Palleat, infelix quod proxima nesciat uxor."

Brewster, in his translation of this passage, has spun out the 13 lines of Persius to 32.-It wants nothing but compression to give the English Reader an idea of the original. Casaubon's notes are familiar to the learned, and deserve the attention of every scholar. The Delphin edition has some good observations. References might also be given to the sacred writings, e. g. to Psalm 17. v. 10. -of which see the different interpre tations in Mant's Bible: see also in that useful edition the notes on Deuteronomy 32. v. 15, "that most highly wrought lyric composition."

The title of the above Satire was, in some MSS. "Against the Luxuries and Vices of the Rich."-Neville's translation may more properly be called an "Imitation;" for he mentions modern instances, such as Lewis the XIVth; and also the Duke of Aveiro, who suffered for his conspiracy against Joseph King of Portugal in 1758. The meaning of Persius is, "Do you feel no shame, you who are boasting of your birth and quality, &c. and yet lead the life of a low mechanic?"

Neville's lines are these:

deeds

"Without a blush can he his Sire's great [ceeds? Vaunt, who loose Natta in loose life ex-. Natta so lethargied, so lost to shame, Who does not pity? for he's past all blame.

See him in Sin's abyss insensate drop; He sinks, nor sends one bubble to the top.

Ye pow'rs of vengeance! when ye would confound Some Lewis, running mad Ambition's [round, Give him to see fair Virtue's form divine, And while he shuns her, feel his loss, and mine.

The purpled parasite, when o'er his head, [thread, The steely death hung trembling by a Aveiro agonizing on the wheel, Felt not such horrors as the wretch must feel,

eyes,

The gulph of vice wide-open'ing to his [cries; Gone, gone for ever! to himself who Rack'd with remorse, wastes silently

within,

His friend, his wife, unconscious of his sin."

Neville keeps up the metaphor applicable to a diver, who when he rises from the bottom of the water causes a bubbling on the surface. He also retains the prosopopoeia of the ori ginal "I go, I go headlong," and preserves the instance of Damocles, yet entirely drops that of Phalaris's Bull.

But without further criticism upon other writers, I submit to your mirer of Persius, in the following Readers the attempt of a living adnew version of the passage in question:

"Liv'st thou like Natta with no sense of shame?

Yet his stupidity may pardon claim.
Callous with Vice each fibre of his
To all the joys that Virtue can impart,
heart,'*
In profligacy sunk so deep he lies,

No bubble shews one effort made to

Historical Essay on Sculpture in Italy. (Continued from p. 22.)

A

BOUT the year 1783, ANTONIO CANOVA, a Venetian artist of extraordinary talents, appeared at Rome, where it may be asserted, that for many previous years there had been no sculptor. For Cavaceppi, who had passed his life in restoring the Albani marbles, under the guidance of Winkelmann and Mengs, acquired no knowledge of the antique, as a Statue of Flora, which he exhibited, most lamentably proved. It was merely an exaggeration of Bernini's style, and his execution, as poor as the conception, possessed only the merit of mechanical labour.

The genius of Canova soon exceed ed the happiest efforts of Bernini, in point of delicacy and high finishing; and for strength and character, M. Angelo would have had a formidable competitor, had he been his contemporary. He was soon regarded as the Statuary destined to revive good taste, and to restore sculpture to its grand principles. Although not absolutely self-taught, he has enjoyed the advantage of arriving at the study of the antique, without any method previously adopted or borrowed from any school.

It will be likewise admitted, that there is neither servile imitation, pla

3

giarism, nor compilation in his works. They are entirely his own. Possessing none of the jealousy of M. Augelo,, who would not allow even his friends to see him work, Canova makes no secret of his mode of ope ration. Many can witness with what extraordinary promptness he is capable of producing even a colossal model, and of defacing and re-composing in the space of a few days. He admitted those who were visiting Rome to see his Studio with great freedom; and in 1796, I was so gratified, when he had just finished his group of Cupid and Psyche, for Lord Cawdor, and was engaged upon his Hercules and Lychas, two of his most celebrated performances, and which are admirable examples of the extent and variety of his talents.

