Rome in the Footsteps of an XVIIIth Century Traveller

Jonathan Richardson the Elder (1665-1745) was an acclaimed portrait-painter in London. In 1722, he published with his son, also Jonathan (1694-1771), "An Account of Some of the Statues, Bas-Reliefs, Drawings, and Pictures in Italy". The book is journal of a tour of Italy made in 1721 by Jonathan the Younger, but its comments on the works of art are supported by the competence of Jonathan the Elder who had already written treatises on painting. The book became very popular and it was used by young men as a basis for their Grand Tour.
Excerpts from J. and J. Richardson's Account of Some of the Statues, etc. in Italy

• Laocoon and Torso di Belvedere
• Apollo and Daphne
• Navicella di Giotto
• St. Thomas of Villanova
• Piazza Navona
• S. Maria della Pace
• Farnesina
• The Niobe of Villa Medici
• Palazzo Barberini
• Palazzo Apostolico
• Palazzo Farnese
• S. Andrea della Valle
• S. Pietro in Montorio
• SS. Apostoli
• Cappella Sistina
• Statues from Iseo Campense
• Statues from Terme di Caracalla
• Statues at Monte Cavallo
• Statues at Campidoglio
• Aurora by Guido Reni
• Statues at Palazzo Borghese
• Borghese Collection at their villa
• Dying Gladiator
• Young Hercules
• Aldobrandini Marriage
• Moses
• Colonna di Traiano
• Palazzo dell'Accademia
• Palazzi della Maschera d'Oro

Laocoon and Torso di Belvedere The Laocoon stands in a sort of Nich, not so near the Wall but that one may go round it: 'Tis upon a Pedestal near the height of a Man from the Ground, and much Bigger than the Life; of Fine, White, Transparent Marble, so that it has a very Pleasing Look, without considering the Work, which is the most Exquisite that can be imagined, and highly Finish'd, the Fore part, but not Behind, being made (it seems) to stand as it does, against a Wall. Part of its Beauty is however impaired, for the Right-arm of the Principal Figure (..) is lost, and one of TerraCotta substituted in its place. This being Rough, Unfinish'd, and not good Work, and moreover of a Colour Disagreeable, the Eye is something offended. (..) The Sculptors have fix'd Their point of Time to that when his Strength was in a great measure exhausted, and he ready to sink under the Weight of his Vast Calamity; His Mouth is opened but a little, and he looks up as Imploring Pity and Succour from the Gods, without any Appearance however of Hope, but seeming in great Pain. (..) In an unfurnished Room going out of the Cortile is the famous Torso of Michel Angelo as 'tis call'd, because he was so fond of it, and study'd so much after it; and indeed 'tis Exquisitely fine: of White Marble, a Hercules made by Apollonius an Athenian; Julius II. put it in the Cortile.

Apollo and Daphne For certainly This Statue does not yield in the Number, or the Quality of its Beauties to any that are in Italy, Ancient, or Modern; and with this Advantage, that as it has it self the most Lovely Air, and Shape of a Young Lady that ever was, 'tis contrasted by the most Beautiful one too of a Young Man, the Apollo, which has just overtaken heir. His Air is Wild, and Fearful; his Lips a little open as panting for Breath, and after all his pains he just touches her timorously, and draws back his Arm a little, by which is seen the greatest Respect, mixt with the greatest Passion. Bernini did not think fit to follow the Proportions of the Venus as to the Shape of the Daphne, who is more Tall and Slender without that Largeness of Hips which is so remarkable in the Venus; this indeed is something owing to, the Attitudes of both; One stands, and bends a little, which makes the Hips larger, and t'other is running, which as it requires a Shape more degage does not spread the Hips as the other. (..) What I have to add is, that as the Metamorphosis is just begun, the Bark covering some parts, and the Branches sprouting from the Extremities, the whole Figure rises with such a tree-like Sweep as at once is very Beautiful, as well as finely imagined: And not only the Sweep of the Figures, but the Raising of the Arms above the Head, and her Feet being put upon a Ground something higher than that on which Apollo is, so as to bring her Head above his, All humours the same Thought. There are two other Particulars which I will not omit; one is, that when this Groupe is shewn they strike it with a Key, or some such thing, and it rings as if 'twas of hollow Metal. The other, and much more considerable is, that Bernini was but 18 Years old when he did it.

