Walks in Rome

Hotels.-For passing travellers or bachelors, the best are: Hotel d'Angleterre, Bocca di Leone; Hotel de Rome, Corso. For families, or for a long residence: Hotel des Iles Britanniques, Piazza del Popolo; Hotel de Russie (close to the last), Via Babuino; Hotel de Londres, and Hotel Europa, Piazza di Spagna; Hotel Costanzi, Via S. Nicolo in Tolentino, in a high airy situation towards the railway-station, and very comfortable and well managed, but further from the sights of Rome.

Less expensive, are: Hotel d'Allemagne, Via Condotti; Hotel Vittoria, Via Due Macelli; Hotel d'Italie, Via Quattro Fontane; Hotel della Pace, 8 Via Felice; Hotel Minerva, Piazza della Minerva, very near the Pantheon. A large new hotel is the "Quirinale," in the Via Nazionale.

Pensions are much wanted in Rome. The best are those of Miss Smith and Madame Tellenbach, in the Piazza di Spagna; Pension Suez, Via S. Nicolo in Tolentino; and the small Hotel du Sud, in the Capo le Case.

Apartments have lately greatly increased in price. An apartment for a very small family in one of the best situations can seldom be obtained for less than 300 to 500 francs a month. The English almost all prefer to reside in the neighbourhood of the Piazza di Spagna. The best situations are the sunny side of the Piazza itself, the Trinità de' Monti, the Via Gregoriana, and Via Sistina. Less good situations are, the Corso, Via Condotti, Via Due Macelli, Via Frattina, Capo le Case, Via Felice, Via Quattro Fontane, Via Babuino, and Via delle Croce,-in which last, however, are many very good apartments. On the other side of the Corso suites of rooms are much less expensive, but they are less convenient for persons who make a short residence in Rome. In many of the palaces are large apartments which are let by the year.

Trattorie (Restaurants) send out dinners to families in apartments in a tin box with a stove, for which the bearer calls the next morning. A dinner for six francs ought to be amply sufficient for three persons, and to leave enough for luncheon the next day. Restaurants where luncheons or dinners may be obtained upon the spot, are those of Bedeau, Via della Croce, and Nazzari, Piazza di Spagna. Those who wish for a real Roman dinner of Porcupine, Hedgehog, and other such delicacies, find it at the Falcone, where Ariosto used to lodge when in Rome.

English Church.-Just outside the Porta del Popolo, on the left. Services at 9 A.M., 11 A.M., and 3 P.M. on Sundays; daily service twice on week-days. The American Church is in the same building, with an entrance further on.

Post Office.-In the Piazza Colonna. The English mail leaves daily at 8 P.M.

Telegraph Office.-121 Piazza Monte-Citorio. A telegraph of 20 words to England, including name and address, costs 11 francs.

Bankers.-Hooker, 20 Piazza di Spagna; Macbean, 378 Corso; Plowden, 50 Via Mercede; Spada and Flamini, 20 Via Condotti.

For sending Boxes to England.-Welby, Strada Papala. (His agents in London, Messrs. Scott, 11 King William St.)

English Doctors.-Dr. Grigor, 3 Pa di Spagna; Dr. Small, 56 Via Babuino; Dr. Gason, 82 Via della Croce. German: Dr. Taussig, 144 Via Babuino. American: Dr. Gould, 107 Via Babuino. Italian: Dr. Valeri, 138 Via Babuino.

Hom?opathic Doctor.-Dr. Liberali, 69 Via della Frezza.

Dentist.-Dr. Parmby, 93 Piazza di Spagna.

Sick-nurses.-Mrs. Meyer, 44 Via delle Carozze; the Nuns of the Bon-Secours at the convent in the Via del Banchi.

Chemists.-English Pharmacy, 498 Corso; Sininberghi, 134 Via Frattina; and Borioni, Via Babuino, are those usually employed by the English; but the chemists' shops in the Corso are as good, and much less expensive.

English House Agent.-Shea, 11 Piazza di Spagna.

English Livery Stables.-Jarrett, 3 Piazza del Popolo; Ranucci, Vicolo Aliberti.

Circulating Library.-Piale, 1, 2, Piazza di Spagna.

Booksellers.-Monaldini, Piazza di Spagna; Spithover, Piazza di Spagna; Bocca, 216 Corso; Loesther, 346 Corso.

Italian Masters.-Vannini, 31 Via Condotti (in the summer at the Bagni di Lucca); Monachesi (a Roman), 8 Via S. Sebastianello; Gordini, 374 Corso; N. Lucantini, 17 Via della Stamperia.

Photographers.-For views of Rome.-Watson, Via Babuino; Macpherson, 12 Vicolo Aliberti; Mang, 104 Via Felice; Anderson (his photographs sold at Spithover's); Joseph Phelps, 169 Via Babuino; Maggi, 329 Corso. For Artistic Bits, very much to be recommended, De Bonis, 11 Via Felice. For Portraits.-Suscipi, 48 Via Condotti (the best for medallions); Alessandri, 12 Corso (excellent for Cartes de Visite); Lais, 57 Via del Campo-Marzo; Ferretti, 50 Via Sta. Maria in Via.

Drawing Materials.-Dovizelli, 136 Via Babuino; Corteselli, 150 Via Felice. For commoner articles and stationery, the "Cartoleria," 214 Corso, opposite the Piazza Colonna.

Engravings.-At the Stamperia Nazionale (fixed prices), 6 Via della Stamperia, near the fountain of Trevi.

Antiquities.-Depoletti, 31 Via Fontanella Borghese; Innocenti, 118 Via Frattina; Santelli, 141 Via Frattina; Capobianchi, 152 Via Babuino.

Bronzes.-R?hrich, 104 Via Sistina; Chiapanelli, 92 Via Babuino; Dressler, 17 Via Due Macelli.

Cameos.-Saulini, 96 Via Babuino; Neri, 72 Via Babuino.

Mosaics.-Rinaldi, 125 Via Babuino; Boschetti, 74 Via Condotti.

Jewellers.-Castellani, 88 Via Poli (closed from 12 to 1), very beautiful, but very expensive; Pierret, 20 Piazza di Spagna; Innocenti, 33 Piazza Trinità de' Monti.

Roman Pearls.-Rey, 122 Via Babuino; Lacchini, 70 Via Condotti.

Bookbinder.-Olivieri, 1 Via Frattina.

Engraver.-(For visiting cards, &c.), Martelli, 139 Via Frattina.

Tailors.-Mattina (the "Poole" of Rome), Corso, opposite S. Carlo, entrance 2 Via delle Carozze; Vai, 60 Piazza di Spagna; Reanda, 61 Piazza. S. Apostoli; Evert, 77 Piazza Borghese.

Shoemakers.-Rubini, 223 Corso (none good).

Dressmaker.-Clarisse, 166 Corso.

Shops for Ladies' Dress.-Massoni, Palazzo Simonetti; the Ville de Lyon, 48 Via dei Prefetti (behind S. Lorenzo in Lucina); Sebastiani, 8 Via del Campo-Marzo; Giovannetti, 50 to 53 Campo-Marzo.

Roman Ribbons and Shawls.-Arvotti, 66 Piazza Madama (fixed prices); Bianchi, 82 Via della Minerva.

Gloves.-Cremonesi, 420 Corso; 4 Piazza S. Lorenzo in Lucina.

Carpets and small Household Articles.-Cagiati, 250 Corso.

German Baker.-Colalucci, 88 Via della Croce (excellent).

English Grocer.-Lowe, 76 Piazza di Spagna.

Italian Grocer and Wine Merchant.-Giacosa, Via della Maddalena.

Oil, Candles and Wood, &c.-Luigioni, 70 Piazza di Spagna.

English Dairy.-Palmegiani, 66 Piazza di Spagna.

Artists' Studios.-

Benonville, 61 Via Babuino,-landscapes.

Brennan, 76 Via Borghetto.

Coleman, 16 Via dei Zucchelli,-very good for animals.

Corrodi, 25 Angelo-Custode,-water-colour landscapes, very highly finished.

Desoulavy, 33 Via Margutta,-landscapes.

Fattorini, Via Margutta,-a very beautiful copyist.

Flatz, 3 Mario di Fiori,-sacred subjects.

Haseltine, J. H., 59 Via Babuino.

*Joris, 33 Via Margutta,-quite first-rate for figure subjects in water-colour.

Garelli, 217 Ripetta,-an admirable copyist, generally to be found in the Capitoline Gallery.

*Glennie, 17 Piazza Margana,-water-colour, first-rate.

Knebel, 33 Via Margutta,-oil landscapes.

Maes, 33 Via Margutta.

*Marianecci, 53 Via Margutta,-the prince of copyists.

Muller, 60 Piazza Barberini,-water-colour landscapes.

Podesti, 55 Via Margutta,-oil: large historical and sacred subjects.

Poingdestre, 36 Vicolo dei Greci-oil: landscapes.

Buchanan Read, 55 Via Margutta.

*Rivière, 36 Vicolo dei Greci,-water-colour.

De Sanctis, 33 Via Margutta.

Strutt (Arthur), 81 Via della Croce,-landscapes and figures, both oil and water-colour.

Tapiro (Spanish), 72 Sistina,-admirable for figures.

Tilton, 20 Via S. Basilio,-remarkable for his drawings of the Nile.

Vertunni, 53 Via Margutta.

Wedder, 55A Via Margutta.

*Penry Williams, 12 Piazza Mignanelli.

Sculptors' Studios.-

D'Epinay, 57 Via Sistina.

Fabj-Altini, 4 S. Nicolo in Tolentino.

Miss Foley, 53 Via Margutta,-admirable for medallion portraits and

busts, also the author of a beautiful fountain.

*Miss Hosmer, 118 Via Margutta-(Gibson's studio).

Miss Lewis, 8 Via S. Nicolo in Tolentino.

Macdonald, 7 Piazza Barberini.

Rosetti, 55 Via Margutta.

Story, 2 Via S. Nicolo in Tolentino.

Tadolini, 150A Via Babuino.

Wood (Shakspeare), 504 Corso,-excels in medallion portraits.

Wood (Warrington), 7 Piazza Trinità de' Monti.

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It is impossible for a traveller who spends only a week or ten days in Rome to see a tenth part of the sights which it contains. Perhaps the most important objects are:

Churches.-S. Peter's, S. John Lateran, Sta. Maria Maggiore, S. Lorenzo fuori Mura, S. Paoli fuori Mura, S. Agnese fuori Mura, Ara C?li, S. Clemente, S. Pietro in Montorio, S. Pietro in Vincoli, Sta. Sabina, Sta. Prassede and Sta. Pudentiana, S. Gregorio, S. Stefano Rotondo, Sta. Maria sopra Minerva, Sta. Maria del Popolo.

Palaces.-Vatican, Capitol, Borghese, Barberini (and, if possible, Corsini, Colonna, Sciarra, Rospigliosi, and Spada).

Villas.-Albani, Doria, Borghese, Wolkonski, and, though less important, Ludovisi.

Ruins.-Palace of the C?sars, Temples in Forum, Coliseum, and, if possible, the ruins in the Ghetto, and the Baths of Caracalla.

It is desirable for the traveller who is pressed for time to apply at once to his Banker for orders for any of the villas for which they are necessary. The following scheme will give a good general idea of Rome and its neighbourhood in a few days. The sights printed in italics can only be seen on the days to which they are ascribed:-

Monday.-General view of Capitol, Gallery of Sculpture, Ara C?li, General view of Forum, Coliseum, St. John Lateran (with cloisters), and drive out to the Via Latina and the aqueducts at Tavolato.

Tuesday.-Morning: St. Peter's and the Vatican Stanze. Afternoon: Villa Albani, St. Agnese, and drive to the Ponte Nomentana.

Wednesday.-Go to Tivoli (the Cascades, Cascatelle, and Villa d'Este).

Thursday.-Morning: Palace of the C?sars. Afternoon: drive on the Via Appia as far as Torre Mezzo Strada; in returning, see the Baths of Caracalla.

Friday.-Morning: Palazzo Borghese, Palazzo Spada, The Ghetto, The Temple of Vesta, cross the Ponte Rotto to Sta. Cecilia; and end in the afternoon at St. Pietro in Montorio and the Villa Doria (or on Monday).

Saturday.-Frascati and Albano. Drive to Frascati early, take donkeys, by Rocca di Papa to Mte. Cavo; take luncheon at the Temple, and return by Palazzuolo and the upper and lower Galleries to Albano, whither the carriage should be sent on to await you at the Hotel de Russie. Drive back to Rome in the evening.

Sunday.-Morning: Sta. Maria del Popolo on way to English Church. Afternoon: St. Peter's again; drive to Monte Mario (Villa Mellini), or in the Villa Borghese, and end with the Pincio.

2d Monday.-Morning: Sta. Prassede, Sta. Pudentiana, Sta. Maria Maggiore. Afternoon: Sta. Sabina, Priorato Garden, English Cemetery, S. Paolo, and the Tre Fontane.

2d Tuesday.-Morning: Vatican Sculptures. Afternoon: S. Gregorio, S. Stefano Rotondo, S. Clemente, S. Pietro in Vincoli, Sta. Maria degli Angeli, S. Lorenzo fuori Mura, and drive out to the Torre dei Schiavi, returning by the Porta Maggiore.

2d Wednesday.-Morning: Palazzo Barberini, Palazzo Rospigliosi, (and on Saturdays) Vatican Pictures. Afternoon: Forum in detail, SS. Cosmo and Damian, and ascend the Coliseum.

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The following list may be useful as a guide to some of the best subjects for artists who wish to draw at Rome, and have not much time to search for themselves:-

Morning Light:

Temple of Vesta with the fountain.

Arch of Constantine from the Coliseum (early).

Coliseum from behind Sta. Francesca Romana (early).

Temples in the Forum from the School of Xanthus.

View from the Garden of the Rupe Tarpeia.

In the Garden of S. Giovanni e Paolo.

In the Garden of S. Buonaventura.

In the Garden of the S. Bartolomeo in Isola.

In the Garden of S. Onofrio.

On the Tiber from Poussin's Walk.

From the door of the Villa Medici.

At S. Cosimato.

At the back entrance of Ara C?li.

At the Portico of Octavia.

Looking to the Arch of Titus up the Via Sacra.

In the Cloister of the Lateran.

In the Cloister of the Certosa.

Near the Temple of Bacchus.

On the Via Appia, beyond Cecilia Metella.

Torre Mezza Strada on the Via Appia.

Torre Nomentana, looking to the mountains.

Ponte Nomentana, looking to the Mons Sacer.

Torre dei Schiavi, looking towards Tivoli.

Aqueducts at Tavolato.

Evening Light:

From St. John Lateran.

From the Ponte Rotto.

From the Terrace of the Villa Doria (St. Peter's).

Palace of the C?sars-Roman side-looking to Sta. Balbina.

Palace of the C?sars-French side-looking to the Coliseum.

Apse of S. Giovanni e Paolo.

Near the Navicella.

Garden of the Villa Mattei.

Garden of the Villa Wolkonski.

Garden of the Priorato.

Porta S. Lorenzo.

Torre dei Schiavi, looking towards Rome.

Via Latina, looking towards the Aqueducts.

Via Latina, looking towards Rome.

The months of November and December are the best for drawing. The colouring is then magnificent; it is enhanced by the tints of the decaying vegetation, and the shadows are strong and clear. January is generally cold for sitting out, and February wet; and before the end of March the vegetation is often so far advanced that the Alban Hills, which have retained glorious sapphire and amethyst tints all winter, change into commonplace green English downs; while the Campagna, from the crimson and gold of its dying thistles and fenochii, becomes a lovely green plain waving with flowers.

Foreigners are much too apt to follow the native custom of driving constantly in the Villa Borghese, the Villa Doria, and on the Pincio, and getting out to walk there during their drives. For those who do not care always to see the human world, a delightful variety of drives can be found; and it is a most agreeable plan for invalids, without carriages of their own, to take a "course to the Parco di San Gregorio," or to the sunny avenues near the Lateran, and walk there instead of on the Pincio. A carriage for the return may almost always be found in the Forum or at the Lateran.

The Piazza del Popolo-Obelisk-Sta. Maria del Popolo-(The Pincio-Villa Medici-Trinità de' Monti) (Via Babuino-Via Margutta-Piazza di Spagna-Propaganda) (Via Ripetta-SS. Rocco e Martino-S. Girolamo degli Schiavoni)-S. Giacomo degli Incurabili-Via Vittoria-Mausoleum of Augustus-S. Carlo in Corso-Via Condotti-Palazzo Borghese-Palazzo Ruspoli-S. Lorenzo in Lucina-S. Sylvestro in Capite-S. Andrea delle Fratte-Palazzo Chigi-Piazza Colonna-Palace and Obelisk of Monte-Citorio-Temple of Neptune-Fountain of Trevi-Palazzo Poli-Palazzo Sciarra-The Caravita-S. Ignazio-S. Marcello-Sta.

Maria in Via Lata-Palazzo Doria Pamfili-Palazzo Salviati-Palazzo Odescalchi-Palazzo Colonna-Church of SS. Apostoli-Palazzo Savorelli-Palazzo Buonaparte-Palazzo di Venezia-Palazzo Torlonia-Ripresa dei Barberi-S. Marco-Church of Il Gesu-Palazzo Altieri.

THE first object of every traveller will naturally be to reach the Capitol, and look down thence upon ancient Rome; but as he will go down to the Corso to do this, and must daily pass most of its surrounding buildings, we will first speak of those objects which will, ere long, become the most familiar.

