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CHAPTER XI.

Modern Artists-Tenerani-Crawford-Luther Terry-The Mausoleums and Catacombs-St. Peter's-The Grotto Vaticane-Canova and the Russian-Tivoli-The Present Condition and Future Prospects of the Roman States.

MODERN Rome, is indebted to the ancient city, and to the middle ages, for her present subsistence. If it were not for the thousands who are attracted to the Imperial City, to view the ruins of her ancient temples and palaces, Rome would scarcely exist. If it were not for the strangers, and artists, from every quarter of the world, who take up their residence here, for the purpose of studying the works of the masters, that are to be found in all the churches and palaces of the city, Rome would be almost deserted. She lives upon the pilgrims from all the world, that come here to gratify their curiosity, cultivate their tastes, or study their professions. Every country is represented; the Vatican, the Capitol, the churches, are always filled with strangers. Artists abound in every quarter of the city. They all have their studios, and it is one of the most interesting occupations of strangers, to pay them a visit. The artists, from the most distinguished to the

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humblest, seem delighted to receive their visitors, to exhibit to them the works upon which they are engaged, and to explain to them the most interesting statues or paintings, of their collection. The most noted of modern Italian sculptors, is the celebrated Pietro Tenerani. He has his studio almost in front of the Capuchin Church, and it is there that he put into marble, his well-known conceptions of the "Descent from the Cross," and the "Wounded Venus." Our own Crawford works not far from the great Italian. Lately, however, he has had constructed, near to the Diocletian baths, a larger and more convenient studio, to enable him to execute the colossal statues, for the State of Virginia, upon which he was engaged when we were at Rome. Jefferson and Patrick Henry were already moulded into form. The author of the "Declaration of Independence," is represented in an attitude familiar to us, and the likeness to the great original is easily recognized. This statue will add to the fame of the sculptor, and assist in preserving for ages the lineaments of Thomas Jefferson from being forgotten. We did not think he had been so successful in his impersonation of the greatest orator of Virginia. The period of Mr. Henry's life, that the artist has selected for commemoration, is one when he was yet young, and the features are not those with which his countrymen are familiar. The looks and the figure of the Emperor Bonaparte are known to every schoolboy, and it scarcely requires

a glance to recognize the original. He, however, who undertakes to model Napoleon as a youth, or to paint the conqueror of Italy in his earliest campaign, whatever might be his success, could scarcely hope to have his work so generally recognized. The likeness of Washington; as President of the United States, is as strongly impressed upon the memory of all Americans, as are the features of the friends we daily meet, and yet who would be able to recognize the most perfect statue of the Father of his country, made at an age, when he was surveying the lands of Virginia. Not only has Mr. Crawford failed, we think, in the period of Henry's life, that he has selected for his group, but the statue wants, in addition, those characteristics, that the great orator must always have possessed. It is tame, it is wanting in expression, and in energy, and does but poorly represent "the man who justly deserves to be ranked among the highest ornaments and noblest benefactors of his country." We were much gratified to find so many young American artists pursuing their studies at Rome, and perfecting their taste and their knowledge, by copying the best paintings of this famous school. There is nothing so much needed in our country, as a taste for the-Fine Arts. In Italy, and in Europe generally, it grows up with the population. Accustomed from their earliest years to look upon the finest models of statuary, the most beautiful and best proportioned columns of the ancient Temples, and the wonderful paintings

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of Da Vinci, or Carlo Dolci, or Titian, they cannot avoid acquiring correct ideas of the beautiful in sculpture, and architecture, and painting. They learn to appreciate the fine arts, just as those who dwell upon the banks of a river learn to swim. The great masterpieces of ancient times, and of the middle ages, are constantly before them, and they imbibe their knowledge without any visible effort. Whenever we shall be enabled to have public galleries, and to furnish them with statues and paintings of a high order, we may expect to see a correct taste for the Fine Arts, diffused among our countrymen, and may hope to see our artists properly encouraged. Amongst the American artists now at Rome, whose studios we visited, we must not forget to mention the rooms of a talented painter, who is destined to take rank with the highest of the original artists of the day. The studio of Luther Terry is pleasantly situated in the rear of a garden, in the Via Margutta, and is much frequented by our countrymen, as well as by the Romans themselves. Mr. Terry was just completing a copy of his Jacob's Dream. This composition, which has added greatly to the reputation of the artist, exhibits originality, and beauty of conception, fine coloring, and admirable perspective. It has been so much admired by Americans, visiting Italy, that already has Mr. Terry executed several copies, slightly differing in design, for residents of his native State of New York. It is a pleasure to add that Mr. Terry is no less dis

tinguished abroad for his urbanity and attention to his countrymen, than for his known skill as an artist, and his general cultivation as a man of letters.

Monuments to the dead claim the traveller's attention in every section of Rome. The ancient Romans spared no expense to raise towers and pyramids and mausoleums, in anticipation of their own dissolution, or to commemorate the loss of the departed, and no one, even at this day, visits the Eternal City, without looking upon "that stern round tower of other days," that the rich Crassus erected to the memory of his wife Cecelia Metella, or without pausing to gaze upon the pyramid that contains the ashes of Caius Cestius, or without visiting the castle tomb of Hadrian, and the mausoleum of Augustus. What a singular mode of seeking immortality! This immense pile, that was once so magnificent, and so richly ornamented, has been entirely despoiled, and is now converted into a circus for tight-rope performances. The very building is difficult to locate, so completely is it embedded in houses. The very tomb itself is buried! How much more the small cave, where the sarcophagus of Augustus himself, was lately found concealed! And this was the ambition of a Cæsar! To pile masses of stone mountains high, for the purpose of occupying a small niche in one hidden corner of a dark cave, and in order that thousands of years after, strange nations, from another hemisphere, for the gratification of curio