. 
the French aha at Rome: 189 
in collecting the monuments of ancient Rome, should have to- 
tally neglected the Trajan Pillar, one of the most perfect in 
Rome. Perhaps he regarded it as a monument of sculpture rather 
than of architecture; perhaps also, ignorant as he was of drawing, 
he despaired of being able to give its beauties. 
However this may be, M. Chatillon has given a proof of his 
taste in selecting this splendid monument of antiquity for one of 
the subjects of his studies. 
He has executed five drawings ; which present, Ist, The plan 
and elevation of the whole column, and surmounted, as it was 
when entire, by the statue of the emperor Trajan: 2dly, The 
facade of the pedestal at the entrance side, with the base and 
capital of the column: finally, two fragments of another face of 
a pedestal, which exhibit the trophies, eagles, and other orna- 
ments. ‘These studies or figures are exceedingly well drawn, 
and are calculated to give a favourable idea of those which M. 
Chatillon has since made on the portico of Octavius, and ‘the 
transmission of which is announced. 
M. Provost has directed his attention to the remains of the 
Temple of Jupiter Tonans. 
We know that, buried almost entirely under the ruins of the 
edifice of the Mons Capitolinus, on the slope of which it was 
constructed, this temple has long exhibited no other remains 
than three isolated columns, forming the right angle of the pe- 
ristyle of its anterior facade: they were besides buried in such 
a way as to show only the upper part of their shafts, the capitals, 
‘and part of the entablature: so that none of the architects 
who since the revival of the art haye published collections of 
antiquities, had either seen or given the toute ensemble. 
» M. Provost, profiting by the excavations made around the feet 
of those columns under the auspices of the French government, 
during his stay at Rome, not only surveyed them entire, -but 
exeeuted four drawings of their details. 
The first contains the total elevation of the intercolumniation 
which forms the angle of the interior facade, from the level of 
the ancient soil to the summit of the entablature, with all the 
various plans, sections.and profiles, necessary to its development. 
The three other drawings are consecrated tothe details; such 
as the base and the capital, the entablature of the sofite of the 
architrave, and the frieze of sacrificial instruments which runs 
along the flank of the temple. 
» Thus (thanks to M, Provost) we now enjoy for the first time 
a complete view of the Temple of Jupiter Tonans, one of the 
most magnificent of ancient Rome; and that without contradie- 
tion which unites in the highest degree the luxury of ornament 
with delicacy and neatnesa of execution. 
The 