A stranger's first lesson in Roman geography should be learnt standing in the Piazza del Popolo, whence three streets branch off-the Corso, in the centre, leading towards the Capitol, beyond which lies ancient Rome; the Babuino, on the left, leading to the Piazza di Spagna and the English quarter; the Ripetta, on the right, leading to the Castle of St. Angelo and St. Peter's. The scene is one well known from pictures and engravings. The space between the streets is occupied by twin churches, erected by Cardinal Gastaldi.

"Les deux églises élevées au Place du Peuple par le Cardinal Gastaldi à l'entrée du Corso, sont d'un effet médiocre. Comment un cardinal n'a-t-il pas senti qu'il ne faut pas élever une église pour faire pendant à quelque chose? C'est ravaler la majesté divine." Stendhal, i. 172.

It is in the church on the left that sermons are preached every winter on Sunday afternoons by some of the best Roman Catholic controversialists, just at the right moment for catching the Protestant congregations as they emerge from their chapels outside the Porta del Popolo.

These churches are believed to occupy the site of the magnificent tomb of Sylla, who died at Puteoli B.C. 82, but was honoured at Rome with a public funeral, at which the patrician ladies burnt masses of incense and perfumes on his funeral pyre.

The Obelisk of the Piazza del Popolo was placed on this site by Sixtus V. in 1589, but was originally brought to Rome and erected in honour of Apollo by the Emperor Augustus.

"Apollo was the patron of the spot which had given a name to the great victory of Actium; Apollo himself, it was proclaimed, had fought for Rome and for Octavius on that auspicious day; the same Apollo, the Sun-god, had shuddered in his bright career at the murder of the Dictator, and terrified the nations by the eclipse of his divine countenance." ... Therefore, "besides building a temple to Apollo on the Palatine hill, the Emperor Augustus sought to honour him by transplanting to the Circus Maximus, the sports of which were under his special protection, an obelisk from Heliopolis, in Egypt. This flame-shaped column was a symbol of the sun, and originally bore a blazing orb upon its summit. It is interesting to trace an intelligible motive for the first introduction into Europe of these grotesque and unsightly monuments of eastern superstition."-Merivale, Hist. of the Romans.

"This red granite obelisk, oldest of things, even in Rome, rises in the centre of the piazza, with a four-fold fountain at its base. All Roman works and ruins (whether of the empire, the far-off republic, or the still more distant kings) assume a transient, visionary, and impalpable character, when we think that this indestructible monument supplied one of the recollections which Moses and the Israelites bore from Egypt into the desert. Perchance, on beholding the cloudy pillar and fiery column, they whispered awe-stricken to one another, 'In its shape it is like that old obelisk which we and our fathers have so often seen on the borders of the Nile.' And now that very obelisk, with hardly a trace of decay upon it, is the first thing that the modern traveller sees after entering the Flaminian Gate."-Hawthorne's Transformation.

It was on the left of the Piazza, at the foot of what was even then called "the Hill of Gardens," that Nero was buried (A.D. 68).

"When Nero was dead, his nurse Eclaga, with Alexandra, and Acte the famous concubine, having wrapped his remains in rich white stuff, embroidered with gold, deposited them in the Domitian monument, which is seen in the Campus-Martius under the Hill of Gardens. The tomb was of porphyry, having an altar of Luna marble, surrounded by a balustrade of Thasos marble."-Suetonius.

Church tradition tells that from the tomb of Nero afterwards grew a gigantic walnut-tree, which became the resort of innumerable crows,-so numerous as to become quite a pest to the neighbourhood. In the eleventh century, Pope Paschal II. dreamt that these crows were demons, and that the Blessed Virgin commanded him to cut down and burn the tree ("albero malnato"), and build a sanctuary to her honour in its place. A church was then built by means of a collection amongst the common people; hence the name which it still retains of "St. Mary of the People."

Sta. Maria del Popolo was rebuilt by Bacio Pintelli for Sixtus IV. in 1480, and very richly adorned. It was modernized by Bernini for Alexander VII. (Fabio Chigi, 1655-67), of whom it was the family burial-place, but it still retains many fragments of beautiful fifteenth century work (the principal door of the nave is a fine example of this); and its interior is a perfect museum of sculpture and art.

Entering the church by the west door, and following the right aisle, the first chapel (Venuti, formerly Della Rovere[3]) is adorned with exquisite paintings by Pinturicchio. Over the altar is the Nativity-one of the most beautiful frescoes in the city; in the lunettes are scenes from the life of St. Jerome. Cardinal Christoforo della Rovere, who built this chapel and dedicated it to "the Virgin and St. Jerome," is buried on the left, in a grand fifteenth century tomb; on the right is the monument of Cardinal di Castro. Both of these tombs and many others in this church have interesting and greatly varied lunettes of the Virgin and Child.

The second chapel, of the Cibo family, rich in pillars of nero-antico and jasper, has an altarpiece representing the Assumption of the Virgin, by Carlo Maratta. In the cupola is the Almighty, surrounded by the heavenly host.[4]

The third chapel is also painted by Pinturicchio. Over the altar, the Madonna and four saints; above, God the Father, surrounded by angels. In the other lunettes, scenes in the life of the Virgin;-that of the Virgin studying in the Temple, a very rare subject, is especially beautiful. In a frieze round the lower part of the wall, a series of martyrdoms in grisaille. On the right is the tomb of Giovanni della Rovere, ob. 1483. On the left is a fine sleeping bronze figure of a bishop, unknown.

The fourth chapel has a fine fifteenth century altar-relief of St. Catherine between St. Anthony of Padua and St. Vincent. On the right is the tomb of Marc-Antonio Albertoni, ob. 1485; on the left, that of Cardinal Costa, of Lisbon, ob. 1508, erected in his lifetime. In this tomb is an especially beautiful lunette of the Virgin adored by Angels.

Entering the right transept, on the right is the tomb of Cardinal Podocanthorus of Cyprus, a very fine specimen of fifteenth century work. A door near this leads into a cloister, where is preserved, over a door, the Gothic altar-piece of the church of Sixtus IV, representing the Coronation of the Virgin, and two fine tombs-Archbishop Rocca, ob. 1482, and Bishop Gomiel.

The choir (shown when there is no service) has a ceiling by Pinturicchio. In the centre, the Virgin and Saviour, surrounded by the Evangelists and Sibyls; in the corners, the Fathers of the Church-Gregory, Ambrose, Jerome, and Augustine. Beneath are the tombs of Cardinal Ascanio Sforza, and Cardinal Girolamo Basso, nephews of Sixtus IV. (Francesco della Rovere), beautiful works of Andrea di Sansovino. These tombs were erected at the expense of Julius II., himself a Della Rovere, who also gave the windows, painted by Claude and Guillaume de Marseilles, the only good specimens of stained glass in Rome.

The high-altar is surmounted by a miraculous image of the Virgin, inscribed, "In honorificentia populi nostri," which was placed in this church by Gregory IX., and which, having been "successfully invoked" by Gregory XIII., in the great plague of 1578, has ever since been annually adored by the pope of the period, who prostrates himself before it upon the 8th of September. The chapel on the left of this has an Assumption, by Annibale Caracci.

In the left transept is the tomb of Cardinal Bernardino Lonati, with a fine fifteenth century relief of the Resurrection.

Returning by the left aisle, the last chapel but one is that of the Chigi family, in which the famous banker, Agostino Chigi (who built the Farnesina) is buried, and in which Raphael is represented at once as a painter, a sculptor, and an architect. He planned the chapel itself; he drew the strange design of the Mosaic on the ceiling (carried out by Aloisio della Pace), which represents an extraordinary mixture of Paganism and Christianity, Mercury, Venus, Mars, Jupiter, and Saturn (as the planets), conducted by angels, being represented with and surrounding Jehovah; and he modelled the beautiful statue of Jonah seated on the whale, which was sculptured in the marble by Lorenzetto. The same artist sculptured the figure of Elijah,-those of Daniel and Habakkuk being by Bernini. The altarpiece, representing the Nativity of the Virgin, is a fine work of Sebastian del Piombo. On the pier adjoining this chapel is the strange monument by Posi (1771) of a Princess Odescalchi Chigi, who died in childbirth, at the age of twenty, erected by her husband, who describes himself, "In solitudine et luctu superstes."

The last chapel contains two fine fifteenth century ciboria, and the tomb of Cardinal Antonio Pallavicini, 1507.

On the left of the principal entrance is the remarkable monument of Gio. Batt. Gislenus, the companion and friend of Casimir I. of Poland (ob. 1670). At the top is his portrait while living, inscribed, "Neque hic vivus"; then a medallion of a chrysalis, "In nidulo meo moriar"; opposite to which is a medallion of a butterfly emerging, "Ut Ph?nix multiplicabo dies": below is a hideous skeleton of giallo antico in a white marble winding-sheet, "Neque hic mortuus."

Martin Luther "often spoke of death as the Christian's true birth, and this life as but a growing into the chrysalis-shell in which the spirit lives till its being is developed, and it bursts the shell, casts off the web, struggles into life, spreads its wings, and soars up to God."

The Augustine Convent adjoining this church was the residence of Luther while he was in Rome. Here he celebrated mass immediately on his arrival, after he had prostrated himself upon the earth, saying, "Hail sacred Rome! thrice sacred for the blood of the martyrs shed here!" Here, also, he celebrated mass for the last time before he departed from Rome to become the most terrible of her enemies.

"Lui pauvre écolier, élevé si durement, qui souvent, pendant son enfance, n'avait pour oreiller qu'une dalle froide, il passe devant des temples tout de marbre, devant des colonnes d'albatre, des gigantesques obélisques de granite, des fontaines jaillissantes, des villas fra?ches et embellies de jardins, de fleurs, de cascades et de grottes. Veut-il prier? il entre dans une église qui lui semble un monde véritable, où les diamants scintillent sur l'autel, l'or aux soffites, le marbre aux colonnes, la mosa?que aux chapelles, au lieu d'un de ces temples rustiques qui n'ont dans sa patrie pour tout ornement que quelques roses qu'une main pieuse va déposer sur l'autel le jour du dimanche. Est-il fatigué de la route? il trouve sur son chemin, non plus un modeste banc de bois, mais un siège d'albatre antique récemment déterré. Cherche-t-il une sainte image? il n'aper?oit que des fantaisies pa?ennes, des divinités olympiques, Apollon, Vénus, Mars, Jupiter, auxquelles travaillent mille mains de sculpteurs. De toutes ces merveilles, il ne comprit rien, il ne vit rien. Aucun rayon de la couronne de Rapha?l, de Michel-Ange, n'éblouit ses regards; il resta froid et muet devant tous les trésors de peinture et de sculpture rassemblés dans les églises; son oreille fut fermée aux chants du Dante, que le peuple répétait autour de lui. Il était entré à Rome en pèlerin, il en sort comme Coriolan, et s'écrie avec Bembo: 'Adieu, Rome, que doit fuir quiconque veut vivre saintement! Adieu, ville où tout est permis, excepté d'être homme de bien.'"-Audin, Histoire de Luther, c. ii.

It was in front of this church that the cardinals and magnates of Rome met to receive the apostate Christina of Sweden upon her entrance into the city.

* * *

On the left side of the piazza rise the terraces of the Pincio, adorned with rostral-columns, statues, and marble bas-reliefs, interspersed with cypresses and pines. A winding road, lined with mimosas and other flowering shrubs, leads to the upper platform, now laid out in public drives and gardens, but, till twenty years ago, a deserted waste, where the ghost of Nero was believed to wander in the middle ages.

Hence the Eternal City is seen spread at our feet, and beyond it the wide-spreading Campagna, till a silver line marks the sea melting into the horizon beyond Ostia. All these churches and tall palace roofs become more than mere names in the course of the winter, but at first all is bewilderment Two great buildings alone arrest the attention:

"Westward, beyond the Tiber, is the Castle of St. Angelo, the immense tomb of a pagan emperor with the archangel on its summit.... Still further off, a mighty pile of buildings, surmounted by a vast dome, which all of us have shaped and swelled outward, like a huge bubble, to the utmost scope of our imaginations, long before we see it floating over the worship of the city. At any nearer view the grandeur of St. Peter's hides itself behind the immensity of its separate parts, so that we only see the front, only the sides, only the pillared length and loftiness of the portico, and not the mighty whole. But at this distance the entire outline of the world's cathedral, as well as that of the palace of the world's chief priest, is taken in at once. In such remoteness, moreover, the imagination is not debarred from rendering its assistance, even while we have the reality before our eyes, and helping the weakness of human sense to do justice to so grand an object. It requires both faith and fancy to enable us to feel, what is nevertheless so true, that yonder, in front of the purple outline of the hills, is the grandest edifice ever built by man, painted against God's loveliest sky."-Hawthorne.

Here the band plays under the great palm-tree every afternoon except Friday. On Sunday afternoons the Pincio is in what Miss Thackeray describes as "a fashionable halo of sunset and pink parasols"-when immense crowds collect, showing every phase of Roman life; and disperse again as the Ave-Maria bell rings from the churches, either to descend into the city, or to hear benediction sung by the nuns in the Trinità de' Monti.

"When the fashionable hour of rendezvous arrives, the same spot, which a few minutes before was immersed in silence and solitude, changes as it were with the rapidity of a scene in a pantomime to an animated panorama. The scene is rendered not a little ludicrous by the miniature representation of the Ring in Hyde Park in a small compass. An entire revolution of the carriage-drive is performed in the short period of three minutes as near as may be, and the perpetual occurrence of the same physiognomies and the same carriages trotting round and round for two successive hours, necessarily reminds one of the proceedings of a country fair, and children whirling in a roundabout."-Sir G. Head's 'Tour in Rome.'

"The Pincian Hill is the favourite promenade of the Roman aristocracy. At the present day, however, like most other Roman possessions, it belongs less to the native inhabitants than to the barbarians from Gaul, Great Britain, and beyond the sea, who have established a peaceful usurpation over all that is enjoyable or memorable in the Eternal City. These foreign guests are indeed ungrateful, if they do not breathe a prayer for Pope Clement, or whatever Holy Father it may have been, who levelled the summit of the mount so skilfully, and bounded it with the parapet of the city wall; who laid out those broad walks and drives, and overhung them with the shade of many kinds of tree; who scattered the flowers of all seasons, and of every clime, abundantly over those smooth, central lawns; who scooped out hollows in fit places, and setting great basons of marble in them, caused ever-gushing fountains to fill them to the brim; who reared up the immemorial obelisk out of the soil that had long hidden it; who placed pedestals along the borders of the avenues, and covered them with busts of that multitude of worthies,-statesmen, heroes, artists, men of letters and of song,-whom the whole world claims as its chief ornaments, though Italy has produced them all. In a word, the Pincian garden is one of the things that reconcile the stranger (since he fully appreciates the enjoyment, and feels nothing of the cost,) to the rule of an irresponsible dynasty of Holy Fathers, who seem to have arrived at making life as agreeable an affair as it can well be.

"In this pleasant spot the red-trousered French soldiers are always to be seen; bearded and grizzled veterans, perhaps, with medals of Algiers or the Crimea on their breasts. To them is assigned the peaceful duty of seeing that children do not trample on the flower-beds, nor any youthful lover rifle them of their fragrant blossoms to stick in his beloved one's hair. Here sits (drooping upon some marble bench, in the treacherous sunshine,) the consumptive girl, whose friends have brought her, for a cure, into a climate that instils poison into its very purest breath. Here, all day, come nursery maids, burdened with rosy English babies, or guiding the footsteps of little travellers from the far western world. Here, in the sunny afternoon, roll and rumble all kinds of carriages, from the Cardinal's old-fashioned and gorgeous purple carriage to the gay barouche of modern date. Here horsemen gallop on thorough-bred steeds. Here, in short, all the transitory population of Rome, the world's great watering-place, rides, drives, or promenades! Here are beautiful sunsets; and here, whichever way you turn your eyes, are scenes as well worth gazing at, both in themselves and for their historical interest, as any that the sun ever rose and set upon. Here, too, on certain afternoons in the week, a French military band flings out rich music over the poor old city, floating her with strains as loud as those of her own echoless triumphs."-Hawthorne.

The garden of the Pincio is very small, but beautifully laid out. At a crossroads is placed an Obelisk, brought from Egypt, and which the late discoveries in hieroglyphics show to have been erected there, in the joint names of Hadrian and his empress Sabina, to their beloved Antinous, who was drowned in the Nile A.D. 131.

From the furthest angle of the garden we look down upon the strange fragment of wall known as the Muro-Torto.

"Le Muro-Torto offre un souvenir curieux. On nomme ainsi un pan de muraille qui, avant de faire partie du rempart d'Honorius, avait servi à soutenir la terrasse du jardin du Domitius, et qui, du temps de Bélisaire, était déjà incliné comme il l'est aujourd'hui. Procope racconte que Bélisaire voulait le rebatir, mais que les Romains l'en empêchèrent, affirmant que ce point n'était pas exposé, parce que Saint Pierre avait promis de le défendre. Procope ajoute: 'Personne n'a osé réparer ce mur, et il reste encore dans le même état.' Nous pouvons en dire autant que Procope, et le mur, détaché de la colline à laquelle il s'appuyait, reste encore incliné et semble près de tomber. Ce détail du siége de Rome est confirmé par l'aspect singulier du Muro-Torto, qui semble toujours près de tomber, et subsiste dans le même état depuis quatorze siècles, comme s'il était soutenu miraculeusement par la main de Saint Pierre. On ne saurait guère trouver pour l'autorité temporel des papes, un meilleur symbole."-Ampère, Emp. ii. 397.