In his twenty-fourth year, Canova made his first appearance in Rome. He then exhibited a group of Theseus, sitting on the Minotaur, which he has just slain. It is of Carrara marble, and the size of life. Although the countenance of the Hero be sufficiently characteristic, it is not otherwise sufficiently energetic; but on examining the several parts, the antique taste and style which Canova then strove to adopt, may be discovered. He preferred tender and pathetic expression to that of the stronger passions, in which the antients had not attained to that high degree of excellence which they display in many other subjects. This Artist resolved to vie with the antients in the observance of their best principles, as influencing rather than controlling his own genius. A new and original reputation was acquired by him, for his mausoleum of Pope Ganganelli. During a long period, the sculpture intended for the embellishment of Churches had formed for itself a distinct style, of which, Profane Antiquity had left no models; and this particular mausoleum was destined to fix a new æra, and to exalt its author above the erroneous and exhausted taste of the school of Bernini. This mausoleum has certain defects of composition and expression to which a first attempt will be ever liable, which were corrected in another that Prince Rezzonico erected for his Uncle Clement XIII. in St. Peter's Church. As all the proportions of that edifice far exceed the

ordi

casioned by the extreme vanity of the artist, which had given general disgust. It will not be now denied to possess very considerable merit.

MICHEL ANGELO BUONAROTTI.

Born 1474-Died 1564. Group of the Madonna della Pietà, in a North Chapel of St. Peter's at Rome. Two Slaves chained, originally intended to form a part of the Mausoleum of Julius II. Statue of Moses, in the Church of St. Pietro in Vincolo, at Rome, attached as the central figure to the monument of Julius II. This statue gave rise to a literary production, which has been considered as scarcely inferior, in point of sublimity, to the statue itself, a sonnet by Zappi, translated by Roscoe, Life of Leo X. vol. IV. p. 302. Duppa's Life of M. Angelo, p. 192. Statue of David in the Piazza del Gran Duca at Florence, 16 feet 6 inches in height, which he produced from a large block of marble, to which Simone da Fiesole, a Florentine sculptor, had unsuccessfully attempted to give a human figure of gigantic size, and which had remained neglected for more than a hundred years, and was supposed to be irremediably deformed. Four figures on the Tombs of the Dukes Juliano and Lorenzo de Medici, representing Day, Night, Morning, and Evening, in the Mausoleum of St. Lorenzo at Florence. Statue of Bacchus in the Florence Gallery; copied by Wilton, and now at Sion-house. Unfinished Bust of Brutus; ditto *.

LORENZETTO.

The statue of Jonas attached to the Mausoleum of Augostino Chigi, in the Church of St. Maria del Popolo, at Rome, said to have been designed by Raffaelle.

GUGLIELMO DELLA PORTA. The legs for the Statue of Hercules Farnese. The figures of Prudence and Justice for the tomb of Paul III.

in St. Peter's, designed by M. Angelo.

GIOVANNI DI BOLOGNA.
Born 1524-Died 1608.

Statue of Neptune at Bologna. Group of a Roman and a Sabine girl at Florence. Equestrian Statue of Cosmo I. Grand Duke. Group of Hercules and Nessus.

* See Duppa's Life of M. Angelo, 4to. 1807, in which the outlines of his works in Sculpture are given with spirit and elegance.

ANDREA CONTUCCI.

Bas reliefs of the life of the Virgin Mary in the Chapel of Loretto, finished by Bandinelli and other artists. "Ma quanto in questa parte appartiene ad Andrea, questi suoi lavori sono i più belli e meglio condotti di scoltura, che mai fossero stati fatti, fino a quel tempo." Vasari, T. II. p.

170.

GIOVANNI LORENZO BERNINI.

Born 1598-Died 1680.

Group of Apollo and Daphne in the Villa Borghese, near Rome. David preparing to slay Goliath, ditto. Fountain in the Piazza Navona, at Rome. Mausoleum of Urban VIII. in St. Peter's. Ditto of Alexander VII. Group of Neptune and Glaucus, once in the Palazzo Negroni, now in the collection of Lord Yarborough. Bust of Charles I. destroyed in the fire at Whitehall in 1691. Statue of Urban VIII. in the Capitol. Equestrian do of Louis XIV. at Versailles. St. Theresa, one of his most admired works. There is a great effort to produce an effect very uncha

racteristic of a Saint.

ALESSANDRO ALGARDI.

Born 1602-Died 1654. The Bas-relief of Attila, King of the Huns, with the Apostles Peter and Paul, and St. Leo in his pontifical habit, placed in the portico of St. Peter's, by order of Innocent X. It measures 32 French feet by 18, and employed Algardi four years. The Tomb of Leo XI. sitting and giving the Benediction in St. Peter's.