Navicella (Bark) di Giotto The Bark of Giotto in Mosaick is over the Pillars, and in the inside of the "Portico" so that 'tis seen at a great height as you come out of the Church to go into the Piazza: 'Tis very Beautiful, and. much better Coloured than I imagined: The Fisherman is the Best Figure, and is really fine.

St. Thomas of Villanova St. Thomas of Villa Nova giving Alms to a Woman, in Marble. The Woman is the best Modern Statue I ever saw; she is young, and extremely beautiful; an Air of a Head, Great, but wonderfully Gentile, and a Turn of the Neck I think as beautiful as that of the Venus of of Medicis. The Drapery is entirely Modern, of Silk, but in such Great Folds, and that shew the Naked so well, that I prefer it to any of the Antique that I have seen. (..) Her Hair is tied up in something a different manner from the Venus but as delicate. She presses to her a Child with her Left-arm, and holds out her Right to receive the Money. This Groupe was finish'd by Ercole Ferrata so that I can't judge what fsare of the Honour of it belongs to him that began it till I have seen more of the Latter; however the Design is His, which is as Noble, and Gentle, as any Body has ever made, either in Painting, or Sculpture.

Piazza Navona In the Summer this Square is overflowed with Water about two Foot deep, more or less as they please, through which the Coaches drive (for here is the Ring). The Noise of the Splashing of the Horses Feet in the Water, with that of the prodigious quantity which gushing from this vast Rock, and in some parts tumbling down a great height, and breaking on other parts of the Fountain, so as to sling a sort of Dew all about; together with the Echoes from the Palaces, and Churches all round the Piazza, is indeed Sublime.

S. Maria della Pace The Madonna della Pace is another Small, Old Dark Church, and the Doors little as of a Common Room, but 'tis Neat. Here are the Prophets and Sibyls of Raffaele. In all the Roman Catholick Churches are Chapels belonging to particular Families, some as large as a small Church, others as a great Room; others as it were let into the Wall so as to admit only the Altar, and the Priest that officiates, the People remaining in the Body of the Church: This Church being but a little one, the Chapels are of this latter kind, and the Pictures are over and on the Sides of the Arch that opens into one of these Chapels. (..) (The Chigi Chapel is) first on the Right-hand as you come in at the Principal Door; they are in four several Divisions, two on each side; the two uppermost have in each two Prophets holding Cartels, and those below have each a Sibyl; all these are accompany'd with Boy-Angels, and those of the other kind. (..) These Admirable Paintings are in Fresco but very much Damaged, specially towards the top on the side farthest from the Door of the Church, even pieces of the Mortar are broken off in some places. One sees a Greatness of Style throughout, and the General Design; but as for Airs of Heads, Contours, and other such Particularities, they are almost gone. (..) Raffaele seems not to have contented himself with a sort of mere Portraits of these Messengers of Heaven to Mankind, he has enrich'd his Subject with Angels of both kinds. (..) Vasari says, this Work was esteem'd to be the Best Raffaele ever did.

Farnesina This Palace is now Uninhabited, and gone to Ruin in a great measure; and is so Unfrequented, that the Court through which one goes to the House is all overgrown with Grass; and they told me no body had been to see this Gallery for about two Years: the Keys were hardly to be found; and I was not without great danger of not seeing it, though I was at Rome several Months. The Gallery of Psyche, which is one of the most famous Works of Raffaele; and the Painting as well as the Gallery has been Repaired. 'Tis a Ground Room looking into, and ranging with the Garden. (..) The Gallery is Small, but very Lightsome and Gay. (..) Having been much Decay d, it was Retouched, and in many parts entirely gone over by Carlo Marat(ta) (a leading Roman painter); who tho' a very admirable Master, has not only not restored Raffaele injured by Time, but injur'd him more than Time had done, or could have done. (..) The Galatea; 'tis pretty well preserv'd, but does not answer the Idea I had of it. The Face of the Galatea is not Handsome, nor perfecftly well drawn: And her Drapery, which was Red, and is flying in the Air, besides that it has no graceful Shape, is now so Black that it looks intolerably Heavy, and as Hard against the Ground as if it was inlaid.

