Poland and Sweden, car“ ried his good and ill qualities with him, seeking an habita« tion of a short duration here, but an eternal mansion in another world. Taught by the short-liv'd flowers, fruit,

&c. « &c. which he so well imitated, that this life is short and “ continually running to decay ; he carved his image while “ living, and being sensible he was but meer dust, a shadow, “ he made use of stone as a more durable material for this “ specimen of his art; but even this will at last be destroyed “ by all-devouring time. Grown bold by this victory over “ death, he took him prisoner, and fixed him in stone. He

equally excelled in painting, sculpture and architecture, so " that a connoisseur would be dubious for which of these arts “ he was most celebrated, while he deserved the palm in all " the three. He first sketched out this performance as an « amusement in the year 1660, when he was in the 70th year s of his age, and finished the course of his life in 1672. “ Reader, he requires neither thy applause nor thy tears, but " the bare falutation of an AVE at thy approach, and a SALVE « at thy departure.”

Rome, that seat of taste and literature, that noble repository of arts and sciences, has been so often and so accurately described by a variety of modern writers, that we are not to expect any thing new in Mr. Keysler's account of it, though it is perhaps more compleat than any other, the learned author having omitted nothing that could raise the attention or gratify the curiosity of his readers. His description of that most noble edifice St. Peter's church is too exact and circumstantial to be inserted here at full length. We have extracted, however, from our author the general form and dimensions of it, which are as follows:

• This incomparable church (says he) is built in the form of a Latin cross, and the proportion is fo exactly observed ' in the length, height, and breadth, that the eye cannot

perceive any thing extraordinary large in any of the three • dimensions, although the whole taken together be of very

uncommon bulk and extent. The middle isle is about thirty• eight common paces broad, and the whole length of the church two hundred and eighty-eight; of which the distance

from the entrance of the church to the center of the cupola, « takes up a hundred and eighty.

• According to the chevalier Carlo Fontana's geometrical computation, the whole length of the cdifice, the breadth



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of the portico and the thickness of the walls included, $ is 970 Roman palmi, which are cqual to 666 į pieds

de roy de Paris, or French feet, and 722 English feet, as cal• culated by Misjon. I shall now observe, once for all, that

a Roman palmo is about an inch more than a common span ;

or, according to a geometrical computation, it is 8 inches 6 and 3 lines, that is, something above į of a Paris foot.

« The length within, from pope Eugenius's brass door to the • farthest altar, where St. Peter's pulpit stands, is 829 { Ros man palmi, or 571 Paris, and 594 English feet.

• The breadth of the great nave or middle isle, which runs the whole length of the church, is 123 palmi, or 84 Ś * French, and 86 English feet; but the whole breadth of the • church, from the Capella del Coro to that of the Holy Sascrament, exclusive of the thickness of the walls, is 414 palmi,

or 284 Paris, and 291 English feet. The length of St. Per ? ter's church to the cross ifle is 258 palmi, or 170 French, 6 and 174 English feet. The length of the cross ise is 615 palmi, or 410 French, and 438 English feet; and, including

the walls, 671 palmi, or 461 ; French feet, and, 490 Englih. The breadth of the cross ifle within is 103 palmi, or

70 French feet, and 73 English. The height of the church * from the pavement to the roof (not including the cupola) ' is 200 palmi, or 137 French, and 144 English feet. The • breadth of the façade or front is 390 palmi ; the height of the

statues on the frontispiece 22 palmi, or 16 French, and 18 English feet; and the outward circumference of the church * 3000 palmi.

