Meanwhile the material knowledge of old Rome was increased by excavations. Under Alexander VI. the so-called ‘Grotesques,’ that is, the mural decorations of the ancients, were discovered, and the Apollo of the Belvedere was found at Porto d’Anzo. Under Julius II. followed the memorable discoveries of the Laöcoon, of the Venus of the Vatican, of the Torso, of the Cleopatra.[423] The palaces of the nobles and the cardinals began to be filled with ancient statues and fragments. Raphael undertook for Leo X. that ideal restoration of the whole ancient city which his celebrated letter (1518 or 1519) speaks of.[424] After a bitter complaint over the devastations which had not even then ceased, and which had been particularly frequent under Julius II., he beseeches the Pope to protect the few relics which were left to testify to the power and greatness of that divine soul of antiquity whose memory was inspiration to all who were capable of higher things. He then goes on with penetrating judgment to lay the foundations of a comparative history of art, and concludes by giving the definition of an architectural survey which has been accepted since his time; he requires the ground plan, section, and elevation separately of every building that remained. How archæology devoted itself after his day to the study of the venerated city and grew into a special science, and how the Vitruvian Academy at all events proposed to itself great aims,[425] cannot here be related. Let us rather pause at the days of Leo X., under whom the enjoyment of antiquity combined with all other pleasures to give to Roman life a unique stamp and consecration.[426] The Vatican resounded with song and music, and their echoes were heard through the city as a call to joy and gladness, though Leo did not succeed thereby in banishing care and pain from his own life, and his deliberate calculation to prolong his days by cheerfulness was frustrated by an early death.[427] The Rome of Leo, as described by Paolo Giovio, forms a picture too splendid to turn away from, unmistakable as are also its darker aspects--the slavery of those who were struggling to rise; the secret misery of the prelates, who, notwithstanding heavy debts, were forced to live in a style befitting their rank; the system of literary patronage, which drove men to be parasites or adventurers; and, lastly, the scandalous maladministration of the finances of the state.[428] Yet the same Ariosto who knew and ridiculed all this so well, gives in the sixth satire a longing picture of his expected intercourse with the accomplished poets who would conduct him through the city of ruins, of the learned counsel which he would there find for his own literary efforts, and of the treasures of the Vatican library. These, he says, and not the long-abandoned hope of Medicean protection, were the real baits which attracted him, when he was asked to go as Ferrarese ambassador to Rome.