Musaeum Celeberrimum (Romani Collegii)

Chap. III. ...dunt. Others, however, on the contrary, lacking in magnitude or falling short of what is just, being almost equal in parts but unequal in their distribution, imitate the likeness of their own stupidity, indocility, sleepiness, and senseless nature of mind, being endowed with no gift of virtue. You will see others with rustic negligence, or foreheads wrinkled with a similar stretch, some affable and with a pleasant gaze. There are others bland with feminine luxury, others almost formidable in appearance, while others are timid, appearing barely to have or represent the breath of life. Some are laughing, others weeping in dark sadness, noting the indignant and arrogant elation of the soul. Pars I. Others—the individual effects of which, if one were to try to describe, would waste more than sufficient time and render himself hateful and nauseating to the reader by his prolixity; let it therefore suffice to know that there is hardly an affect of the mind that each of said masks does not nearly emulate and exhibit.

There are 39 clay vessels of rare size and shape, whence the very large ones fill almost a third of a palm in diameter, while others do not diminish below a palm, illustrated with various Arabic lines as well as sacred, profane histories, and poetic fictions.

CHAPTER IV.

On various paintings and effigies.

Chap. IV. NOW it may be permitted to me to wander to the prodigious brush of Apelles original: "Apellis"; Apelles was a renowned painter of antiquity, often used here to represent master painters, and through painted images of things, of saints and men, of which there is such abundance and plenty here that the whole walls, both where they run in height and in length, appear conspicuous with them as if with tapestries and hangings. Whence, besides the most esteemed effigy of the Savior painted by Guidorenus original: "Guidoreno", referring to Guido Reni in the first chapter, there are many others of the same Savior, both resting between the arms of the Most Holy Mother, and others rejoicing in the company of other saints playing with the little child JESUS: most of them are prototypes of painters of better note, countable up to the number 123. Among which, besides the images, are four very large geographical tables of the saints, theorems of Mathematics proposed by the Author for public study, among which is the celestial sphere portrayed with its meridians, tropics, and Azimuthal circles and lines; furthermore, another most accurate table representing the spots and faculae original: "faculas"; bright patches on the sun's or moon's surface of the Moon, sketched by the diligent observation of the Author. Noble perspectives, and simulated recessions of things, mountainous precipices. Winding valleys, tangled labyrinths of groves, the tides of the foaming sea, and abysses filled with shipwrecks. Water-spewing precipices, and swirling waterfalls. Pleasant prospects of seas, hills, and fields. Architectural perspectives and frontispieces. Battles and slaughters, fleets and naval battles, duels, triumphs, palaces, solitudes, ruins, monuments of the ancients, hunts, bird-catchings, many mysteries of holy Scripture, poetic commentaries on histories, effigies of various people, and various Ideas of things that represent everything to the life with a learned and prudent brush.

Effigies of Popes. Effigies of the Supreme Pontiffs Urban VIII, Innocent X, Alexander VII, and Clement IX, who all, because of the rarity and excellence of his learning, treated Kircher with singular benevolence and affection.

Monarchs. Effigies of Monarchs, Kings, and nobles, which they themselves sent as a gift as a testimony of singular affection toward him. They are: of the Roman Emperors Ferdinand II, Ferdinand III, Leopold I, and the Most Serene...