• In the temple of Solomon were included several large courts, and it was enriched with prodigious ornaments of gold and silver; but the main building was by no means to be compared with St. Peter's at Rome. St. Paul's church at London is a noble piece of architecture, but much less in its • dimensions than St. Peter's; its length, according to Chamber5 lain, being only 690 English feet, which make about 646

feet of Paris ; but if we follow the measurement and de! sign of Colin Campbell, in the first volume of his Vitruvius Britannicus, which seems to come nearest the truth, the length of St. Paul's will be found not to exceed 520 Englife

I feet;

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• feet; whereas St. Peter's (of which he gives the neweft 6 and most exact plan and elevation) takes up 650 Englife feet, exclusive of the portico ; but in both the thickness of

the walls is included. St. Peter's according to my mea• sure, is 228 common paces in length, of which paces the • length of St. Paul's at London, from the façade to the cen

ter of the cupola, is 124, and the whole length 222. The length of the cross isle from the north to the south door is 115,

and the breadth of the church in other parts is 46 - such paces. The diameter of the cupola is 53, and the

circumference of the first gallery 156 common paces. In an s apartment in the upper part of St. Paul's is a wooden mo

del of St. Peter's church; but so inaccurate, that they who judge of the two churches by it will be greatly mistaken.

• After all the attention and charge in building St. Peter's, . it has not been preserved from the common fate of all sub

lunary things ; i. e, it has a mixture of imperfections ; s but instead of enlarging on them, or examining the justness • of such censures on this superb edifice, give me leave to res fer you to the introduction to the first part of the above• mentioned Mr. Campbell's Vitruvius Britannicus.

• It is universally agreed that the cupola of St. Peter's is a I work of astonishing art and grandeur, and at a confiderable

distance impresses on the mind a magnificent idea of the city in which it ftands. The height from the pavement of the • church to the top of the cross is 593 palmi, or 405 French, 6 and 432 English feet. The outward circumference of the • dome is 620 English feet; and the inward diameter, which . is equal to that of the Pantheon, is 191 Roman palmi, or

131 į French, and 143 English feet. The first gallery in the cupola I found to be 214 common paces

round.' Mr. Keysler's observations on Mosaic work cannot but be agreeable to all the lovers of art.

• That the ancients (says he) carried their representations • of inlaid precious stones to great perfection, appears from

Pliny, lib. 37. where he says, That Pompey in a triumphal s procession had his effigy, consisting of pearls, curiously arranged, carried in the spectacle, veriore luxuriæ triumpho, which was “ rather the triumph of luxury than valour," as


• that

that author adds. But this I do not take to have been the « fort of work in question, which was rather what the Romans • called Lithoftrata or Opera Mufiva tessellata, vermiculata, fece tilia, and the artisans Musearios, or Mufrvaries. The mateerials used by the moderns for these works are little pieces of • glass of all the different shades in every tint or colour, like

those of the fine English worsted used in needle-work. The * glass is first caft into thin cakes, which are afterwards cut e into long pieces of a different thickness. Many of these 4 pieces used in the works on roofs and cielings, which are & consequently seen only at a great distance, appear to be a finger's breadth ; but the finer works consist only of glass

pins, if I may call them so, not thicker than a common fewing needle, so that a portrait of four feet square shall take up two millions of such pins or studs.

. These pins are so closely joined together, that after the piece is polished (which is done in the same manner as look•ing-glasses are polished,) it can hardly be discerned to be an

arrangement of an infinite number of particles of glass; but (rather looks like a picture painted with the finest colours,

with cryftal placed before it. The ground in which these • vitreous pieces are inlaid, is a paste compounded of cal. cined marble, fine fand, gum tragacanth, whites of eggs < and oil. It is at first fo foft, that the pieces are easily in• serted, and upon any oversight, may be taken out again, • and the paste new moulded for the admission of other pins « or studs ; but by degrees it grows as hard as a stone, so that no impression can be made on the work. This paste is • spread within a wooden frame, which, for the large pieces, « must not be less than a foot in breadth and thickness. This 6 frame is fastened with brass tacks to a plate of the fame me«tal, or a stone slab; and as in capital pieces, which are often twenty feet by fifteen, this paste-ground must be above

three quarters of a foot decp, and the pins or studs as long, e it may easily be conceived of what weight such a piece must • be. The pieces designed for roofs, or any distant place,

are not polished; but in the altar-pieces, &c. nothing is wanting to give them the most beautiful and splendid ap* pearance. A piece of about eighty square fect, if perform

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