"At the furthest point of the Pincio, you look down from the parapet upon the Muro-Torto, a massive fragment of the oldest Roman wall, which juts over, as if ready to tumble down by its own weight, yet seems still the most indestructible piece of work that men's hands ever piled together. In the blue distance rise Soracte, and other heights, which have gleamed afar, to our imagination, but look scarcely real to our bodily eyes, because, being dreamed about so much, they have taken the aerial tints which belong only to a dream. These, nevertheless, are the solid framework of hills that shut in Rome, and its broad surrounding Campagna; no land of dreams, but the broadest page of history, crowded so full with memorable events, that one obliterates another, as if Time had crossed and recrossed his own records till they grew illegible."-Hawthorne.

In early imperial times the site of the Pincio garden was occupied by the famous villa of Lucullus, who had gained his enormous wealth as general of the Roman armies in Asia.

"The life of Lucullus was like an ancient comedy, where first we see great actions, both political and military, and afterwards feasts, debauches, races by torchlight, and every kind of frivolous amusement. For among frivolous amusements, I cannot but reckon his sumptuous villas, walks, and baths; and still more so the paintings, statues, and other works of art which he collected at immense expense, idly squandering away upon them the vast fortune he amassed in the wars. Insomuch that now, when luxury is so much advanced, the gardens of Lucullus rank with those of the kings, and are esteemed the most magnificent even of these."-Plutarch.

Here, in his Pincian villa, Lucullus gave his celebrated feast to Cicero and Pompey, merely mentioning to a slave beforehand that he should sup in the hall of Apollo, which was understood as a command to prepare all that was most sumptuous.

After Lucullus-the beautiful Pincian villa belonged to Valerius Asiaticus, and in the reign of Claudius was coveted by his fifth wife, Messalina. She suborned Silius, her son's tutor, to accuse him of a licentious life, and of corrupting the army. Being condemned to death, "Asiaticus declined the counsel of his friends to starve himself, a course which might leave an interval for the chance of pardon; and after the lofty fashion of the ancient Romans, bathed, perfumed, and supped magnificently, and then opened his veins, and let himself bleed to death. Before dying he inspected the pyre prepared for him in his own gardens, and ordered it to be removed to another spot, that an umbrageous plantation which overhung it might not be injured by the flames."

As soon as she heard of his death, Messalina took possession of the villa, and held high revel there with her numerous lovers, with the most favoured of whom, Silius, she had actually gone through the religious rites of marriage in the lifetime of the emperor, who was absent at Ostia. But a conspiracy among the freedmen of the royal household informed the emperor of what was taking place, and at last even Claudius was aroused to a sense of her enormities.

"In her suburban palace, Messalina was abandoning herself to voluptuous transports. The season was mid-autumn, the vintage was in full progress; the wine-press was groaning; the ruddy juice was streaming; women girt with scanty fawnskins danced as drunken Bacchanals around her: while she herself, with her hair loose and disordered, brandished the thyrsus in the midst, and Silius by her side, buskined and crowned with ivy, tossed his head to the flaunting strains of Silenus and the Satyrs. Vettius, one, it seems, of the wanton's less fortunate paramours, attended the ceremony, and climbed in merriment a lofty tree in the garden. When asked what he saw, he replied, 'an awful storm from Ostia'; and whether there was actually such an appearance, or whether the words were spoken at random, they were accepted afterwards as an omen of the catastrophe which quickly followed.

"For now in the midst of these wanton orgies the rumour quickly spread, and swiftly messengers arrived to confirm it, that Claudius knew it all, that Claudius was on his way to Rome, and was coming in anger and vengeance. The lovers part: Silius for the forum and the tribunals; Messalina for the shade of her gardens on the Pincio, the price of the blood of the murdered Asiaticus." Once the empress attempted to go forth to meet Claudius, taking her children with her, and accompanied by Vibidia, the eldest of the vestal virgins, whom she persuaded to intercede for her, but her enemies prevented her gaining access to her husband; Vibidia was satisfied for the moment by vague promises of a later hearing; and upon the arrival of Claudius in Rome, Silius and the other principal lovers of the empress were put to death. "Still Messalina hoped. She had withdrawn again to the gardens of Lucullus, and was there engaged in composing addresses of supplication to her husband, in which her pride and long-accustomed insolence still faintly struggled into her fears. The emperor still paltered with the treason. He had retired to his palace; he had bathed, anointed, and lain down to supper; and, warmed with wine and generous cheer, he had actually despatched a message to the poor creature, as he called her, bidding her come the next day, and plead her cause before him. But her enemy Narcissus, knowing how easy might be the passage from compassion to love, glided from the chamber, and boldly ordered a tribune and some centurions to go and slay his victim. 'Such,' he said, 'was the emperor's command'; and his word was obeyed without hesitation. Under the direction of the freedman Euodus, the armed men sought the outcast in her gardens, where she lay prostrate on the ground, by the side of her mother Lepida. While their fortunes flourished, dissensions had existed between the two; but now, in her last distress, the mother had refused to desert her child, and only strove to nerve her resolution to a voluntary death. 'Life,' she urged, 'is over; nought remains but to look for a decent exit from it.' But the soul of the reprobate was corrupted by her vices; she retained no sense of honour; she continued to weep and groan as if hope still existed; when suddenly the doors were burst open, the tribune and his swordsmen appeared before her, and Euodus assailed her, dumb-stricken as she lay, with contumelious and brutal reproaches. Roused at last to the consciousness of her desperate condition, she took a weapon from one of the men's hands and pressed it trembling against her throat and bosom. Still she wanted resolution to give the thrust, and it was by a blow of the tribune's falchion that the horrid deed was finally accomplished. The death of Asiaticus was avenged on the very spot; the hot blood of the wanton smoked on the pavement of his gardens, and stained with a deeper hue the variegated marbles of Lucullus."-Merivale, Hist. of the Romans under the Empire.

From the garden of the Pincio a terraced road (beneath which are the long-closed catacombs of St. Felix) leads to the Villa Medici, built for Cardinal Ricci da Montepulciano by Annibale Lippi in 1540. Shortly afterwards it passed into the hands of the Medici family, and was greatly enlarged by Cardinal Alessandro de Medici, afterwards Leo XI. In 1801 the Academy for French Art-Students, founded by Louis XIV., was established here. The villa contains a fine collection of casts, open every day except Sunday.

Behind the villa is a beautiful Garden (which can be visited on application to the porter). The terrace, which looks down upon the Villa Borghese, is bordered by ancient sarcophagi, and has a colossal statue of Rome. The garden side of the villa has sometimes been ascribed to Michael Angelo.

"La plus grande coquetterie de la maison, c'est la fa?ade postérieure. Elle tient son rang parmi les chefs-d'?uvre de la Renaissance. On dirait que l'architecte a épuisé une mine de bas-reliefs grecs et romains pour en tapisser son palais. Le jardin est de la même époque: il date du temps où l'aristocratie romaine professait le plus profond dédain pour les fleurs. On n'y voit que des massifs de verdure, alignés avec un soin scrupuleux. Six pelouses, entourées de haies à hauteur d'appui, s'étendent devant la villa et laissent courir la vue jusqu'au mont Soracte, qui ferme l'horizon. A gauche, quatre fois quatre carrés de gazon s'encadrent dans de hautes murailles de lauriers, de buis gigantesques et de chênes verts. Les murailles se rejoignent au-dessus des allées et les enveloppent d'une ombre fra?che et mystérieuse. A droite, une terrasse d'une style noble encadre un bois de chênes verts, tordus et eventrés par le temps. J'y vais quelquefois travailler à l'ombre; et le merle rivalise avec le rossignol au-dessus de ma tête, comme un beau chantre de village peut rivaliser avec Mario ou Roger. Un peu plus loin, une vigne toute rustique s'étend jusqu'à la porte Pinciana, où Belisaire a mendié, dit-on. Les jardins petits et grands sont semés de statues, d'Hermes, et de marbres de toute sorte. L'eau coule dans des sarcophages antiques ou jaillit dans des vasques de marbre: le marbre et l'eau sont les deux luxes de Rome."-About, Rome Contemporaine.

"The grounds of the Villa Medici are laid out in the old fashion of straight paths, with borders of box, which form hedges of great height and density, and are shorn and trimmed to the evenness of a wall of stone, at the top and sides. There are green alleys, with long vistas, overshadowed by ilex-trees; and at each intersection of the paths the visitor finds seats of lichen-covered stone to repose upon, and marble statues that look forlornly at him, regretful of their lost noses. In the more open portions of the garden, before the sculptured front of the villa, you see fountains and flower-beds; and, in their season, a profusion of roses, from which the genial sun of Italy distils a fragrance, to be scattered abroad by the no less genial breeze."-Hawthorne.

A second door will admit to the higher terrace of the Boschetto; a tiny wood of ancient ilexes, from which a steep flight of steps leads to the "Belvidere," whence there is a beautiful view.

"They asked the porter for the key of the Bosco, which was given, and they entered a grove of ilexes, whose gloomy shade effectually shut out the radiant sunshine that still illuminated the western sky. They then ascended a long and exceedingly steep flight of steps, leading up to a high mound covered with ilexes.

"Here both stood still, side by side, gazing silently on the city, where dome and bell-tower stood out against a sky of gold; the desolate Monte Mario and its stone pines rising dark to the right. Behind, close at hand, were sombre ilex woods, amid which rose here and there the spire of a cypress or a ruined arch, and on the highest point, the white Villa Ludovisi; beyond, stretched the Campagna, girdled by hills melting into light under the evening sky."-Mademoiselle Mori.

From the door of the Villa Medici is the scene familiar to artists, of a fountain shaded by ilexes, which frame a distant view of St Peter's.

"Je vois (de la Villa Medici) les quatre cinquièmes de la ville; je compte les sept collines, je parcours les rues régulières qui s'étendent entre le cours et la place d'Espagne, je fais le d'enombrement des palais, des églises, des d?mes, et des clochers; je m'égare dans le Ghetto et dans la Trastévère. Je ne vois pas des ruines autant que j'en voudrais: elles sont ramassées là-bas, sur ma gauche, aux environs du Forum. Cependant nous avons tout près de nous la colonne Antonine et la mausolée d'Adrien. La vue est fermée agréablement par les pins de la villa Pamphili, qui reunissent leurs larges parasols et font comme une table à mille pieds pour un repas de géants. L'horizon fuit à gauche à des distances infinies; la plaine est nue, onduleuse et bleue comme la mer. Mais si je vous mettais en présence d'un spectacle si étendu et si divers, en seul objet attirerait vos regards, un seul frapperait votre attention: vous n'auriez des yeux que pour Saint Pierre. Son d?me est moitié dans la ville, moitié dans la ciel. Quand j'ouvre ma fenêtre, vers cinq heures du matin, je vois Rome noyée dans les brouillards de la fièvre: seul, le d?me de Saint-Pierre est coloré par la lumière rose du soleil levant."-About.

The terrace ("La Passeggiata") ends at the Obelisk of the Trinità de' Monti, erected here in 1822 by Pius VII., who found it near the Church of Sta. Croce in Gerusalemme.

"When the Ave Maria sounds, it is time to go to the church of Trinità de' Monti, where French nuns sing; and it is charming to hear them. I declare to heaven that I am become quite tolerant, and listen to bad music with edification; but what can I do? The composition is perfectly ridiculous, the organ-playing even more absurd: but it is twilight, and the whole of the small bright church is filled with persons kneeling, lit up by the sinking sun each time that the door is opened; both the singing nuns have the sweetest voices in the world, quite tender and touching, more especially when one of them sings the responses in her melodious voice, which we are accustomed to hear chaunted by priests in a loud, harsh, monotonous tone. The impression is very singular; moreover, it is well known that no one is permitted to see the fair singers, so this caused me to form a strange resolution. I have composed something to suit their voices, which I have observed very minutely, and I mean to send it to them. It will be pleasant to hear my chaunt performed by persons I never saw, especially as they must in turn sing it to the 'barbaro Tedescho,' whom they also never beheld."-Mendelssohn's Letters.

"In the evenings people go to the Trinità to hear the nuns sing from the organ-gallery. It sounds like the singing of angels. One sees in the choir troops of young scholars, moving with slow and measured steps, with their long white veils, like a flock of spirits."-Frederika Bremer.

The Church of the Trinità de' Monti was built in 1495 by Charles VIII. of France, at the request of S. Francesco di Paola. At the time of the French revolution it was plundered, but was restored by Louis XVIII. in 1817. It contains several interesting paintings.

In the second chapel on the left is the Descent from the Cross, the masterpiece of Daniele da Volterra, declared by Nicholas Poussin to be the third picture in the world, but terribly injured by the French in their attempts to remove it.

"We might almost fancy ourselves spectators of the mournful scene,-the Redeemer, while being removed from the cross, gradually sinking down with all that relaxation of limb and utter helplessness which belongs to a dead body; the assistants engaged in their various duties, and thrown into different and contrasted attitudes, intently occupied with the sacred remains which they so reverently gaze upon; the mother of the Lord in a swoon amidst her afflicted companions; the disciple whom he loved standing with outstretched arms, absorbed in contemplating the mysterious spectacle. The truth in the representation of the exposed parts of the body appears to be nature itself. The colouring of the heads and of the whole picture accords precisely with the subject, displaying strength rather than delicacy, a harmony, and in short a degree of skill, of which M. Angelo himself might have been proud, if the picture had been inscribed with his name. And to this I believe the author alluded, when he painted his friend with a looking-glass near it, as if to intimate that he might recognize in the picture a reflection of himself."-Lanzi.

"Daniele da Volterra's Descent from the Cross is one of the celebrated pictures of the world, and has very grand features. The body is not skilfully sustained; nevertheless the number of strong men employed about it makes up in sheer muscle for the absence of skill. Here are four ladders against the cross, stalwart figures standing, ascending, and descending upon each, so that the space between the cross and the ground is absolutely alive with magnificent lines. The Virgin lies on one side, and is like a grand creature struck down by a sudden death-blow. She has fallen, like Ananias in Raphael's cartoon, with her head bent backwards, and her arm under her. The crown of thorns has been taken from the dead brow, and rests on the end of one of the ladders."-Lady Eastlake.

The third chapel on the right contains an Assumption of the Virgin, another work of Daniele da Volterra. The fifth chapel is adorned with frescoes of his school. The sixth has frescoes of the school of Perugino. The frescoes in the right transept are by F. Zuccaro and Pierino del Vaga; in that of the Procession of St. Gregory the mausoleum of Hadrian is represented as it appeared in the time of Leo X.

The adjoining Convent of the Sacré C?ur is much frequented as a place of education. The nuns are all persons of rank. When a lady takes the veil, her nearest relations inherit her property, except about 1000l., which goes to the convent. The nuns are allowed to retain no personal property, but if they wish still to have the use of their books, they give them to the convent library. They receive visitors every afternoon, and quantities of people go to them from curiosity, on the plea of seeking advice.

From the Trinità the two popular streets-Sistina and Gregoriana-branch off; the former leading in a direct line (though the name changes) to Sta. Maria Maggiore, and thence to St. John Lateran and Sta. Croce in Gerusalemme. The house adjoining the Trinità was that of Nicholas Poussin; that at the angle of the two streets, called the Tempietto, was once inhabited by Claude Lorraine. The adjoining house (64 Sistina)-formerly known as Palazzo della Regina di Polonia, from Maria Casimira, Queen of Poland, who resided there for some years-was inhabited by the Zuccari family, and has paintings on the ground-floor by Federigo Zuccaro. One of the rooms on the first-floor was adorned with frescoes by modern German artists at the expense of the Prussian consul Bartholdy, viz.:-

The Selling of Joseph: Overbeck.

Joseph and Potiphar's Wife: Veit.

Meeting of Joseph and his Brethren: Cornelius.

The Seven Lean Years: Overbeck.

Joseph interprets the Dreams in Prison: Schadow.

The Brethren bring Joseph's Coat to Jacob: Schadow.

Joseph interprets the Dreams of Pharaoh: Cornelius.

The Seven Plentiful Years: Veit.

* * *

On the left of the Piazza del Popolo, the Via Babuino branches off, deriving its name from the mutilated figure on a fountain halfway down. On the right is the Greek Church of S. Atanasio, attached to a college founded by Gregory XIII. in 1580.

"To-day, the feast of the Epiphany, I have witnessed mass according to the Greek rite. The ceremonies appear to be more stately, more severe, more significant, and at the same time more popular, than those of the Latin rite."-Goethe, Romische Briefe.

Behind this street is the Via Margutta, almost entirely inhabited by artists and sculptors.

"The Via Margutta is a street of studios and stables, crossed at the upper end by a little roofed gallery with a single window, like a shabby Bridge of Sighs. Horses are continually being washed and currycombed outside their stable doors; frequent heaps of immondeazzajo make the air unfragrant; and the perspective is frequently damaged by rows of linen suspended across the road from window to window. Unsightly as they are, however, these obstacles in no wise affect the popularity of the Via Margutta, either as a residence for the artist, or a lounge for the amateur. Fashionable patrons leave their carriages at the corner, and pick their way daintily among the gutters and dust-heaps. A boar-hunt by Vallatti compensates for an unlucky splash; and a campagna sunset of Desoulavey glows all the richer for the squalor through which it is approached."-Barbara's History.

In this street also is situated the Costume Academy.