A bronze colossal statue of Innocent A statue of Somnus, as a boy, in black X. in the Palace degli Conservatori. marble, in the Villa Borghese.

CAMILLO RUSCONI.

ANGELO DA ROSSI,

Born 1671-Died 1715. The Bas-relief on the tomb of Alexander VII. It represents the canonization of Saints, by that Pontiff, and is among the most admired sculpture in St. Peter's Church, but for which he was so poorly recompensed, that it preyed on his spirits, and he died at the early age of 44 years.

ANTONIO CANOVA OF VEnice.

Born 1757-Living. Group of Theseus and the Minotaur, 1783. Mausoleum of Clement XIV. (Ganganelli) 12 feet in height, with the figures of Temperance and Courtesy of 10 feet, erected in the Church of the Santi Apostoli at Rome in 1783. Statue of Psyche for Lord Cawdor, now in the collection of H. Blundell, Esq. from a design by Tresham. Group of Cupid and Psyche, at Paris. Mausoleum of Clement XIII. (Rezzonico) 17 feet high, accompanied by two figures, as types of Religion and Genius. A Bas-relief of Justice, with two couchant lions on the plinth. He is represented not as pontifically seated, but kneeling,

1792. Clementi XIII. Rezzonico P. M. Fratris Filii. Group of Hercules and Lychas. The pugilists Creugas and Damoxenos, in the Museum of the Vatican. They are mentioned by Pausanias. The Mausoleum of the Arch-Duchess Christina, at Vienna, 1806. It is composed of a solid Py. ramid, surrounded by eight figures larger than life, in a funeral procession, "Conjugi Optima Albertus." Statue of Perseus, in the Vatican. Statue of the King of Naples, 1803. Colossal Statue of the Emperor Napoleon, in a martial character. Statue of the Empress Josephine, sitting in the style of the Agrippina. Theseus vanquishing a Centaur, who is represented as thrown down on his fore-legs, and is endeavouring to rise again by the exertion of the hinder. Theseus presses with his knee the human body of his antagonist, and is preparing to strike him on the head with a club. This group has been preferred to the others of Hercules and the Pugilists. In 1817, two female figures were exhibited at Somerset House; 1. Musa Terpsichore; 2. Hebe presenting Nectar to the Gods. These statues, which are the size of small life, had been previously shown at Paris. E. M. S.

Mr. URBAN,

Feb. 1.

Tlant Veteran, who died on the HE following Memoir of a gal13th of last month, in his 110th year, are so interesting, with respect to their actual connexion with many remarkable events in the British annals, that you will probably think them worth copying from the Dublin Correspondent. M. GREEN.

"John Dorman, or Diermott, was born at Boigh, or the Bullock-house, in Donegal, on Aug. 24, 1709; and he was the parish of Clonlee, and county of baptized by the Rev. Mr. Dunwith, rector of that parish, who then lived in Lifford, on the spot where the gaol has been since erected. His father, after whom he was called John, was a labourer, and lived to the age of 111 years. His mother's name was Margaret Sharkey; she lived to be nearly 113 years old. These circumstances, combined with his own great age, seem to favour the opinion of those who think longevity is hereditary; he was, however, the youngest of twelve children, none of whom, except one female, lived to any great age. His grandfather, Bryan Diermott, of Temple Douglas, near Letterkenny, lived to be a very old man, and had a considerable property in that neighbourhood, which he forfeited

to the Crown in the rebellion of 1641. The wife of this Bryan Diermott was Giles M'Gennis, who was of a reputable family, and the cousin germain of a Major Stafford, a gentleman of some property in the county of Donegal, at that time. His father was brought up to be a Roman Catholic Priest; but as the term is, he was spoiled in the making, for he fell in love with Margaret Sharkey, and married her. By this step he displeased his family, and was obliged to earn his bread, as a day-labourer, until he got into the service of Dr. Nicholas Forster, Bishop of Raphoe, whom he served for many years in the capacity of land-steward. In the year 1721, Bishop Forster confirmed this John Dorman, then twelve years old; and the boy was sent to school, to John Campbell, of Clonlee, where some of his relatives lived. Here he was taught to read, but neglected to learn to write, which afterwards proved a heavy loss to him, as his inability to keep accounts prevented his rising in the world, as he might otherwise have done, from the opportunities that occurred to him. After he arrived at the age of manhood he joined in his father's labours, and remained at home till the year 1736, when he resolved to try his fortune in France,