When, a little while ago, I spoke of the necessities of the multitude in such a case, I described the natural accidental amphitheatre as arising just in the manner in which I saw the people raised one over another on this occasion. Even at a distance, I could hear the lively clapping of hands which accompanied every important stroke. The game is played as follows: two boards, slightly inclined, are placed at a convenient distance from each other. He who strikes off the ball stands at the higher end: his right hand is armed with a broad wooden ring, set with spikes. While another of his party throws the ball to him, he runs down to meet it, and thus increases the force of the blow with which he strikes it. The adversaries try to beat it back; and thus it goes backward and forward, till at last it remains on the ground. The most beautiful attitudes, worthy of being imitated in marble, are thus produced. As there are none but well-grown, active young people, in a short, close white dress, the parties are only distinguished by a yellow mark. Particularly beautiful is the attitude into which the man on the eminence falls, when he runs down the inclined plane, and raises his arm to strike the ball: it approaches that of the Borghesian gladiator.
It seemed strange to me that they carry on this exercise by an old lime-wall, without the slightest convenience for spectators. Why is it not done in the Amphitheatre, where there would be such ample room?
What I have seen of pictures I will but briefly touch upon, and add some remarks. I do not make this extraordinary tour for the sake of deceiving myself, but to become acquainted with myself by means of these objects. I therefore honestly confess, that of the painter's art, of his manipulation, I understand but little. My attention and observation can only be