"Imagine a great barn of a room, with dingy walls half covered with chalk studies of the figure in all possible attitudes. Opposite the door is a low platform with revolving top, and beside it an écorché, or plaster figure bereft of skin, so as to exhibit the muscles. Ranges of benches, raised one above the other, occupy the remainder of the room; and if you were to look in at about eight o'clock on a winter's evening, you would find them tenanted by a multitude of young artists, mostly in their shirt sleeves, with perhaps three or four ladies, all disposed around the model, who stands upon the platform in one of the picturesque costumes of Southern Italy, with a cluster of eight lamps, intensified by a powerful reflector, immediately above his or her unlucky head.

The costumes are regulated by Church times and seasons. During Lent the models were medi?val dresses; during the winter and carnival, Italian costumes of the present day; and with Easter begin mere draperies, pieghe, or folds, as they are technically called.

Every evening the subject for the next night is chalked up on a black board beside the platform; for the next two nights rather; for each model poses for two evenings; the position of his feet being chalked upon the platform, so as to secure the same attitude on the second evening. Consequently, four hours are allowed for each drawing.... The pieghe are only for a single time, as it would be impossible to secure the same folds twice over.... The expense of attending the Academy, including attendance, each person's share in the model, and his own especial lamp, amounts to 2?d. an evening, or a scudo and a half (about 6s. 6d.) a month; marvellously cheap, it most be confessed."-H. M. B., in Once a Week.

The Babuino ends in the ugly but central square of the Piazza di Spagna, where many of the best hotels and shops are situated. Hence the Trinità is reached by a magnificent flight of steps (disgracefully ill kept), which was built by Alessandro Specchi at the expense of a private individual, M. Gueffier, secretary to the French embassy at Rome, under Innocent XIII.

"No art-loving visitor to Rome can ever have passed the noble flight of steps which leads from the Piazza di Spagna to the Church of the Trinità de' Monti without longing to transfer to his sketch-book the picturesque groups of models who there spend their day, basking in the beams of the wintry sun, and eating those little boiled beans whose yellow husks bestrew every place where the lower class Romans congregate-practising, in short, the 'dolce far niente.' Beppo, the celebrated lame beggar, is no longer to be seen there, having been banished to the steps of the Church of St. Agostino; but there is old Felice, with conical hat, brown cloak, and bagpipes, father of half the models on the steps. He has been seen in an artist's studio in Paris, and is reported to have performed on foot the double journey between Rome and that capital. There are two or three younger men in blue jackets and goat-skin breeches; as many women in folded linen head-dresses, and red or blue skirts; and a sprinkling of children of both sexes, in costumes the miniature fac-similes of their elders. All these speedily learn to recognise a visitor who is interested in that especial branch of art which is embodied in models, and at every turn in the street such a one is met by the flash of white teeth, and the gracious sweetness of an Italian smile."-H. M. B.

"Among what may be called the cubs or minor lions of Rome, there was one that amused me mightily. It is always to be found there; and its den is on the great flight of steps that lead from the Piazza di Spagna to the Church of the Trinità de' Monti. In plainer words, these steps are the great place of resort for the artists' 'Models,' and there they are constantly waiting to be hired. The first time I went up there, I could not conceive why the faces seemed so familiar to me; why they appeared to have beset me, for years, in every possible variety of action and costume; and how it came to pass that they started up before me, in Rome, in the broad day, like so many saddled and bridled nightmares. I soon found that we had made acquaintance, and improved it, for several years, on the walls of various Exhibition Galleries. There is one old gentleman with long white hair, and an immense beard, who, to my knowledge, has gone half-through the catalogues of the Royal Academy. This is the venerable or patriarchal model. He carries a long staff; and every knob and twist in that staff I have seen, faithfully delineated, innumerable times. There is another man in a blue cloak, who always pretends to be asleep in the sun (when there is any), and who, I need not say, is always very wide awake, and very attentive to the disposition of his legs. This is the dolce far niente model. There is another man in a brown cloak, who leans against a wall, with his arms folded in his mantle, and look out of the corners of his eyes, which are just visible beneath his broad slouched hat. This is the assassin model. There is another man, who constantly looks over his own shoulder, and is always going away, but never goes. This is the haughty or scornful model. As to Domestic Happiness, and Holy Families, they should come very cheap, for there are heaps of them, all up the steps; and the cream of the thing is, that they are all the falsest vagabonds in the world, especially made up for the purpose, and having no counterparts in Rome or any other part of the habitable globe."-Dickens.

"Climb these steps when the sun is setting. From a hundred belfries the bells ring for Ave Maria, and there, across the town, and in a blaze of golden glory, stands the great dome of St. Peter's: and from the terrace of the Villa Medici you can see the whole wonderful view, faintly pencilled Soracte far to your right, and below you and around you the City and the Seven Hills."-Vera.

The Barcaccia, the fountain at the foot of the steps, executed by Bernini, is a stone boat commemorating the naumachia of Domitian,-naval battles which took place in an artificial lake surrounded by a kind of theatre, which once occupied the site of this piazza. In front of the Palazzo di Spagna (the residence of the Spanish ambassador), which gives its name to the square, stands a Column of cipollino, supporting a statue of the Virgin, erected by Pius IX. in 1854, in honour of his new dogma of the Immaculate Conception. At the base are figures of Moses, David, Isaiah, and Ezekiel.

The Piazza di Spagna may be considered as the centre of the English quarter, of which the Corso forms the boundary.

"Every winter there is a gay and pleasant English colony in Rome, of course more or less remarkable for rank, fashion, or agreeability, with every varying year. Thrown together every day and night after night, flocking to the same picture-galleries, statue-galleries, Pincian drives, and church functions, the English colonists at Rome perforce become intimate, and in many cases friendly. They have an English library where the various meets for the week are placarded: on such a day the Vatican galleries are open; the next is the feast of Saint so-and-so; on Wednesday there will be music and vespers at the Sistine Chapel; on Thursday the pope will bless the animals-sheep, horses, and what-not; and flocks of English accordingly rush to witness the benediction of droves of donkeys. In a word, the ancient city of the C?sars, the august fanes of the popes, with their splendour and ceremony, are all mapped out and arranged for English diversion."-Thackeray, The Newcomes.

The Piazza is closed by the Collegio di Propaganda Fede, founded in 1622 by Gregory XV., but enlarged by Urban VIII., who built the present edifice from plans of Bernini. Like all the buildings erected by this pope, its chief decorations are the bees of the Barberini. The object of the college is the education of youths of all nations as missionaries.

"The origin of the Propaganda is properly to be sought in an edict of Gregory XIII., by which the direction of eastern missions was confided to a certain number of cardinals, who were commanded to promote the printing of catechisms in the less known tongues. But the institution was not firmly established; it was unprovided with the requisite means, and was by no means comprehensive in its views. It was at the suggestion of the great preacher Girolamo da Narni that the idea was first conceived of extending the above-named institution. At his suggestion, a congregation was established in all due form, and by this body regular meetings were to be held for the guidance and conduct of missions in every part of the world. The first funds were advanced by Gregory; his nephew contributed from his private property; and since this institution was in fact adapted to a want, the pressure of which was then felt, it increased in prosperity and splendour. Who does not know the services performed by the Propaganda for the diffusion of philosophical studies? and not this only;-the institution has generally laboured (in its earliest years most successfully, perhaps) to fulfil its vocation in a liberal and noble spirit."-Ranke, Hist. of the Popes.

"On y re?oit des jeunes gens nés dans les pays ultramontains et orientaux, où sont les infidéles et les hérétiques; ils y font leur education religieuse et civile, et retournent dans leur pays comme missionnaires pour propager la loi."-A. Du Pays.

"Le collége du Propaganda Fede, ou l'on engraisse des missionnaires pour donner à manger aux cannibales. C'est, ma foi, un excellent ragout pour eux, que deux pères franciscains à la sauce rousse. Le capucin en daube, se mange aussi comme le renard, quand il a été gelé. Il y a à la Propagande une bibliothèque, une imprimerie fournie de toutes sortes de caractères des langues orientales, et de petits Chinois qu'on y élève ainsi que des alouettes chanterelles, pour en attraper d'autres."-De Brosses.

In January a festival is held here, when speeches are recited by the pupils in all their different languages. The public is admitted by tickets.

* * *

The Via Ripetta leaves the Piazza del Popolo on the right. Passing, on the right, a large building belonging to the Academy of St. Luke, we reach, on the right, the Quay of the Ripetta, a pretty architectural construction of Clement XI. in 1707.

Hence, a clumsy ferry-boat gives access to a walk which leads to St. Peter's (by Porta Angelica) through the fields at the back of S. Angelo. These fields are of historic interest, being the Prata Quinctia of Cincinnatus.

"L. Quinctius Cincinnatus, the only hope of the Roman people, lived beyond the Tiber, opposite the place where the Navalia are, where he cultivated the four acres of ground which are now called the Quinctian meadows. There the messengers of the senate found him leaning on his spade, either digging a trench or ploughing, but certainly occupied in some field labour. The salutation, 'May it be well with you and the republic,' was given and returned in the usual form, and he was requested to put on his toga to receive a message from the senate. Amazed, and asking if anything was wrong, he desired his wife Racilia to fetch his toga from the cottage, and having wiped off the sweat and dust with which he was covered, he came forward dressed in his toga to the messengers, who saluted him as dictator, and congratulated him."-Livy, iii. 26.

The churches on the left of the Ripetta are, first, SS. Rocco e Martino, built 1657, by Antonio de Rossi, with a hospital adjoining it.

"The lying-in hospital adjoins the Church of San Rocco. It contains seventy beds, furnished with curtains and screens, so as to separate them effectually. Females are admitted without giving their name, their country, or their condition in life; and such is the delicacy observed in their regard, that they are at liberty to wear a veil, so as to remain unknown even to their attendants, in order to save the honour of their families, and prevent abortion, suicide, or infanticide. Even should death ensue, the deceased remains unknown. The children are conveyed to Santo Spirito; and the mother who wishes to retain her offspring, affixes a distinctive mark, by which it may be recognised and recovered. To remove all disquietude from the minds of those who may enter, the establishment is exempt from all civil, criminal, and ecclesiastical jurisdiction, and its threshold is never crossed except by persons connected with the establishment."-Dr. Donovan.

Then, opposite the quay, S. Girolamo degli Schiavoni, built for Sixtus V. by Fontana. It contains, near the altar, a striking figure of St. Jerome, seated, with a book upon his knees.

* * *

We will now follow the Corso, which, in spite of its narrowness and bad side-pavements, is the finest street in Rome. It is greatly to be regretted that this street, which is nearly a mile long, should lead to nothing, instead of ending at the steps of the Capitol, which would have produced a striking effect. It follows the line of the ancient Via Flaminia, and in consequence was once spanned by four triumphal arches-of Marcus Aurelius, Domitian, Claudius, and Gordian-but all these have disappeared. The Corso is perfectly lined with balconies, which, during the carnival, are filled with gay groups of maskers flinging confetti. These balconies are a relic of imperial times, having been invented at Rome, where they were originally called "M?niana," from the tribune M?nius, who designed them to accommodate spectators of processions in the streets below.

"The Corso is a street a mile long; a street of shops, and palaces, and private houses, sometimes opening into a broad piazza. There are verandahs and balconies, of all shapes and sizes, to almost every house-not on one story alone, but often to one room or another on every story-put there in general with so little order or regularity, that if, year after year, and season after season, it had rained balconies, hailed balconies, snowed balconies, blown balconies, they could scarcely have come into existence in a more disorderly manner."-Dickens.

On the left of the Corso is the Augustine Church of Gesù e Maria, with a fa?ade by Rinaldi. Almost opposite, is the Church of S. Giacomo degli Incurabili, by Carlo Maderno. It is attached to a surgical hospital for 350 patients. In the adjoining Strada S. Giacomo was the studio of Canova, recognizable by fragments of bas-reliefs engrafted in its walls.

Three streets beyond this (on right) is the Via de' Pontefici (so called from a series of papal portraits, now destroyed, which formerly existed on the walls of one of its houses), where (No. 57R) is the entrance to the remains of the Mausoleum of Augustus.

"Hard by the banks of the Tiber, in the grassy meadows where the Roman youths met in athletic and martial exercises, there rose a lofty marble tower with three retiring stages, each of which had its terrace covered with earth and planted with cypresses. These stages were pierced with numerous chambers, destined to receive, row within row, and story upon story, the remains of every member of the imperial family, with many thousands of their slaves and freedmen. In the centre of that massive mound the great founder of the empire was to sleep his last sleep, while his statue was ordained to rise conspicuous on its summit, and satiate its everlasting gaze with the view of his beloved city."-Merivale.

The first funeral here was that of Marcellus, son of Octavia, the sister of Augustus, and first husband of his daughter Julia, who died of malaria at Bai?, B.C. 23.

"Quantos ille vir?m magnam Mavortis ad urbem

Campus aget gemitus! vel qu?, Tiberine, videbis

Funera, cum tumulum pr?terlabere recentem!

Nec puer Iliaca quisquam de gente Latinos

In tantum spe tollet avos; nec Romula quondam

Ullo se tantum tellus jactabit alumno.

Heu pietas, heu prisca fides, invictaque bello

Dextera! non illi se quisquam impune tulisset

Obvius armato, seu quum pedes iret in hostem,

Seu spumantis equi foderet calcaribus armos.

Heu, miserande puer! si qua fata aspera rumpas,

Tu Marcellus eris."

?neid, vi. 873.

The next member of the family buried here was Agrippa, the second husband of Julia, ob. 12 B.C. Then came Octavia, sister of the emperor and widow of Antony, honoured by a public funeral, at which orations were delivered by Augustus himself, and Drusus, son of the empress Livia. Her body was carried to the tomb by Tiberius (afterwards emperor) and Drusus, the two sons of the empress. Drusus (B.C. 9) died in a German campaign by a fall from his horse, and was brought back hither for interment. In A.D. 14 the great Augustus died at Nola, and his body was burnt here on a funeral pile so gigantic, that the widowed Livia, dishevelled and ungirt, with bare feet, attended by the principal Roman senators, had to watch it for five days and nights, before it cooled sufficiently for them to collect the ashes of the emperor. At the moment of its being lighted an eagle was let loose from the summit of the pyre, under which form a senator, named Numerius Atticus, was induced, by a gift from Livia equivalent to 250,000 francs, to swear that he saw the spirit of Augustus fly away to heaven. Then came Germanicus, son of the first Drusus, and nephew of Tiberius, ob. A.D. 19, at Antioch, where he was believed to have been poisoned by Piso and his wife Plancina. Then, in A.D. 23, Drusus, son of Tiberius, poisoned by his wife, Livilla, and her lover, Sejanus: then the empress, Livia, who died A.D. 29, at the age of 86. Agrippina, widow of Germanicus (ob. A.D. 33), starved to death, and her two sons, Nero and Drusus, also murdered by Tiberius, were long excluded from the family sepulchre, but were eventually brought hither by the youngest brother Caius, afterwards the emperor Caligula. Tiberius, who died A.D. 37, at the villa of Lucullus at Misenum, was brought here for burial. The ashes of Caligula, murdered A.D. 41, and first buried in the Horti Lamiani on the Esquiline, were transferred here by his sisters. In his reign, Antonia, the widow of Drusus, and mother of Germanicus, had died, and her ashes were laid up here. The Emperor Claudius, A.D. 54, murdered by Agrippina; his son, Britannicus, A.D. 55, murdered by Nero; and the Emperor Nerva, A.D. 98, were the latest inmates of the mausoleum.

The last cremation which occurred here was long after the mausoleum had fallen into ruin, when the body of the tribune Rienzi, after having hung for two days at S. Marcello, was ordered to be burnt here by Jugurta and Sciaretta, and was consumed by a vast multitude of Jews (out of flattery to the Colonna, their neighbours at the Ghetto), "in a fire of dry thistles, till it was reduced to ashes, and no fibre of it remained."

There is nothing now remaining to testify to the former magnificence of this building. The area is used in summer as an open-air theatre, where very amusing little plays are very well acted. Among its massive cells a poor washerwoman, known as "Sister Rose," established, some ten years ago, a kind of hospital for aged women (several of them centagenarians), whom she supported entirely by her own exertions, having originally begun by taking care of one old woman, and gradually adding another and another. The English church service was first performed in Rome in the Palazzo Correa, adjoining this building.

Opposite the Via de' Pontefici, the Via Vittoria leaves the Corso. To the Ursuline convent in this street (founded by Camilla Borghese in the seventeenth century) Madame Victoire and Madame Adelaide ("tantes du Roi") fled in the beginning of the great French revolution, and here they died.

The Church of S. Carlo in Corso (on right) is the national church of the Lombards. It is a handsome building with a fine dome. The interior was commenced by Lunghi in 1614, and finished by Pietro da Cortona. It contains no objects of interest, unless a picture of the Apotheosis of S. Carlo Borromeo (the patron of the church), over the high altar, by Carlo Maratta, can be called so. The heart of the saint is preserved under the altar.

Just beyond this on the left, the Via Condotti-almost lined with jewellers'-shops-branches off to the Piazza di Spagna. The Trinità de' Monti is seen beyond it. The opposite street, Via Fontanella, leads to St. Peter's, and in five minutes to the magnificent-

Palazzo Borghese, begun in 1590 by Cardinal Deza, from designs of Martino Lunghi, and finished by Paul V. (Camillo Borghese, 1605-21), from those of Flaminio Ponzio. The apartments inhabited by the family are handsome, but contain few objects of interest.

