There was nothing else to be seen; so I went back through the
antechambers (which are noble halls, richly frescoed on the walls and
ceilings), endeavoring to get out through the same passages that had let
me in. I had already tried to descend what I now supposed to be the
Scala Santa, but had been turned back by a sentinel. After wandering to
and fro a good while, I at last found myself in a long, long gallery, on
each side of which were innumerable inscriptions, in Greek and Latin, on
slabs of marble, built into the walls; and classic altars and tablets
were ranged along, from end to end. At the extremity was a closed iron
grating, from which I was retreating; but a French gentleman accosted me,
with the information that the custode would admit me, if I chose, and
would accompany me through the sculpture department of the Vatican. I
acceded, and thus took my first view of those innumerable art-treasures,
passing from one object to another, at an easy pace, pausing hardly a
moment anywhere, and dismissing even the Apollo, and the Laocoon, and the
Torso of Hercules, in the space of half a dozen breaths. I was well
enough content to do so, in order to get a general idea of the contents
of the galleries, before settling down upon individual objects.

Most of the world-famous sculptures presented themselves to my eye with a
kind of familiarity, through the copies and casts which I had seen; but I
found the originals more different than I anticipated. The Apollo, for
instance, has a face which I have never seen in any cast or copy. I must
confess, however, taking such transient glimpses as I did, I was more
impressed with the extent of the Vatican, and the beautiful order in
which it is kept, and its great sunny, open courts, with fountains,
grass, and shrubs, and the views of Rome and the Campagna from its
windows,--more impressed with these, and with certain vastly capacious
vases, and two seat sarcophagi,--than with the statuary. Thus I went
round the whole, and was dismissed through the grated barrier into the