ing all their light from the doors, which opened on the road. The inhabitants sit before them at the door from the morning to the night, when they at last retire to their holes.
The city, which in the evening is all of a tumult, though in a somewhat different manner, extorted from me the wish that I might be able to stay here for some time, in order to sketch, to the best of my powers, the moving scene. It will not, however, be possible.
Naples, Wednesday, March 7, 1787.
This week Tischbein has shown to me, and without reserve commented upon, the greater part of the artistic treasures of Naples. An excellent judge and drawer of animals, he had long before called my attention to a horse's head in brass in the Palace Columbrano. We went there to-day. This relic of art is placed in the court, right opposite the gateway, in a niche over a well, and really excites one's astonishment. What must have been the effect of the whole head and body together? The perfect horse must have been far larger than those at St. Mark's: moreover, the head alone, when closely viewed, enables you distinctly to recognise and admire the character and spirit of the animal. The splendid frontal bones, the snorting nostrils, the pricked ears, the stiff mane,—a strong, excited, and spirited creature!
We turned round to notice a female statue which stands in a niche over the gateway. It has been already described by Winckelmann as an imitation of a dancing-girl, with the remark, that such artistes represent to us in living movement, and under the greatest variety, that beauty of form which the masters of statuary exhibit in the (as it were) petrified nymphs and goddesses. It is very light and beautiful. The head, which had been broken off, has been skil-