"In the reign of Paul V. the Borghese became the wealthiest and most powerful family in Rome. In the year 1612, the church benefices already conferred upon Cardinal Scipione Borghese were computed to secure him an income of 150,000 scudi. The temporal offices were bestowed on Marc-Antonio Borghese, on whom the pope also conferred the principality of Sulmona in Naples, besides giving him rich palaces in Rome and the most beautiful villas in the neighbourhood. He loaded his nephews with presents; we have a list of them through his whole reign down to the year 1620. They are sometimes jewels or vessels of silver, or magnificent furniture, which was taken directly from the stores of the palace and sent to the nephews; at other times carriages, rich arms, as muskets and falconets, were presented to them; but the principal thing was the round sums of hard money. These accounts make it appear that to the year 1620, they had received in ready money 689,627 scudi, 31 baj; in luoghi di monte, 24,600 scudi, according to their nominal value; in places, computing them at the sum their sale would have brought to the treasury, 268,176 scudi; all which amounted, as in the case of the Aldobrandini, to nearly a million.

"Nor did the Borghese neglect to invest their wealth in real property. They acquired eighty estates in the Campagna of Rome; the Roman nobles suffering themselves to be tempted into the sale of their ancient hereditary domain by the large prices paid them, and by the high rate of interest borne by the luoghi di monte, which they purchased with the money thus acquired. In many other parts of the ecclesiastical states, the Borghese also seated themselves, the pope facilitating their doing so by the grant of peculiar privileges. In some places, for example, they received the right of restoring exiles; in others, that of holding a market, or certain exemptions were granted to those who became their vassals. They were freed from various imposts, and even obtained a bull, by virtue of which their possessions were never to be confiscated."-Ranke, Hist. of the Popes.

"Si l'on peut reprocher à Paul, avec Muratori, ses libéralités envers ses neveux, envers le cardinal Scipion, envers le duc de Sulmone, il est juste d'ajouter que la plupart des membres de cette noble famille rivalisèrent avec le pape de magnificence et de générosité. Or, chaque année, Paul V. distribuait un million d'écus d'or aux pélerins pauvres et un million et demi aux autres nécessiteux. C'est à lui que remonte la fondation de la banque du Saint-Esprit, dont les riches immeubles servirent d'hypothèques aux dép?ts qui lui furent confiés. Mais ce fut surtout dans les constructions qu'il entreprit, que Paul V. déploya une royale magnificence."-Gournerie.

"The Palazzo Borghese is an immense edifice standing round the four sides of a quadrangle; and though the suite of rooms, comprising the picture-gallery, forms an almost interminable vista, they occupy only a part of the ground-floor of one side. We enter from the street into a large court surrounded with a corridor, the arches of which support a second series of arches above. The picture-rooms open from one into another, and have many points of magnificence, being large and lofty, with vaulted ceilings and beautiful frescoes, generally of mythological subjects, in the flat central parts of the vault. The cornices are gilded; the deep embrasures of the windows are panelled with wood-work; the doorways are of polished and variegated marble, or covered with a composition as hard, and seemingly as durable. The whole has a kind of splendid shabbiness thrown over it, like a slight coating of rust; the furniture, at least the damask chairs, being a good deal worn; though there are marble and mosaic tables which may serve to adorn another palace, when this has crumbled away with age."-Hawthorne.

The Borghese Picture Gallery is the best private collection in Rome, and is open to the public daily from 9 to 2, except on Saturdays and Sundays. The gallery is entered from the side of the palace towards the Piazza Borghese. It contains several gems, which are here marked with an asterisk; noticeable pictures are:-

1st Room.-Schools of Milan and Perugia.

1. Holy Family: Sandro Botticelli.

2. Holy Family: Lorenzo di Credi.

3. Holy Family: Paris Alfani Perugino.

4. Portrait: Lorenzo di Credi.

5. Vanity: School of Leonardo da Vinci.

27, 28. Petrarch and Laura.

32. St. Agatha: School of Leonardo.

33. The Young Christ: School of Leonardo.

34. Madonna: School of Perugino.

35. Raphael as a boy: Raphael?

43. Madonna: Francesco Francia?

44. Calvario: C. Crivelli.

48. St. Sebastian: Perugino.

49, 57. History of Joseph: Pinturicchio.

59. Presepio: Sketch attributed to Raphael when young.

61. St. Antonio: Francesco Francia.

66. Presepio: Mazzolino.

67. Adoration of the Child Jesus: Ortolano.

68. Christ and St. Thomas: Mazzolino?

69. Holy Family: Pollajuolo.

2nd Room.-Chiefly of the school of Garofalo.

6. Madonna with St. Joseph and St. Michael: Garofalo.

9. The mourners over the dead Christ: Garofalo.*

18. Portrait of Julius II.: Giulio Romano, after Raphael.

22. Portrait of a Cardinal: Bronzino? called Raphael.*

23. 'Madonna col divin' amore': School of Raphael.*

26. Portrait of C?sar Borgia: Bronzino, attributed to Raphael.*[5]

28. Portrait of a (naked) woman: Bronzino.

36. Holy Family: Andrea del Sarto.

38. Entombment: Raphael.*

This picture was the last work of Raphael before he went to Rome. It was ordered by Atalanta Baglioni for a chapel in S. Francesco de' Conventuali at Perugia. Paul V. bought it for the Borghese. The 'Faith, Hope, and Charity' at the Vatican, formed a predella for this picture.

"Raphael's picture of 'Bearing the Body of Christ to the Sepulchre,' though meriting all its fame in respect of drawing, expression, and knowledge, has lost all signs of reverential feeling in the persons of the bearers. The reduced size of the winding-sheet is to blame for this, by bringing them rudely in contact with their precious burden. Nothing can be finer than their figures, or more satisfactory than their labour, if we forget what it is they are carrying; but it is the weight of the burden only, and not the character of it, which the painter has kept in view, and we feel that the result would have been the same had these figures been carrying a sack of sand. Here, from the youth of the figure, the bearer at the feet appears to be St. John."-Lady Eastlake.

40. Holy Family: Fra Bartolomeo.

43. Madonna: Fr. Francia.

44. Madonna: Sodoma.

51. St. Stephen: Francesco Francia.*

59. Adoration of the Magi: Mazzolino.

60. Presepio: Garofalo.

65. The Fornarina: Copy of Raphael, Giulio Romano?

69. St. John Baptist in the Wilderness: Giulio Romano.

3rd Room.-Chiefly of the school of Andrea del Sarto. (The works of this painter are often confounded with those of his disciple, Domenico Puligo.)

1. Christ bearing the Cross: Andrea Solario.

2. Portrait: Parmigianino.

5. 'Noli me tangere': Bronzino?

11. The Sorceress Circe: Dosso Dossi.

13. Mater Dolorosa: Solario?

22. Holy Family: School of Raphael.

24. Madonna and Child with three children: A. del Sarto.

28. Madonna, Child, and St. John: A. del Sarto.

29. Madonna, Child, St. John, and St. Elizabeth: Pierino del

Vaga.

33. Holy Family: Pierino del Vaga.

35. Venus and Cupids: A. del Sarto.

40. Danae: Correggio.*

In the corner of this picture are the celebrated Cupids sharpening an arrow.

42. Cosmo de' Medici: Bronzino.

46. The Reading Magdalene: School of Correggio.

47. Holy Family: Pomarancio.

48. The Flagellation: Sebastian del Piombo.*

49. St. M. Magdalene: A. del Sarto.

4th Room.-Bolognese school.

1. Entombment: Ann. Carracci.

2. Cum?an Sibyl: Domenichino.*

18. St. Francis: Cigoli.

20. St. Joseph: Guido Reni.

23. St. Francis: Ann. Carracci.

29. St. Domenic: Ann. Carracci.

36. Madonna: Carlo Dolce.

37. Mater Dolorosa: Carlo Dolce.

38, 41. Two heads for an Annunciation: Furino.

42. Head of Christ: Carlo Dolce.

43. Madonna: Sassoferrato.

5th Room.-

11, 12, 13, 14. The Four Seasons: Fr. Albani.

"The Seasons, by Francesco Albani, were, beyond all others, my favourite pieces; the beautiful, joyous, angel-children-the Loves, were as if creations of my own dreams. How deliciously they were staggering about in the picture of Spring! A crowd of them were sharpening arrows, whilst one of them turned round the great grindstone, and two others, floating above, poured water upon it. In Summer, they flew about among the tree-branches, which were loaded with fruit, which they plucked; they swam in the fresh water, and played with it. Autumn brought the pleasures of the chase. Cupid sits, with a torch in his hand, in his little chariot, which two of his companions draw; while Love beckons to the brisk hunter, and shows him the place where they can rest themselves side by side. Winter has lulled all the little ones to sleep; soundly and fast they lie slumbering around. The Nymphs steal their quivers and arrows, which they throw on the fire, that there may be an end of the dangerous weapons."-Andersen, in The Improvisatore.

15. La Caccia di Diana: Domenichino.

25. The Deposition, with Angels: F. Zuccari.

6th Room.-

5. Return of the Prodigal Son: Guercino.

7. Portrait of G. Ghislieri: Pietro da Cortona.

10. St Stanislaus with the Child Jesus: Ribera.*

12. Joseph Interpreting the Dreams in Prison: Valentin.

13. The Three Ages of Man. Copy from Titian by Sassoferrato.[6]

18. Madonna: Sassoferrato.

22. Flight of ?neas from Troy: Baroccio.

7th Room.-Richly decorated with mirrors, painted with Cupids by Girofiri, and wreaths of flowers by Mario di Fiori.

8th Room.-Contains nothing of importance, except a mosaic portrait of Paul V. by Marcello Provenzali.

9th Room.-Containing several interesting frescoes.

1. The Nuptials of Alexander and Roxana.

2. The Nuptials of Vertumnus and Pomona.

3. 'Il Bersaglio dei Dei.'

These three frescoes were brought hither from the Casino of Raphael, in the Villa Borghese (destroyed in the siege of Rome in 1849), and are supposed to have been painted by some of Raphael's pupils from his designs. The other frescoes in this room are by Giulio Romano, and were removed from the Villa Lante, when it was turned into a convent.

10th Room.-

2. Cupid blindfolded by Venus: Titian.

4. Judith: School of Titian.

9. Portrait: Pordenone.

13. David with the head of Goliath: Giorgione.*

14. St. John the Baptist preaching (unfinished): Paul Veronese.

16. St. Domenic: Titian.

19. Portrait: Giac. Bassano.

21. 'Sacred and Profane Love': Titian.*

"Out of Venice there is nothing of Titian's to compare to his Sacred and Profane Love. It represents two figures: one, a heavenly and youthful form, unclothed, except with a light drapery; the other, a lovely female, dressed in the most splendid attire; both are sitting on the brink of a well, into which a little winged Love is groping, apparently to find his lost dart.... Description can give no idea of the consummate beauty of this composition. It has all Titian's matchless warmth of colouring, with a correctness of design no other painter of the Venetian school ever attained. It is nature, but not individual nature: it is ideal beauty in all its perfection, and breathing life in all its truth, that we behold."-Eaton's Rome.

"Two female forms are seated on the edge of a sarcophagus-shaped fountain, the one in a rich Venetian costume, with gloves, flowers in her hands, and a plucked rose beside her, is in deep meditation, as if solving some difficult question. The other is unclothed; a red drapery is falling behind her, while she exhibits a form of the utmost beauty and delicacy; she is turning towards the other figure with the sweetest persuasiveness of expression. A Cupid is playing in the fountain; in the distance is a rich, glowing landscape."-Kugler.

30. Madonna: Giov. Bellini.

34. St. Cosmo and Damian: Venetian School.

11th Room.-Veronese school.

1. Madonna with Adam (?) and St. Augustine: Lorenzo Lotto, MDVIII.

2. St. Anthony preaching to the Fishes: P. Veronese?

3. Madonna: Titian?

11. Venus and Cupid on Dolphins: Luc. Cambiaso.

14. Last Supper: And. Schiavone.

15. Christ and the Mother of Zebedee's Children: Bonifazio.*

16. Return of the Prodigal Son: Bonifazio.*

17. Samson: Titian.

18. Christ and the Woman taken in Adultery: Bonifazio.

19. Madonna and Saints: Palma Vecchio.

In this picture the donors are introduced-the head of the man is grandly devout and beautiful.

25. Portrait of Himself: Titian?

27. Portrait: Giov. Bellini.

31. Madonna and St. Peter: Giov. Bellini.

32. Holy Family: Palma Vecchio.

33. Portrait of the Family of Licini da Pordenone: Bart. Licini da Pordenone.

12th Room.-Dutch and German school.

1. Crucifixion: Vandyke.

7. Entombment: Vandyke.

8. Tavern Scene: Teniers.

9. Interior: Brouerer.

19. Louis VI. of Bavaria: Albert Dürer?

21. Portrait: Holbein.

21. Landscape and Horses: Wouvermann.

22. Cattle-piece: Paul Potter.

24. Portrait: Holbein.

26. Skating (in brown): Berghem.

27. Portrait: Vandyke.

35. Portrait: Lucas von Leyden?

44. Venus and Cupid: Lucas Cranach.

The Palazzetto Borghese on the opposite side of the piazza, originally intended as a dower-house for the family, is now let in apartments. It is this house which is described as the "Palazzo Clementi," in Mademoiselle Mori.

At the corner of the Via Fontanella and the Corso is the handsome Palazzo Ruspoli, built by Ammanati in 1586. It has a grand white marble staircase erected by Lunghi in 1750. Beyond this are the palaces Fiano, Verospi, and Teodoli.

"Les palais de Rome, bien que n'ayant pas un caractère original comme ceux de Florence ou de Venise n'en sont pas moins cependant un des traits de la ville des papes. Ils n'appartiennent ni au moyen age, ni à la renaissance (la Palais de Venise seul rappelle les constructions massives de Florence); ils sont des modèles d'architecture civile moderne. Les Bramante, les Sangallo, les Balthazar Peruzzi, qui les ont batis, sont des ma?tres qu'on ne se lasse pas d'étudier. La magnificence de ces palais reside principalement dans leur architecture et dans les collections artistiques que quelques-uns contiennent. Un certain nombre sont malheureusement dans un triste état d'abandon. De plus, à l'exception d'un très petit nombre, ils sont restés inachevés. Cela se con?oit; presque tous sont le produit du luxe célibataire des papes ou des cardinaux; très-peu de ces personages ont pu voir la fin de ce qu'ils avaient commencé. Leurs heritiers, pour le plupart, se souciaient fort peu de jeter les richesses qu'ils venaient d'acquerir dans les édifices de luxe et de vanité. A l'intérieur, le plus souvent, est un mobilier rare, suranné, et mesquin."-A. Du Pays.[7]

The Palazzo Bernini (151 Corso), on the left, has, inside its entrance, a curious statue of "Calumny" by Bernini, with an inscription relative to his own sufferings from slander.

On the right, the small piazza of S. Lorenzo opens out of the Corso. Here is the Church of S. Lorenzo in Lucina, founded in the fifth century, but rebuilt in its present form by Paul V. in 1606. The campanile is of an older date, and so are the lions in the portico.

"When the lion, or other wild beast, appears in the act of preying on a smaller animal or on a man, is implied the severity of the Church towards the impenitent or heretical; but when in the act of sporting with another creature, her benignity towards the neophyte and the docile. At the portal of St Lorenzo in Lucina, this idea is carried out in the figure of a mannikin affectionately stroking the head of the terrible creature who protects, instead of devouring him."-Hemans' Christian Art.

No one should omit seeing the grand picture of Guido Reni, over the high altar of this church,-the Crucifixion, seen against a wild, stormy sky. Niccolas Poussin, ob. 1660, is buried here, and one of his best known Arcadian landscapes is reproduced in a bas-relief upon his tomb, which was erected by Chateaubriand, with the epitaph,-

"Parce piis lacrymis, vivit Pussinus in urna,

Vivus qui dederat, nescius ipse mori.

H?c tamen ipse silet; si vis audire loquentem,

Mirum est, in tabulis vivit, et eloquitur."

In "The Ring and the Book" of Browning, this church is the scene of Pompilia's baptism and marriage. She is made to say:-

-"This St. Lorenzo seems

My own particular place, I always say.

I used to wonder, when I stood scarce high

As the bed here, what the marble lion meant,

Eating the figure of a prostrate man."

Here the bodies of her parents are represented as being exposed after the murder:

-"beneath the piece

Of Master Guido Reni, Christ on Cross,

Second to nought observable in Rome."

On the left, where the Via della Vite turns out of the Corso, an inscription in the wall records the destruction, in 1665, of the triumphal arch of Marcus Aurelius, which existed here till that time. The magnificence of this arch is attested by the bas-reliefs representing the history of the emperor, which were removed from it, and are preserved on the staircase of the palace of the Conservators.

"Les Barbares n'en savaient pas assez et n'avaient pas assez de patience pour démolir les monuments romains; mais, avec les ressources de la science moderne et à la suite d'une administration régulière, on est venu à bout de presque tout ce que le temps avait épargné. Il y'avait, par exemple, au commencement du XVIe. siècle, quatre arcs de triomphe qui n'existent plus; le dernier, celui de Marc Aurele, a été enlevé par le pape Alexandre VII. On lit encore dans le Corso l'inconcevable inscription dans laquelle le pape se vante d'avoir debarrassé la promenade publique de ce monument, qui, vu sa date, devait être d'un beau style."-Ampère, Voyage Dantesque.

A little further down the Corso, on the left, the Via delle Convertite leads to S. Sylvestro in Capite, one of three churches in Rome dedicated to the sainted pope of the time of Constantine. This, like S. Lorenzo, has a fine medi?val campanile. The day of St. Sylvester's death, December 31 (A.D. 335), is kept here with great solemnity, and is celebrated by magnificent musical services. This pope was buried in the cemetery of Priscilla, whence his remains were removed to S. Martino al Monte. The title "In Capite" is given to this church on account of the head of St John Baptist, which it professes to possess, as is narrated by an inscription engrafted into its walls.

The convent attached to this church was founded in 1318, especially for noble sisters of the house of Colonna who dedicated themselves to God. Here it was that the celebrated Vittoria Colonna, Marchesa di Pescara, came to reside in 1525, when widowed in her thirty-sixth year, and here she began to write her sonnets, a kind of "In Memoriam," to her husband. It is a curious proof of the value placed upon her remaining in the world, that Pope Clement VII. was persuaded to send a brief to the abbess and nuns, desiring them to offer her "all spiritual and temporal consolations," but forbidding them, under pain of the greater excommunication, to permit her to take the veil in her affliction.[8]

At the end of this street, continued under the name of Via de Mercede (No. 11 was the residence of Bernini), and behind the Propaganda, is the Church of S. Andrea delle Fratte, whose brick cupola by Borromini is so picturesque a feature. The bell-tower beside it swings when the bells are rung. In the second chapel on the right is the beautiful modern tomb of Mademoiselle Julie Falconnet, by Miss Hosmer. The opposite chapel is remarkable for a modern miracle (?) annually commemorated here.

"M. Ratisbonne, un juif, appartenant à une très-riche famille d'Alsace, qui se trouvait accidentellement à Rome, se promenant dans l'église de S. Andrea delle Fratte pendant qu'on y faisait les préparatifs pour les obsèques de M. de la Ferronays, s'y est converti subitement. Il se trouvait debout en face d'une chapelle dédiée à l'ange gardien, à quelques pas, lorsque tout-à-coup il a eu une apparition lumineuse de la Sainte Vierge qui lui a fait signe d'aller vers cette chapelle. Une force irrésistible l'y a entraíné, il y est tombé à genoux, et il a été à l'instant chrétien. Sa première parole à celui qui l'avait accompagné a été, en relevant son visage inondé de larmes: 'Il faut que ce monsieur ait beaucoup prié pour moi.'"-Récit d'une S?ur.

"Era un istante ch'io mi stava in chiesa allora che di colpo mi sentii preso da inesprimibile conturbamento. Alzai gli occhi; tutto l'edifizio s'era dileguato a' miei sguardi; sola una cappella aveva come in se raccolta tutta la luce, e di mezzo di raggianti splendori s' è mostrata diritta sull'altare, grande, sfolgoreggiante, piena di maestà, e di dolcezza, la Vergine Maria. Una forza irresistibile m'ha sospinto verso di lei. La Vergine m'ha fatto della mano segno d'inginocchiarmi; pareva volermi dire, 'Bene!' Ella non mi ha parlato ma io ho inteso tutto."-Recital of Alfonse Ratisbonne.[9]

M. de la Ferronays, whose character is now so well known from the beautiful family memoirs of Mrs. Augustus Craven, is buried beneath the altar where this vision occurred. In the third chapel on the left is the tomb of Angelica Kauffmann; in the right aisle that of the Prussian artist, Schadow. The two angels in front of the choir are by Bernini, who intended them for the bridge of S. Angelo.

Returning to the Corso, the Via S. Claudio (left) leads to the pretty little church of that name, adjoining the Palazzo Parisani. Behind, is the Church of Sta. Maria in Via.

At the corner of the Piazza Colonna is the Palazzo Chigi, begun in 1526 by Giacomo della Porta, and finished by Carlo Maderno. It contains several good pictures and a fine library, but is seldom shown.[10]

The most remarkable members of the great family of Chigi have been the famous banker Agostino Chigi, who lived so sumptuously at the Farnesina (see chap. 20), and Fabio Chigi, who mounted the papal throne as Alexander VII., and who long refused to have anything to do with the aggrandisement of his family, saying that the poor were the only relations he would acknowledge, and, like Christ, he did not wish for any nearer ones. To keep himself in mind of the shortness of earthly grandeur, this pope always kept a coffin in his room, and drank out of a cup shaped like a skull.

The side of the Piazza Colonna, which faces the Corso, is occupied by the Post-Office. On its other sides are the Piombino and Ferrajuoli palaces, of no interest. In the centre is placed the fine Column, which was found on the Monte Citorio in 1709, having been originally erected by the senate and people A.D. 174, to the Emperor Marcus Aurelius Antoninus (adopted son of the Emperor Hadrian,-husband of his niece, Annia Faustina,-father of the Emperor Commodus). It is surrounded by bas-reliefs, representing the conquest of the Marcomanni. One of these has long been an especial object of interest, from being supposed to represent a divinity (Jupiter?) sending rain to the troops, in answer to the prayers of a Christian legion from Mitylene. Eusebius gives the story, stating that the piety of these Christians induced the emperor to ask their prayers in his necessity, and a letter in Justin Martyr (of which the authenticity is much doubted), in which Aurelius allows the fact, is produced in proof. The statue of St. Paul on the top of the column was erected by Sixtus V.; the pedestal also is modern.

Behind the Piazza Colonna is the Piazza Monte Citorio, containing an Obelisk which was discovered in broken fragments near the Church of S. Lorenzo in Lucina. It was repaired with pieces of the column of Antoninus Pius, the pedestal of which may still be seen in the Vatican garden. Its hieroglyphics are very perfect and valuable, and show that it was erected more than 600 years before Christ, in honour of Psammeticus I. It was brought from Heliopolis by Augustus, and erected by him in the Campus Martius, where it received the name of Obeliscus Solaris, from being made to act as a sun-dial.

"Ei, qui est in campo, divus Augustus addidit mirabilem usum ad deprehendendas solis umbras, dierumque ac noctium ita magnitudines, strato lapide ad magnitudinem obelisci, cui par fieret umbra, brum? confect? die, sexta hora; paulatimque per regulas (qu? sunt ex die exclus?) singulis diebus decresceret ac rursus augesceret: digna cognitu res et ingenio f?cundo. Manilius mathematicus apici auratam pilam addidit, cujus umbra vertice colligeretur in se ipsa alias enormiter jaculante apice ratione (ut ferunt) a capite hominis intellecta. H?c observatio triginta jam ferè annos non congruit, sive solis ipsius dissono cursu, et c?li aliqua ratione mutato, sive universa tellure a centra suo aliquid emota ut deprehendi et in aliis locis accipio: sive urbis tremoribus ibi tantum gnomone intorto, sive inundationibus Tiberis sedimento molis facto: quanquam ad altitudinem impositi oneris in terram quoque dicantur acta fundamenta."-Plin. Nat. Hist. lib. xxxiv. 14.

The Palace of the Monte Citorio (designed by Bernini) contains public offices connected with police, passports, &c. On the opposite side of the piazza are the Railway and Telegraph Offices.

Proceeding up the Corso, the Via di Pietra (right) leads into the small Piazza di Pietra, one side of which is occupied by the eleven remaining columns of the Temple of Neptune, built up by Innocent XII. into the walls of the modern Custom-house. It is worth while to enter the courtyard in order to look back and observe the immense masses of stone above the entrance, part of the ancient temple,-which are here uncovered.

Close to this, behind the Palazzo Cini, in the Piazza Orfanelli, is the Teatro Capranica, occupying part of a palace of c. 1350, with gothic windows. The opposite church, Sta. Maria in Aquiro, recalls by its name the column of the Equiria, celebrated in ancient annals as the place where certain games and horse-races, instituted by Romulus, were celebrated. Ovid describes them in his Fasti. The church was founded c. 400, but was re-built under Francesco da Volterra in 1590.

A small increase of width in the Corso is now dignified by the name of the Piazza Sciarra. The street which turns off hence, under an arch (Via de Muratte, on the left), leads to the Fountain of Trevi, erected in 1735 by Niccolo Salvi for Clement XII. The statue of Neptune is by Pietro Bracci.

"The fountain of Trevi draws its precious water from a source far beyond the walls, whence it flows hitherward through old subterranean aqueducts, and sparkles forth as pure as the virgin who first led Agrippa to its well-springs by her father's door. In the design of the fountain, some sculptor of Bernini's school has gone absolutely mad, in marble. It is a great palace-front, with niches and many bas-reliefs, out of which looks Agrippa's legendary virgin, and several of the allegoric sisterhood; while at the base appears Neptune with his floundering steeds and tritons blowing their horns about him, and twenty other artificial fantasies, which the calm moonlight soothes into better taste than is native to them. And, after all, it is as magnificent a piece of work as ever human skill contrived. At the foot of the palatial fa?ade, is strown, with careful art and ordered regularity, a broad and broken heap of massive rock, looking as if it may have lain there since the deluge. Over a central precipice falls the water, in a semicircular cascade; and from a hundred crevices, on all sides, snowy jets gush up, and streams spout out of the mouths and nostrils of stone monsters, and fall in glistening drops; while other rivulets, that have run wild, come leaping from one rude step to another, over stones that are mossy, shining and green with sedge, because, in a century of their wild play, nature has adopted the fountain of Trevi, with all its elaborate devices, for her own. Finally the water, tumbling, sparkling, and dashing with joyous haste and never ceasing murmur, pours itself into a great marble basin and reservoir, and fills it with a quivering tide; on which is seen, continually, a snowy semi-circle of momentary foam from the principal cascade, as well as a multitude of snow-points from smaller jets. The basin, occupies the whole breadth of the piazza, whence flights of steps descend to its border. A boat might float, and make mimic voyages, on this artificial lake.

"In the daytime there is hardly a livelier scene in Rome than the neighbourhood of the fountain of Trevi; for the piazza is then filled with stalls of vegetable and fruit dealers, chestnut-roasters, cigar-vendors, and other people whose petty and wandering traffic is transacted in the open air. It is likewise thronged with idlers, lounging over the iron railing, and with forestieri, who come hither to see the famous fountain. Here, also, are men with buckets, urchins with cans, and maidens (a picture as old as the patriarchal times) bearing their pitchers upon their heads. For the water of Trevi is in request, far and wide, as the most refreshing draught for feverish lips, the pleasantest to mingle with wine, and the wholesomest to drink in its native purity, that can anywhere be found. But, at midnight, the piazza is a solitude; and it is a delight to behold this untameable water, sporting by itself in the moonshine, and compelling all the elaborate trivialities of art to assume a natural aspect, in accordance with its own powerful simplicity. Tradition goes, that a parting draught at the fountain of Trevi ensures a traveller's return to Rome, whatever obstacles and improbabilities may seem to beset him."-Hawthorne's Transformation.

"Le bas-relief, placé au-dessus de cette fontaine, représente la jeune fille indiquant la source précieuse, comme dans l'antiquité une peinture représentait le même évènement dans une chapelle construite au lieu où il s'était passé."-Ampère, Emp. i. 264.

In this piazza is the rather handsome front of Sta. Maria in Trivia, formerly Sta. Maria in Fornica, erected by Cardinal Mazarin, on the site of an older church built by Belisarius-as is told by an inscription:-

"Hanc vir patricius Belisarius urbis amicus

Ob culp? veniam condidit ecclesiam.

Hanc, idcirco, pedem qui sacram ponis in ?dem

Ut miseretur eum s?pe precare Deum."

The fault which Belisarius wished to expiate, was the exile of Pope Sylverius (A.D. 536), who was starved to death in the island of Ponza. The crypt of the present building, being the parish church of the Quirinal, contains the entrails of twenty popes (removed for embalmment)-from Sixtus V. to Pius VIII.-who died in the Quirinal Palace!

The little church near the opposite corner of the piazza is that of The Crociferi, and is still (1870) served by the Venerable Don Giovanni Merlini, Father General of the Order of the Precious Blood, and the personal friend of its founder, Gaspare del Buffalo.

The Fountain of Trevi occupies one end of the gigantic Palazzo Poli, which contains the English consulate. At the other end is the shop of the famous jeweller, Castellani, well worth visiting, for the sake of its beautiful collection of Etruscan designs, both in jewellery and in larger works of art.

"Castellani est l'homme qui a ressuscité la bijouterie romaine. Son escalier, tapissé d'inscriptions et de bas-reliefs antiques, fait croire que nous entrons dans un musée. Un jeune marchand aussi érudit que les archéologues fait voir une collection de bijoux anciens de toutes les époques, depuis les origines de l'Etrurie jusqu'au siècle de Constantin. C'est la source où Castellani puise les éléments d'un art nouveau qui détr?nera avant dix ans la pacotille du Palais-Royal."-About, Rome Contemporaine.

"C'est en s'inspirant des parures retrouvées dans les tombes de l'Etrurie, des bracelets et des colliers dont se paraient les femmes étrusques et sabines, que M. Castellani, guidé par le go?t savant et ingénieux d'un homme qui porte dignement l'ancien nom de Caetani, a introduit dans la bijouterie un style à la fois classique et nouveau. Parmi les artistes les plus originaux de Rome sont certainement les orfèvres Castellani et D. Miguele Caetani, duc de Sermoneta."-Ampère, Hist. Rom. i. 388.

The Palazzo Sciarra (on left of the Corso), built in 1603 by Labacco, contains a gallery of pictures. Its six celebrated gems are marked with an asterisk. We may notice:-

1st Room.-

5. Death of St. John Baptist: Valentin.

13. Holy Family: Innocenza da Imola.

15. Rome Triumphant: Valentin.

20. Madonna: Titian.

23. Sta. Francesca Romana: Carlo Veneziano.

2nd Room.-

17. Flight into Egypt: Claude Lorrain.

18. Sunset: Claude Lorrain.

3rd Room.-

6. Holy Family: Francia.

9. Boar Hunt: Garofalo.

11. Holy Family: Andrea del Sarto.

17. A Monk led by an Angel to the Heavenly Spheres: Gaudenzio

Ferrari.

26. The Vestal Claudia drawing a boat with the statue of Ceres up

the Tiber: Garofalo.

29. Tavern Scene: Teniers.

33. The Fornarina: Copy of Raphael by Giulio Romano.

36. Holy Family with Angels: Lucas Cranach, 1504.

4th Room.-

1. Holy Family: Fra Bartolomeo.*

"The glow and freshness of colouring in this admirable painting, the softness of the skin, the beauty and sweetness of the expression, the look with which the mother's eyes are bent upon the baby she holds in her arms, and the innocent fondness with which the other child gazes up in her face, are worthy of the painter whose works Raphael delighted to study, and from which, in a great measure, he formed his principles of colouring."-Eaton's Rome.

5. St. John the Evangelist: Guercino.

6. The Violin Player (Andrea Marone?): Raphael.*

"The Violin Player is a youth holding the bow of a violin and a laurel wreath in his hand, and looking at the spectators over his shoulder. The expression of his countenance is sensible and decided, and betokens a character alive to the impressions of sense, yet severe. The execution is excellent,-inscribed with the date 1518."-Kugler.

7. St. Mark: Guercino.

8. Daughter of Herodias: Guercino.

12. Conjugal Love: Agostino Caracci.

16. The Gamblers: Caravaggio.*

"This is a masterpiece of the painter. A sharper is playing at cards with a youth of family and fortune, whom his confederate, while pretending to be looking on, is assisting to cheat. The subject will remind you of the Flemish School, but this painting bears no resemblance to it. Here is no farce, no caricature. Character was never more strongly marked, nor a tale more inimitably told. It is life itself, and you almost forget it is a picture, and expect to see the game go on. The colouring is beyond all praise."-Eaton's Rome.

17. Modesty and Vanity: Leonardo da Vinci.*

"One of Leonardo's most beautiful pictures is in Rome, in the Sciarra Palace-two female half-figures of Modesty and Vanity. The former, with a veil over her head, is a particularly pleasing, noble profile, with a clear, open expression; she beckons to her sister, who stands fronting the spectator, beautifully arrayed, and with a sweet seducing smile. This picture is remarkably powerful in colouring, and wonderfully finished, but unfortunately has become rather dark in the shadows."-Kugler.

19. Magdalen: Guido Reni.

24. Family Portrait: Titian.

25. Portrait: Bronzino.

26. St. Sebastian: Perugino.

29. Bella Donna: Titian.*

Sometimes supposed to represent Donna Laura Eustachio, the peasant Duchess of Alphonso I. of Ferrara.

"When Titian or Tintoret look at a human being, they see at a glance the whole of its nature, outside and in; all that it has of form, of colour, of passion, or of thought; saintliness and loveliness; fleshly power, and spiritual power; grace, or strength, or softness, or whatsoever other quality, those men will see to the full, and so paint, that, when narrower people come to look at what they have done, every one may, if he chooses, find his own special pleasure in the work. The sensualist will find sensuality in Titian; the thinker will find thought; the saint, sanctity; the colourist, colour; the anatomist, form; and yet the picture will never be a popular one in the full sense, for none of these narrower people will find their special taste so alone consulted, as that the qualities which would ensure their gratification shall be sifted or separated from others; they are checked by the presence of the other qualities, which ensure the gratification of other men.... Only there is a strange undercurrent of everlasting murmur about the name of Titian, which means the deep consent of all great men that he is greater than they."-Ruskin's Two Paths, Lect. 2.

31. Death of the Virgin: Albert Durer.

32. Maddalena della Radice: Guido Reni.*

"The two Magdalens by Guido are almost duplicates, and yet one is incomparably superior to the other. She is reclining on a rock, and her tearful and uplifted eyes, the whole of her countenance and attitude, speak the overwhelming sorrow that penetrates her soul. Her face might charm the heart of a stoic; and the contrast of her youth and enchanting loveliness, with the abandonment of grief, the resignation of all earthly hope, and the entire devotion of herself to penitence and heaven, is most affecting."-Eaton's Rome.[11]

Near the Piazza Sciarra, the Corso (as Via Flaminia) was formerly spanned by the Arch of Claudius, removed in 1527. Some reliefs from this arch are preserved in the portico of the Villa Borghese, and though much mutilated are of fine workmanship. The inscription, which commemorated the erection of the arch in honour of the conquest of Britain, is preserved in the courtyard of the Barberini Palace.

On the right of the Piazza Sciarra is the Via della Caravita, containing the small but popular Church of the Caravita,[12] used for the peculiar religious exercises of the Jesuits, especially for their terrible Lenten "flagellation" services, which are one of the most extraordinary sights afforded by Catholic Rome.

"The ceremony of pious whippings, one of the penances of the convents, still takes place at the time of vespers in the oratory of the Padre Caravita and in another church in Rome. It is preceded by a short exhortation, during which a bell rings, and whips, that is, strings of knotted whipcord, are distributed quietly amongst such of the audience as are on their knees in the nave. On a second bell, the candles are extinguished-a loud voice issues from the altar, which pours forth an exhortation to think of unconfessed, or unrepented, or unforgiven crimes. This continues a sufficient time to allow the kneelers to strip off their upper garments; the tone of the preacher is raised more loudly at each word, and he vehemently exhorts his hearers to recollect that Christ and the martyrs suffered much more than whipping. 'Show, then, your penitence-show your sense of Christ's sacrifice-show it with the whip.' The flagellation begins. The darkness, the tumultuous sound of blows in every direction-'Blessed Virgin Mary, pray for us!' bursting out at intervals,-the persuasion that you are surrounded by atrocious culprits and maniacs, who know of an absolution for every crime-so far from exciting a smile, fixes you to the spot in a trance of restless horror, prolonged beyond bearing. The scourging continues ten or fifteen minutes."-Lord Broughton.

"Each man on entering the church was supplied with a scourge. After a short interval the doors were barred, the lights extinguished; and from praying, the congregation proceeded to groaning, crying, and finally, being worked up into a kind of ecstatic fury, applied the scourge to their uncovered shoulders without mercy."-Whiteside's Italy in the Nineteenth Century.

Beyond the Caravita is the Church of S. Ignazio, built by Cardinal Ludovisi. The fa?ade, of 1685, is by Algardi. It contains the tomb of Gregory XIV. (Nicolo Sfondrati, 1590-91), and that of S. Ludovico Gonzaga, both sculptured by Le Gros.

"In S. Ignazio is the chapel of San Luigi Gonzaga, on whom not a few of the young Roman damsels look with something of the same kind of admiration as did Clytie on Apollo, whom he and St. Sebastian, those two young, beautiful, graceful saints, very fairly represent in Christian mythology. His festa falls in June, and then his altar is embosomed in flowers, arranged with exquisite taste; and a pile of letters may be seen at its foot, written to the saint by young men and maidens, and directed to Paradiso. They are supposed to be burnt unread, except by San Luigi, who must find singular petitions in these pretty little missives, tied up now with a green ribbon, expressive of hope, now with a red one, emblematic of love, or whatever other significant colour the writer may prefer."-Mademoiselle Mori.

The frescoes on the roof and tribune are by the Padre Pozzi.

"Amid the many distinguished men whom the Jesuits sent forth to every region of the world, I cannot recollect the name of a single artist unless it be the Father Pozzi, renowned for his skill in perspective, and who used his skill less as an artist than a conjuror, to produce such illusions as make the vulgar stare; to make the impalpable to the grasp appear as palpable to the vision; the near seem distant, the distant near; the unreal, real; to cheat the eye; to dazzle the sense;-all this has Father Pozzi most cunningly achieved in the Gesù and the Sant' Ignazio at Rome; but nothing more, and nothing better than this. I wearied of his altar-pieces and of his wonderful roofs which pretend to be no roofs at all. Scheme, tricks, and deceptions in art should all be kept for the theatre. It appeared to me nothing less than profane to introduce shams into the temples of God."-Mrs. Jameson.

On the left of the Corso-opposite the handsome Palazzo Simonetti-is the Church of S. Marcello (Pope, 308-10), containing some interesting modern monuments. Among them are those of Pierre Gilles, the traveller (ob. 1555), and of the English Cardinal Weld. Here, also, Cardinal Gonsalvi, the famous and liberal minister of Pius VII., is buried in the same tomb with his beloved younger brother, the Marchese Andrea Gonsalvi. Their monument, by Rinaldi, tells that here repose the bodies of two brothers-

"Qui cum singulari amore dum vivebant

Se mutuo dilexissent

Corpora etiam sua

Una eademque urna condi voluere."

Here are the masterpieces which made the reputation of Pierino del Vaga (1501-1547). In the chapel of the Virgin are the cherubs, whose graceful movements and exquisite flesh-tints Vasari declares to have been unsurpassed by any artist in fresco. In the chapel of the Crucifix is the Creation of Eve, which is even more beautiful.

"The perfectly beautiful figure of the naked Adam is seen lying, overpowered by sleep, while Eve, filled with life, and with folded hands, rises to receive the blessing of her Maker,-a most grand and solemn figure standing erect in heavy drapery."-Vasari, iv.

This church is said to occupy the site of a house of the Christian matron Lucina, in which Marcellus died of wounds incurred in attempting to settle a quarrel among his Christian followers. It was in front of it that the body of the tribune Rienzi, after his murder on the Capitol steps, was hung up by the feet for two days as a mark for the rabble to throw stones at.

The next street to the right leads to the Collegio Romano, founded by St. Francis Borgia, Duke of Gandia (a descendant of Pope Alexander VI.), who, after a youth spent amid the splendours of the court of Madrid, retired to Rome in 1550, in the time of Julius III., and became the successor of Ignatius Loyola as general of the Jesuits. The buildings were erected, as we now see them, by Ammanati, in 1582, for Gregory XIII. The college is entirely under the superintendence of the Jesuits. The library is large and valuable. The Kircherian Museum (shown to gentlemen from ten to eleven on Sundays) is worth visiting. It contains a number of antiquities, illustrative of Roman and Etruscan customs, and many beautiful ancient bronzes and vases. The most important object is the "Cista Mistica," a bronze vase and cover, which was given as a prize to successful gladiators, and which was originally fitted up with everything useful for their profession.

The Observatory of the Collegio Romano has obtained a European reputation from the important astronomical researches of its director, the Padre Secchi.

The Collegio Romano has produced eight popes-Urban VIII., Innocent X., Clement IX., Clement X., Innocent XII., Clement XI., Innocent XIII., and Clement XII. Among its other pupils have been S. Camillo de Lellis, the Blessed Leonardo di Porto-Maurizio, the Venerable Pietro Berna, and others.

"Ignace, Fran?ois Borgia, ont passé par ici. Leur souvenir plane, comme un encouragement et une bénédiction, sur ces salles où ils présidèrent aux études, sur ces chaires où peut-être retentit leur parole, sur ces modestes cellules qu'ils ont habitées. A la fin du seizième siècle, les élèves du collége Romain perdirent un de leurs condisciples que sa douce aménité et ses vertus angéliques avaient rendu l'objet d'un affectueux respect. Ce jeune homme avait été page de Philippe II.; il était allié aux maisons royales d'Autriche, de Bourbon et de Lorraine. Mais au milieu de ces illusions d'une grande vie, sous ce brillant costume de cour qui semblait lui promettre honneurs et fortune, il ne voyait jamais que la pieuse figure de sa mère agenouillée au pied des autels, et priant pour lui. A peine agé de seize ans, il s'échappe de Madrid, il vient frapper à la porte du collége Romain, et demande place, au dortoir et à l'étude, pour Louis Gonzague, fils du comte de Castiglione. Pendant sept ans, Louis donna dans cette maison le touchant exemple d'une vie céleste; puis ses jours déclinèrent, comme parle l'Ecriture; il avait assez vécu."-Gournerie, Rome Chrétienne, ii. 211.

We now reach (on right) the Church of Sta. Maria in Via Lata, which was founded by Sergius I., in the eighth century, but twice rebuilt, the second time under Alexander VII., in 1662, when the fa?ade was added by Pietro da Cortona.

In this church "they still show a little chapel in which, as hath been handed down from the first ages, St. Luke the Evangelist wrote, and painted the effigy of the Virgin Mother of God."-See Jameson's Sacred Art, p. 155.

The subterranean church is shown as the actual house in which St. Paul lodged when he was in Rome.

"And when we came to Rome, the centurion delivered the prisoners to the captain of the guard: but Paul was suffered to dwell by himself with a soldier that kept him."

"And when they had appointed him a day, there came many to him into his lodging; to whom he expounded and testified the kingdom of God, persuading them concerning Jesus, both out of the law of Moses, and out of the prophets, from morning till evening." ...

"And Paul dwelt two whole years in his own hired house, and received all that came in unto him, preaching the kingdom of God, and teaching those things which concern the Lord Jesus Christ, with all confidence, no man forbidding him."-Acts xxviii. 16, 23, 30, 31.

"St. Paul after his arrival at Rome, having made his usual effort, in the first place, for the salvation of his own countrymen, and as usual, having found it vain, turned to the Gentiles, and during two whole years, in which he was a prisoner, received all that came to him, preaching the kingdom of God. It was thus that God overruled his imprisonment for the furtherance of the gospel, so that his bonds in Christ were manifest in the palace, and in all other places, and many of the brethren in the Lord, waxing confident by his bonds, were much more bold to speak the word without fear. Even in the palace of Nero, the most noxious atmosphere, as we should have concluded, for the growth of divine truth, his bonds were manifest, the Lord Jesus was preached, and, more than this, was received to the saving of many souls; for we find the Apostle writing to his Philippian converts: 'All the saints salute you, chiefly they which are of C?sar's household.' The whole Church of Christ has abundant reason to bless God for the dispensation which, during the most matured period of St. Paul's Christian life, detained him a close prisoner in the imperial city. Had he, to the end of his course, been at large, occupied, as he had long been, 'in labours most abundant,' he would, humanly speaking, never have found time to pen those epistles which are among the most blessed portion of the Church's inheritance. It was from within the walls of a prison, probably chained hand to hand to the soldier who kept him, that St. Paul indited the Epistles to the Ephesians, Philippians, Colossians, and Hebrews."-Blunt's Lectures on St. Paul.

"In writing to Philemon, Paul chooses to speak of himself as the captive of Jesus Christ. Yet he went whither he would, and was free to receive those who came to him. It is interesting to remember amid these solemn vaults, the different events of St. Paul's apostolate, during the two years that he lived here. It was here that he converted Onesimus, that he received the presents of the Philippians, brought by Epaphroditus; it was hence that he wrote to Philemon, to Titus, to the inhabitants of Philippi and of Colosse; it was here that he preached devotion to the cross with that glowing eagerness, with that startling eloquence, which gained fresh power from contest and which inspiration rendered sublime.

"Peter addressed himself to the Circumcised; Paul to the Gentiles,[13]-to their silence that he might confound it, to their reason that he might humble it. Had he not already converted the proconsul Sergius Paulus and Dionysius the Areopagite? At Rome his word is equally powerful, and among the courtiers of Nero, perhaps even amongst his relations, are those who yield to the power of God, who reveals himself in each of the teachings of his servant.[14] Around the Apostle his eager disciples group themselves-Onesiphorus of Ephesus, who was not ashamed of his chain;[15] Epaphras of Colosse, who was captive with him, concaptivus meus;[16] Timothy, who was one with his master in a holy union of every thought, and who was attached to him like a son, sicut patri filius;[17] Hermas, Aristarchus, Marcus, Demas-and Luke the physician, the faithful companion of the Apostle, his well-beloved disciple-'Lucas medicus carissimus.'"-From Gournerie, Rome Chrétienne.

"I honour Rome for this reason; for though I could celebrate her praises on many other accounts-for her greatness, for her beauty, for her power, for her wealth, and for her warlike exploits,-yet, passing over all these things, I glorify her on this account, that Paul in his lifetime wrote to the Romans, and loved them, and was present with and conversed with them, and ended his life amongst them. Wherefore the city is on this account renowned more than on all others-on this account I admire her, not on account of her gold, her columns, or her other splendid decorations."-St. John Chrysostom, Homily on the Ep. to the Romans.

"The Roman Jews expressed a wish to hear from St. Paul himself a statement of his religious sentiments, adding that the Christian sect was everywhere spoken against.... A day was fixed for the meeting at his private lodging.

"The Jews came in great numbers at the appointed time. Then followed an impressive scene, like that at Troas (Acts xxi.)-the Apostle pleading long and earnestly,-bearing testimony concerning the kingdom of God,-and endeavouring to persuade them by arguments drawn from their own Scriptures,-'from morning till evening.' The result was a division among the auditors-'not peace, but a sword,'-the division which has resulted ever since, when the Truth of God has encountered, side by side, earnest conviction with worldly indifference, honest investigation with bigoted prejudice, trustful faith with the pride of scepticism. After a long and stormy discussion, the unbelieving portion departed; but not until St. Paul had warned them, in one last address, that they were bringing upon themselves that awful doom of judicial blindness, which was denounced in their own Scriptures against obstinate unbelievers; that the salvation which they rejected would be withdrawn from them, and the inheritance they renounced would be given to the Gentiles. The sentence with which he gave emphasis to this solemn warning was that passage in Isaiah, which recurring thus with solemn force at the very close of the Apostolic history, seems to bring very strikingly together the Old Dispensation and the New, and to connect the ministry of Our Lord with that of His Apostles:-'Go unto this people and say: Hearing ye shall hear and shall not understand, and seeing ye shall see and shall not perceive: for the heart of this people is waxed gross, and their ears are dull of hearing, and their eyes have they closed; lest they should see with their eyes, and hear with their ears, and understand with their heart, and should be converted, and I should heal them.'

" ... During the long delay of his trial St. Paul was not reduced, as he had been at C?sarea, to a forced inactivity. On the contrary, he was permitted the freest intercourse with his friends, and was allowed to reside in a house of sufficient size to accommodate the congregation which flocked together to listen to his teaching. The freest scope was given to his labours, consistent with the military custody under which he was placed. We are told, in language peculiarly emphatic, that his preaching was subjected to no restraint whatever. And that which seemed at first to impede, must really have deepened the impression of his eloquence; for who could see without emotion that venerable form subjected by iron links to the coarse control of the soldier who stood beside him? how often must the tears of the assembly have been called forth by the upraising of that fettered hand, and the clanking of the chain which checked its energetic action.

"We shall see hereafter that these labours of the imprisoned Confessor were not fruitless; in his own words, he 'begot many children in his chains.' Meanwhile, he had a wider sphere of action than even the metropolis of the world. Not only 'the crowd which pressed upon him daily,' but also 'the care of all the churches' demanded his constant vigilance and exertion.... To enable him to maintain this superintendence, he manifestly needed many faithful messengers; men who (as he says of one of them) 'rendered him profitable service'; and by some of whom he seems to have been constantly accompanied, wheresoever he went. Accordingly we find him, during this Roman imprisonment, surrounded by many of his oldest and most valued attendants. Luke, his fellow-traveller, remained with him during his bondage; Timotheus, his beloved son in the faith, ministered to him at Rome, as he had done in Asia, in Macedonia, and in Achaia. Tychicus, who had formerly borne him company from Corinth to Ephesus, is now at hand to carry his letters to the shores which they had visited together. But there are two names amongst his Roman companions which excite a peculiar interest, though from opposite reasons,-the names of Demas and of Mark. The latter, when last we heard of him, was the unhappy cause of the separation of Barnabas and Paul. He was rejected by Paul, as unworthy to attend him, because he had previously abandoned the work of the Gospel out of timidity or indolence. It is delightful to find him now ministering obediently to the very Apostle who had then repudiated his services; still more to know that he persevered in this fidelity even to the end, and was sent for by St. Paul to cheer his dying hours. Demas, on the other hand, is now a faithful 'fellow-labourer' of the Apostle but in a few years we shall find that he had 'forsaken' him, having 'loved this present world.'

"Amongst the rest of St. Paul's companions at this time, there were two whom he distinguishes by the honourable title of his 'fellow-prisoners.' One of these is Aristarchus, the other Epaphras. With regard to the former, we know that he was a Macedonian of Thessalonica, one of 'Paul's companions in travel,' whose life was endangered by the mob at Ephesus, and who embarked with St. Paul at C?sarea when he set sail for Rome. The other, Epaphras, was a Colossian, who must not be identified with the Philippian Epaphroditus, another of St. Paul's fellow-labourers during this time. It is not easy to say in what exact sense these two disciples were peculiarly fellow-prisoners of St. Paul. Perhaps it only implies that they dwelt in his house, which was also his prison.

"But of all the disciples now ministering to St. Paul at Rome, none has a greater interest than the fugitive Asiatic slave Onesimus. He belonged to a Christian named Philemon, a member of the Colossian Church. But he had robbed his master, and fled from Colosse, and at last found his way to Rome. Here he was converted to the faith of Christ, and had confessed to St. Paul his sins against his master."-Conybeare and Howson, Life of St. Paul.

A fountain in the crypt is shown, as having miraculously sprung up in answer to the prayers of St. Paul, that he might have wherewithal to baptize his disciples. At the end of the crypt are some large blocks of peperino, said to be remains of the arch erected by the senate in honour of the Emperor Gordian III., and destroyed by Innocent VIII.

Far along the right side of the Corso now extends the fa?ade of the immense Palazzo Doria, built by Valvasori (the front towards the Collegio Romano being by Pietro da Cortona, and that towards the Piazza Venezia by Amati). Entering the courtyard, one must turn left to reach the Picture Gallery (which is open on Tuesdays and Fridays, from ten till two)-a vast collection, which contains some grand portraits and a few other fine paintings.

The 1st Room entered is a great hall-to which pictures are removed for copying. It contains four fine sarcophagi, with reliefs of the Hunt of Meleager, the Story of Marsyas, Endymion and Diana, and a Bacchic procession. Of two ancient circular altars, one serves as the pedestal of a bearded Dionysus. The pictures are chiefly landscapes, of the school of Poussin and Salvator Rosa,-that of the Deluge is by Ippolito Scarsellino.

2nd Room.-In the centre a Centaur (restored), of basalt and rosso-antico. On either side groups of boys playing.

Pictures:-

4. Caritas Romana: Valentin.

5. Circumcision: Giov. Bellini?

7. Madonna and Saints: Basaiti.

15. Temptations of St. Anthony: Scuola di Mantegna.

19. St. John in the Desert: Guercino?

35. Birth of St. John: Vittore Pisanello.

21. Spozalizio: V. Pisanello.

23. St. Sylvester before Maximin II.: Pesellino.

24. Madonna and Child: F. Francia?

28. Annunciation: Fil. Lippi.

29. St. Sylvester and the Dragon: Pesellino (see the account of Sta. Maria Liberatrice). 33. St. Agnes on the burning pile: Guercino.

37. Magdalen: Copy of the Titian in the Pitti Palace.

4th Room.-

A bust of Innocent X. (with whose ill-acquired wealth this palace was built) in rosso-antico, with a bronze head: Bernini.

5th Room.-

17. The Money-changers: Quentin Matsys.

25. St. Joseph: Guercino. In the centre, a group of Jacob wrestling with the Angel: School of Bernini.

6th Room.-

8. Portrait of Olympia Maldacchini, the sister-in-law of Innocent X., who ruled Rome in his time.

13. Madonna: Carlo Maratta.

30. Sketch of a Boy: Incognito.

From this room we enter a small cabinet, hung with pictures of Breughel and Fiammingo, and containing a bust by Algardi, of Olympia Maldacchini-Pamfili, who built the Villa Doria Pamfili for her son.

7th Room.-

8. Belisarius in the desert: Salvator Rosa.

19. Slaughter of the Innocents: Mazzolino.

We now enter the Galleries-which begin towards the left-

1st Gallery.-

2. Holy Family in glory, and two Franciscan Saints adoring: Garofalo.

3. Magdalen: Annibale Caracci.

8. Two Heads: Quentin Matsys.

9. Holy Family: Sassoferrato.

10. Story of the conversion of S. Eustachio (see the description of his church): School of Albert Durer.

14. A Portrait: Titian.

15. Holy Family: Andrea del Sarto.

20. The Three Ages of Man: Titian.*

21. Return of the Prodigal Son: Guercino.

25. Landscape with the Flight into Egypt: Claude Lorraine.

26. The meeting of Mary and Elizabeth: Garofalo.

38. Copy of the "Nozze Aldobrandini:" Poussin.

45. Madonna: Guido Reni.

50. Holy Family: Giulio Romano, from Raphael.

2nd Gallery.-

6. Madonna: Fran. Francia.

14. "Bartolo and Baldo:" Raphael.*

17. Portrait: Titian.

21. Portrait of a Widow: Vandyke.

24. Three Heads, called Calvin, Luther, and Catherine: Giorgione.

26. Sacrifice of Isaac: Titian.

33. Portrait of a Pamfili: Vandyke.

40. Herodias with the Head of John the Baptist: Pordenone. A grand bust of Andrew Doria.

50. "The Confessor:" Rubens.

53. Joanna of Arragon: School of Leonardo da Vinci.*

56. Magdalene: School of Titian.

61. Adoration of the Infant Jesus: Gio. Batt. Benvenuti ('l'Ortolano').

66. Holy Family: Garofalo.

69. Glory crowning Virtue (a sketch): Correggio.

80. Portrait of Titian and his Wife: Titian. Also a number of pictures of the Creation: Breughel.

3rd Gallery.-

1, 6, 28, 34. Landscapes (with figures introduced): Ann. Caracci.

5. Landscape, with Mercury stealing cattle: Claude Lorraine.

10. Titian's Wife: Titian.

11. "Niccolaus Macchiavellus Historiar. Scriptor:" Bronzino.

12. "The Mill:" Claude Lorraine.*

"The foreground of the picture of 'the Mill' is a piece of very lovely and perfect forest scenery, with a dance of peasants by a brook-side; quite enough subject to form, in the hands of a master, an impressive and complete picture. On the other side of the brook, however, we have a piece of pastoral life; a man with some bulls and goats tumbling head foremost into the water, owing to some sudden paralytic affection of all their legs. Even this group is one too many; the shepherd had no business to drive his flock so near the dancers, and the dancers will certainly frighten the cattle. But when we look farther into the picture, our feelings receive a sudden and violent shock, by the unexpected appearance, amidst things pastoral and musical, of the military; a number of Roman soldiers riding in on hobby-horses, with a leader on foot, apparently encouraging them to make an immediate and decisive charge on the musicians. Beyond the soldiers is a circular temple, in exceedingly bad repair; and close beside it, built against its very walls, a neat water-mill in full work; by the mill flows a large river with a weir across it.... At an inconvenient distance from the water-side stands a city, composed of twenty-five round towers and a pyramid. Beyond the city is a handsome bridge; beyond the bridge, part of the Campagna, with fragments of aqueducts; beyond the Campagna the chain of the Alps; on the left, the cascades of Tivoli.

"This is a fair example of what is commonly called an 'ideal' landscape; i.e. a group of the artist's studies from nature, individually spoiled, selected with such opposition of character as may insure their neutralizing each other's effect, and united with sufficient unnaturalness and violence of association to insure their producing a general sensation of the impossible."-Ruskin's Modern Painters.

"Many painters take a particular spot, and sketch it to perfection; but Claude was convinced that taking nature as he found it, seldom produced beauty. Neither did he like exhibiting in his pictures accidents of nature. He professed to pourtray the style of general nature, and so his pictures were a composition of the various draughts which he had previously made from beautiful scenes and prospects."-Sir J. Reynolds.

18. Pietà: Ann. Caracci.

23. Landscape, with the Temple of Apollo: Claude Lorraine.

26. Portrait: Mazzolino.

27. Portrait: Giorgione.

33. Landscape, with Diana hunting: Claude Lorraine.

At the end of this gallery is a small cabinet, containing the gems of the collection:-

1. Portrait of a "Letterato:" Lucas V. Leyden?*

2. Portrait of Andrea Doria: Sebastian del Piombo.*

3. Portrait of Giannetto Doria: Bronzino.*

4. Portrait of S. Filippo Neri, as a boy: Barocci.

5. Portrait of Innocent X.; Gio. Battista Pamfili (1644-55): Velasquez.*

6. Entombment: John Emelingk.*

Here, also, is the bust of the late beloved Princess Doria (Lady Mary Talbot), which has always been veiled in crape since her death.

The 4th Gallery is decorated with mirrors, and with statues of no especial merit.

"In the whole immense range of rooms of the Palazzo Doria, I saw but a single fire-place, and that so deep in the wall that no amount of blaze would raise the atmosphere of the room ten degrees. If the builder of the palace, or any of his successors, have committed crimes worthy of Tophet, it would be a still worse punishment to him to wander perpetually through this suite of rooms, on the cold floors of polished brick tiles, or marble, or mosaic, growing a little chiller and chiller through every moment of eternity-or at least, till the palace crumbles down upon him."-Hawthorne, Notes on Italy.

Opposite the Palazzo Doria is the Palazzo Salviati. The next two streets on the left lead into the long narrow square called Piazza Santi Apostoli, containing several handsome palaces. That on the right is the Palazzo Odescalchi, built by Bernini, in 1660, for Cardinal Fabio Chigi, to whose family it formerly belonged. It has some fine painted and carved wooden ceilings. This palace is supposed to be the scene of the latest miracle of the Roman Catholic Church. The present Princess Odescalchi had long been bedridden, and was apparently dying of a hopeless disease, when, while her family were watching what they considered her last moments, the pope (Pius IX.) sent, by the hands of a nun, a little loaf (panetello), which he desired her to swallow. With terrible effort, the sick woman obeyed, and was immediately healed, and on the following day the astonished Romans saw her go in person to the pope, at the Vatican, to return thanks for her restoration!

The building at the end of the square is the Palazzo Valentini, which once contained a collection of antiquities.

Near this, on the left, but separated from the piazza by a courtyard, is the vast Palazzo Colonna, begun, in the fifteenth century, by Martin V., and continued at various later periods. Julius II. at one time made it his residence, and also Cardinal (afterwards San Carlo) Borromeo. Part of it is now the residence of the French ambassadors. The palace is built very near the site of the ancient fortress of the Colonna family-so celebrated in times of medi?val warfare with the Orsini-of which one lofty tower still remains, in a street leading up to the Quirinal.

The Gallery is shown every day, except Sundays and holidays, from 11 to 3. It is entered by the left wing. The first room is a fine, gloomy old hall, containing the family dais, and hung with decaying Colonna portraits. Then come three rooms covered with tapestries, the last containing a pretty statue of a girl, sometimes called Niobe. Hence we reach the pictures. The 1st Room has an interesting collection of the early schools, including Madonnas of Filippo Lippi; Luca Longhi; Botticelli; Gentile da Fabriano; Innocenza da Imola; a curious Crucifixion, by Jacopo d'Avanzo; and a portrait by Giovanni Sanzio, father of Raphael.

The ceiling of the 3rd Room has a fresco, by Battoni and Luti, of the apotheosis of Martin V. (Oddone Colonna, 1417-24). Among its pictures, are St. Bernard, Giovanni Bellini; Onuphrius Pavinius, Titian; Holy Family, Bronzino; Peasant dining, Annibale Caracci; St. Jerome, Spagna; Portrait, Paul Veronese; Holy Family, Bonifazio.

Hence we enter the Great Hall, a truly grand room, hung with mirrors and painted with flowers by Mario de' Fiori, and with genii by Maratta. The statues here are unimportant. The ceiling is adorned with paintings, by Coli and Gherardi, of the battle of Lepanto, Oct. 8, 1571, which Marc-Antonio Colonna assisted in gaining. The best pictures are the family portraits:-Federigo Colonna, Sustermanns; Don Carlo Colonna, Vandyke; Card. Pompeio Colonna, Lorenzo Lotto; Vittoria Colonna, Muziano; Lucrezia Colonna, Vandyke; Pompeio Colonna, Agostino Caracci; Giacomo Sciarra Colonna, Giorgione. We may also notice an extraordinary picture of the Madonna rescuing a child from a demon, by Niccolo d'Alunno, with a double portrait, by Tintoret, on the right wall, and a Holy Family of Palma Vecchio at the end of the gallery. Near the entrance are some glorious old cabinets, inlaid with ivory and lapis-lazuli. On the steps leading to the upper end of the hall is a bomb left on the spot where it fell during the siege of Rome in 1848.

(Through the palace access may be obtained to the beautiful Colonna Gardens; but as they are generally visited from the Quirinal, they will be noticed in the description of that hill.)

"On parle d'un Pierre Colonna, dépouillé de tous ses biens en 1100 par le pape Pascal II. Il fallait que la famille f?t déjà passablement ancienne, car les grandes fortunes ne s'élèvent pas en un jour."-About.

"Si n'etoit le différent des Ursins et des Colonnois (Orsini and Colonna) la terre de l'Eglise seroit la plus heureuse habitation pour les subjects, qui soit en tout le monde."-Philippe de Comines. 1500.

"Gloriosa Colonna, in cui s' appoggia

Nostra speranza, e'l gran nome Latino,

Ch'ancor non torte del vero cammino

L'ira di Giove per ventosa pioggia."

Petrarca, Sonnetto X.

Adjoining the Palazzo Colonna is the fine Church of the Santi Apostoli, founded in the sixth century, rebuilt by Martin V., in 1420, and modernized, c. 1602, by Fontana. The portico contains a magnificent bas-relief of an eagle and an oak-wreath (frequently copied and introduced in architectural designs).

"Entrez sous la portique de l'église des Saints-Ap?tres, et vous trouverez là, encadré par hasard dans le mur, un aigle qu'entoure une couronne d'un magnifique travail. Vous reconna?trez facilement dans cet aigle et cette couronne la représentation d'une ensigne romaine, telle que les bas-reliefs de la colonne Trajane vous en ont montré plusieurs; seulement ce qui était là en petit est ici en grand."-Ampère, Emp. ii. 168.

Also in the portico, is a monument, by Canova, to Volpato, the engraver. Over the sacristy door is the tomb of Pope Clement XIV. (Giov. Antonio Ganganelli, 1769-74), also by Canova, executed in his twenty-fifth year.

"La mort de Clément XIV. est du 22 Septembre, 1774. A cette époque, Alphonse de Liguori était évêque de Sainte-Agathe des Goths, au royaume de Naples. Le 22 Septembre, au matin, l'évêque tomba dans une espèce de sommeil léthargique après avoir dit la messe, et, pendant vingt-quatre heures, il demeura sans mouvement dans son fauteuil. Ses serviteurs s'étonnant de cet état, le lendemain, avec lui:-'Vous ne savez pas, leur dit-il, que j'ai assisté le pape qui vient de mourir.' Peu après, la nouvelle du décès de Clément arriva à Sainte Agathe."-Gournerie, Rome Chrétienne, ii. 362.

In 1873 the traditional grave of St. Philip and St. James, the "Apostoli" to whom this church is dedicated, was opened during its restoration. Two bodies were found, enclosed in a sarcophagus of beautiful transparent marble, and have been duly enshrined. In the choir are monuments of the fifteenth century, to two relations of Pope Sixtus IV., Pietro Riario, and Cardinal Raffaelo Riario. To the right is the tomb of the Chevalier Girard, brother-in-law of Pope Julius II., and ma?tre d'h?tel to Charles VIII. and Louis XII. of France. The tomb of Cardinal Bessarion was removed from the church, in 1702, to the cloisters of the adjoining Convent, which is the residence of the General of the Order of "Minori Conventuali" (Black Friars). The altar-piece represents the martyrdom of SS. Philip and James, by Muratori.

The heart of Maria Clementina Sobieski (buried in St. Peter's), wife of James III., called the First Pretender, is also preserved here, as is shown by a Latin inscription.

"Le roi d'Angleterre est devot a l'excès; sa matinée se passe en prières aux Saints-Ap?tres, près du tombeau de sa femme."-De Brosses, 1739.

In 1552 this church was remarkable for the sermons of the monk Felix Peretti, afterwards Sixtus V.

"Suivant un manuscrit de la bibliothèque Alfieri, un jour, pendant qu'il était dans la chaire des Saints-Ap?tres, un billet cacheté lui fut remis; Frère Félix l'ouvre et y lit, en face d'un certain nombre de propositions que l'on disait être extraites de ses discours, ce mot écrit en gros caractères: Mentiris (tu mens). Le fougueux orateur eut peine à contenir son émotion; il termina son sermon en quelques paroles, et courut au palais de l'Inquisition présenter le billet mystérieux, et demander qu'on examinat scrupuleusement sa doctrine. Cet examen lui fut favorable, et il lui valut l'amitié du grand inquisiteur, Michael Ghislieri, qui comprit aussit?t tout le parti qu'on pouvait tirer d'un homme dont les moindres actions étaient empreintes d'une inébranlable force de caractère."-Gournerie.

In this church is buried the young Countess Savorelli, the story of whose love, misfortunes, and death, has been celebrated by About, under the name of Tolla (the Lello of the story having been one of the Doria-Pamfili family).

"The convent which Tolla had sanctified by her death sent three embassies in turn to beg to preserve her relics: already the people spoke of her as a saint. But Count Feraldi (Savorelli) considered that it was due to his honour and to his vengeance to bear her remains with pomp to the tomb of his family. He had sufficient influence to obtain that for which permission is not granted once in ten years: the right of transporting her uncovered, upon a bed of white velvet, and of sparing her the horrors of a coffin. The beloved remains were wrapped in the white muslin robe which she wore in the garden on the day when she exchanged her sweet vows with Lello. The Marchesa Trasimeni, ill and wasted as she was, came herself to arrange her hair in the manner she loved. Every garden in Rome despoiled itself to send her its flowers; it was only necessary to choose. The funeral procession quitted the church of S. Antonio Abbate on Thursday evening at 7.30 for the Santi Apostoli, where the Feraldis are buried. The body was preceded by a long file of the black and white confraternities, each bearing its banner. The red light of the torches played upon the countenance of the beautiful dead, and seemed to animate her afresh. The piazza was filled with a dense and closely packed but dumb crowd; no discordant sound troubled the grief of the relations and friends of Tolla, who wept together at the Palazzo Feraldi....

"The Church of the Apostoli and the tomb of the poor loving girl, became at certain days of the year an object of pilgrimage, and more than one young Roman maiden adds to her evening litany the words, 'St. Tolla, virgin and martyr, pray for us.'"-About.

Just beyond the church is the Palazzo Muto-Savorelli (the home of Tolla, "Palazzo Feraldi") long the residence of Prince Charles Edward ("the last Pretender"), who died here in 1788. Hence the Via delle Vergini, with its dismal lines of latticed convent-windows, leads to the Fountain of Trevi.

Returning to the Corso, we pass (right) