seen the words, "_Munificentiâ Pii Sexti_" thrusting themselves into
notice, and occupying the place which should be filled with some
nobler inscription. The bad taste and impertinence of this epigraph
are often enhanced by the slightness of the work or the gift which it
commemorates. During a season of dearth at Rome, in the time of Pius,
when the bakers had reduced the size of their loaves, Pasquin took the
opportunity to satirize the selfishness and vanity of the Pope, by
exhibiting one of these diminished loaves bearing the familiar words,
"_Munificentiâ Pii VI._"

The French Revolution, the Napoleonic occupation of Rome, the
brilliant essays of liberalism of Pius IX., the Republic, the siege of
Rome, the reactionary government of late years, have alike supplied
matter for Master Pasquin, which he has shaped according to the
fashion of the times. He still pursues his ancient avocation. _Res acu
tetigit._ But the point of the needle is not the means by which the
rents in the garment of Rome are to be mended,--much less by which her
wounds are to be cauterized and healed. The sharp satiric tongue may
prick her moral sense into restlessness, but the Roman spirit is not
thus to be roused to action. Still Pasquin deserves credit for his
efforts; and while other liberty is denied, the Romans may be glad
that there is a single voice that cannot be silenced, and a single
censor who is not to be corrupted.

[Footnote 1: Bernini, being asked what was the most beautiful statue
in Rome, replied, "That of Pasquin." This reply the sensible Milizia
taxes with affectation,--saying, that, although an artist may discover
in the work some marks of good design, it is now too maimed to pass
for a beautiful statue. Possibly Bernini was thinking of his own works
in comparison with it.]