The Niobe of Villa Medici The Niobe. I confider'd This, and every part of it for several Hours Alone. The Figures are placed upon a vast Rock-like Heap of Stone, about the bigness of an ordinary Room, and not Grouped at all; every one is detach'd from the other, but nevertheless by Threes, of which there is Five; they form a sort of a Square, three Figures on each Side, and three in the Middle, in all Fifteen, comprehending the Horse. This Injudicious way of letting them is very Offensive to the Eye at first View. Nor are they all of a Taste; the Niobe herself and the Danghter she covers are Divine, and so is she that keeps up her Drapery with her Hand over her Shoulder; the Head of another of the Daughters is so too, as is the whole Figure of one of the Sons that is dead, and which is of the most beautiful Parian Marble, which the other Figures are not.

Palazzo Barberini In this Palace is the finest Composition that ever P. da Cortona made; and I believe the most Copious, and Rich that ever was made; the Colouring is exceeding Bright, and Beautiful; and tho* there is such a vast Number of Figures, the Ceiling being very Large, they are not Crowded: it is call'd the Triumph of Glory; and the Whole is a magnificent Complement to the Barbarini House. (..) There is besides a Ceiling in Fresco of An. Sacchi, The Divine Wisdom, one of the most Engaging Pictures I ever saw: The Colouring is like the others of this Author, more Languid than that of Cortona, but extremely Delicate, and Pleasing.

Palazzo Apostolico The Pope (Clement XI) has changed his Residence for about 12 Years past; and probably this Palace will not be the Habitation of future Popes, it being neither so Commodious, nor inso good an Air as Monte Cavallo where he now resides. I was surpriz'd to find the Painters, and Lovers seem to have forsaken this Place as well as the Pope; for tho' I was here about 20 times, and often staid Long, I never saw any Creature (besides the Servant that let me into the Lodgings, and always attended me) but Once a Painter that was making a Wretched Copy of the Battel of Constantine.

Palazzo Farnese 'Tis exceeding Magnificent, sufficiently large to be the Palace of any King in Europe and Large enough for almost All of them together. (..) 'Tis one of those sort of Palaces which the Italians call "Isolato" that is, it is detach'd from all the circumjacent Buildings. A Great Square is before it in which are two fine Fountains. (..) At the Entrance into the Apartments stand the two Captive Dacian Kings which were much spoil'd a few Years since by the Servants of a French Ambassador Who was Complimented by the Duke of Parma with this Noble Residence. (..) Next the Hercules is the Flora of which the Head, the Right arm from a little below the shoulder, and the other from a little above the Elbow, and both the Hands; and the Right-foot with about half the Leg, and the greatest part of the Left-foot haye been lost, but supplied by the same Excellent Master as repaired the Hercules; my Father has a most Exquisite Model of this statue, just in the Condition it was before its lost parts were restored. (..) Here is a Suite of Emperors; Busts, Antique; and all done (as is said here) in their Own Times (..) This Suite however is not complete; as none that I have seen in Rome or elsewhere is; I mean of Antiques, Galba is wanting. (..) Apollo of black marble leaning upon his Lyre; this is the finest statue in the Gallery; there are several others in the same attitude but none so good as this.

S. Andrea della Valle This Church is a very Noble one, and very Light; the Grand Cupola of Lanfranco and the Tribunal, or Mezzo Cupola of Dominichino with the Angels, and Ornaments, appear at one View as one enters the Church; and being very Bright, and Gaily Painted, strike the Eye, and give a vast Pleasure from the mere Beauty of the Colours.

S. Pietro in Montorio 'Tis very Dark, the best Light coming in at the Door, very disadvantageous to the Pictures; however 'tis Beautiful, and Magnificent Within by the Goodness of Work, and Richness of the Materials of the Chapels, Altar-Pieces, etc. (..) San Pietro in Montorio is a small church a little out of Rome and from whence one has a fine Prospect of the City. (..) The Scourging of our Lord by Sebastiano Venetiano Frate del Piombo. This Sebastian pretended to a Competition with Raffaele, and (according to Vasari) was prefer'd to all the Disciples of that Great Master after his Death. Mich. Angelo confederated with him in this Concurrence, and assisted him by making Designs for him; and 'twas believ'd he Corrected his Pictures.

SS. Apostoli The Cupola of the Church of Sancti Apostoli in the Piazza by that Name was painted by Melozzo da Forli in which was a Heaven, and God the Father surrounded by Angels, and the Apostles underneath. In refitting this Church This Work was demolish'd, but so that much of it was sav'd. That part where is the God, and Angels, is plac'd at the top of the Stairs going up to the Apartments of Monte Cavallo and the Heads of several of the Apostles are in the Vatican in the Rooms beyond those of Raffaele (of which Pictures my Father has the Drawing).

Cappella Sistina Rarely us'd, but then the Pope, and all the Cardinals, and Court of Rome appear there in great Magnificence. (..) For the Histories painted at the top of all I could not well judge of them as to That particular, or any other; for they are small Figures, at a great height, and the Chapel has not over much Light; the Vault especially, the Windows being underneath. This helps to give this Chapel the Melancholy Air it has.

Statues from Iseo Campense The Tyber; the Heads of Romulus and Remus are said to be of Mich. Angelo; I confess I did not observe them, those Boys being very Indifferent. The Nile was brought to Rome from Egypt long ago. Pliny Says it was in the Temple of Peace in Vespasian time, but was afterwards removed; he describes it as being of a very hard Egyptian Marble, of an Iron Colour. These two Statues are larger than the Life considerably, and not of a good Taste; The Remains of the Children on the Nile make an Ill Effect, and were never other than those kind of Additional Works generally are, that is, very Bad.

Statues from Terme di Caracalla Dirce, Amphion and Zethus upon a vast rock with the Bull, and other Animals. The Figures are very fine, especially the Dirce in Broad parts more remarkably than any other Statues. 'Tis in a Great Taste, but extremely Hard, and without any Delicacy at all. The Animals are but Indifferent, and the Rope very poor. This is commonly call'd the Toro. (..) This is esteem'd the Greatest Groupe of Antique Statues cut out of One Stone of which we have any account. (..) Hercules is of a Beautiful White Marble, mellow'd as to its Colour by Time; 'tis about three times as big as the Life, and Well preserv'd. (..) It is so Famous, and so well known and of which there are so many Prints and Drawings, (..) that it needs no farther Description.

Statues at Monte Cavallo Before the Pope's Palace where he now commonly resides stand the two Horses, each with a Figure. (..) These Noble statues standing upon high pedestals, and On the top of a Hill which over-looks Rome have an Appearance very Grand and Awful. (..) They are very much alike, and vastly large: Of a Great Taste, extremely Great! but not Delicate and have been much repaired, for they are now Complete; Whereas it appears by old prints, that since they were set up there by Sixtus V (in whose Time they were found) they Were Very imperfect.

Statues at Campidoglio These Pillars, Statues, and Trophies, by their being Severally of a like height on each side, and different one from the other, have a Beautiful Effect. (..) Marforio, a Colossal Figure of a River, well enough preserv'd, and of a great Taste, the Head especially. (..) In another Room. The most ancient Wolf, with Romulus and Remus sucking it. 'Tis in Brass, a great part of the Left-leg behind is melted by Lightning which Cicero says happen'd in his time. (..) The Slave taking the Thorn out of his foot. (..) My Father has a drawing of it in Red Chalk of Raffaele. (..) A Brass Head of Lucius Junius Brutus, the Eyes of an Antique Composition to imitate the Natual Colour.

Aurora by Guido Reni On the Ceiling is the Aurora of Guido; which being pretty high, the Figures are bigger than Life: a Gay Subject, and that Enchanting Painter the fittest of any to excute it; and he has done it accordingly. 'Tis Beautiful, Gracious, and the Airs of the Heads Exquisite! (..) For the three parts of the Morning the Italians have as many Names, Alba, Aurora and Mattina; and all these are express'd in this Picture: the First by a Cupid bearing a Torch representing the Morning Star, which is very bright at the first opening of the Day; Aurora, a Figure of a Young Woman in the Clouds dress'd in White and Yellow carrying Flowers; and lastly Apollo in his Chariot drawn by Horses, pushing away the Clouds, and substituting Glory in their place; and to express the Chearfulness of this Sweet Time, the Hours Hand in Hand come on with great Alacrity.

Statues at Palazzo Borghese In the Garden. A Bas-Relief of five Figures, One sits upon a Rock playing on a Fistula. Two Antique Statues, extremely Fine, of the Hercules of Farnese: Less than that, but big as the Life. Venus of Medicis. Antique.

Borghese Collection at their villa Seneca in the Bath; Prodigious Expression of a Weak Old Man! He has lost so much Blood that He can hardly support himself upon his Legs, which bend and give way under him. His Air is Savage, and very Disagreeable; for that if this Statue has any Fault, I think it is that he seems to be a Criminal that has been long kept in a Dungeon before his Execution; for his Hair is all neglected, and nasty and his Face and the whole Figure has an apparent want of dignity tho' perhaps something of this may be owing to the Colour of the Statue (which is Black) and the Alabaster Whites of the Eyes. (..) Gladiator going to strike his Adversary. For this purpose he springs forward, and gives himself the utmost Force that a Body so Robust, and Well fit as His is capable of. The Strength of the Hercules is of Another kind: He appears by his own Native Force to be able to crush any thing that resists him; and one is sure by only seeing That Figure, that whoever comes against him will be immediately Finish'd; But the Gladiator who is much Lighter built gives Himself such Activity and Elasticity, that all his Muscles seem to tremble with Eagerness: And tho' they would Equally be victorious Hercules would be so by the mere Lourd Weight of his Blow, but the Gladiator by that Vigorous Spring of His.

Dying Gladiator Myrmillo Dying, has the Strongest Expression of any Statue I have seen: He leans upon one Arm which gives way a little to the Weight of his Body, which evidently has no Force, because in that Action nothing can support it but holding his Thighs firm and pressing his Legs to the Ground, but these Flag, and are flipping from under him, as appears by their being in a Position they can't hold, his other Hand is just sliding off his Thigh: His Mouth is a little open, and his Under Lip hangs: His Eyes are half clos'd, but incline faintly on one side towards the part where his Body goes to fall: His Hair is short, and clotted, and he has a Rope (actually a torc) about his Neck, which adds extremely to the Pity we conceive for him.

Young Hercules Hercules Aventinus standing, with Apples in his Left-hand, and his Right holds something which is broke; by what remains it may be the end of a Club, or part of a Bow. He is cloathed with a Lyon's Skin; very Young, Short, and Fat; but a very Noble Style.

Aldobrandini Marriage The Marriage of Aldobrandini is an antique Fresco well known by the print of Pietro Sancto Bartoli. It is inserted in the Wall in the inside of a Summer-house. (..) The Figures are about a Foot'long; 'tis much hatch'd and the Outlines, and Folds of the Drapery not Always, or not Well determin'd, nor with a Beautiful Contour, but with a sort of Worminess disagreeable enough. As for the Colouring whatever it has been, 'tis Now so decay'd that no Beauty remains. (..) At a Distance the Clair-Obscure is Improved and the Airs are Fine, as are most of the Attitudes.

Moses The Statue of Moses Sitting : as it is very Famous, 'tis doubtless very Excellent. (..) But I cannot forbear fancying it has a Fault which has not been taken notice of by any body that I know of and yet it struck me immediately; and upon my mentioning it to some very Ingenious Gentlemen that were viewing it with me, they all agreed my Observation was just. Everyone knows the old Conceit that all Human Faces have a Resemblance to those of some sort of Animal, some more, some less; and when this Resemblance is very remarkable, it must needs be proportionably a Deformity. Now this Moses has so much the Air of a Goat, that either Mich. Angelo intended it, (which he was as likely to be guilty of as any Man) or he Mistook his Air, and instead of raising it to the top of Human Nature as he ought, has sunk it towards Brutality.

Colonna di Traiano It stands in a Small Square and the Ground all about having been Rais'd as Usual in Length Of Time, and Clear'd away at the Bottom, it stands in a Hole, into which you descend by several Steps if you would enter the Pillar: This Hole is so Deep that at some Distance the Pillar seems to be without any Pedestal. It is pity all the Filth and Nastiness which is continually about it were not Prevented, or Remov'd. The Pillar it self has a Noble Look; and not less so by being pretty much injured by Time, and Otherwise; 'tis of a Darkish, Grey Colour; the Work is extremely Good. (..) I also went up to the top of them (also Colonna Antonina), from whence one has fine Views of Rome. The Stairs are remarkably well preserv'd, and un-worn. (..) I have been assured that these Pillars are composed of single Stones pil'd one upon another like Cheeses, being hollowed.

Palazzo dell'Accademia Here is the French Academy; (..) There is One Circumstance that makes this place as well worth' visiting as almost Any in Rome: Here are Casts of all the principal Statues; Many of which are Thus seen much better than by the Statues Themselves; I mean Those that are in Disadvantagious Lights, or Positions. Besides Here one has the Conveniency of Steps, so that one may come Near any part, how remote soever from the Eye as one stands on the Ground; and Here moreover All these fine Things are brought together, and Seen at Once, and so may be Compared one with another, as I did with a great deal of Pleasure.

Palazzi della Maschera d'Oro On the House call'd il Maschera d'Oro. Is painted the Rape of the Sabins (of part of which my Father has two several Drawings) pretty well preserv'd, except that part of the Wall is broke just under the Window. There was another Story which is now quite ruin'd; 'twas divided from this by the Cato (painted as a Bronze of which my Lord Somers had the Drawing). Here is also the famous Friezes of the Apollo and Niobe; and the Mutius Scaevola (of which last I think my Father has the Drawing, Capital). But as they are almost gone, part is plaster'd over again. (..) These were painted on the Outside Walls in Chiaro-scuro by Polidoro.

Travellers covered in this section

• Introductory page
• Gregory Martin's "Roma Sancta", a description of Christian Rome in 1581
• Fynes Moryson's An Itinerary: Containing His Ten Years Travel .. in Italy .. in 1594
• John Evelyn's Diary and Correspondence related to his stay in Rome in 1644
• Francis Mortoft's Journal of his travels in France and Italy in 1659
• John Ray's Observations (..) made in a journey through part of (..) Italy in 1663
• Richard Lassels' The Voyage of Italy, or a Compleat Journey through Italy in ca 1668
• Joseph Addison's Remarks on several parts of Italy, in the years 1701, 1702, 1703
• Jonathan and Jonathan Richardson's Account of Some of the Statues, etc. in Italy - 1722
• Edward Wright's Observations made in France, Italy &c. in the years 1720, 1721 and 1722.
• Excerpts from John Dyer's The Ruins of Rome written in 1740
• Thomas Gray's Letters from France and Italy in 1739-1741
• James Boswell's Letters on the Grand Tour in 1765
• Tobias Smollett's Travels through France and Italy in 1765
• John Moore's View of Society and Manners in Italy (in 1775) - publ. 1781
• John Chetwode Eustace's Classical Tour of Italy (in 1802) - publ. 1813
• Joseph Forsyth's Remarks on Antiquities, Arts, and Letters in Italy in 1802-1803
• John Cam Hobhouse's Dissertations on the Ruins of Rome in 1818
• Henry Matthews' Diary of an Invalid (in 1817-1818)
• Anna Jameson's Diary of an Ennuyée (in 1821-1822) - publ. 1826
• Sir Charles Fergusson's Travel Notes a Journey Through Italy in 1824-1825
• William Hazlitt's Notes of a Journey Through France and Italy in 1824-1825
• Samuel Rogers' Italy - publ. in 1830 with illustrations by J.M. William Turner
• Hans Christian Andersen's The Improvisatore - 1834 (Engl. translation 1845)
• William Gardiner's Sights in Italy in 1846-1847
• George Stillman Hillard's Six Months in Italy in ca 1847-1848

Read What Dante Saw.
Read What Goethe Saw.
Read What Lord Byron Saw.
Read What Charles Dickens Saw.
Read What Henry James Saw.
Read What Mark Twain Saw.
Read What William Dean Howells Saw.
Read Dan Brown's Spaghetti Bolognaise (excerpts from Angels and Demons)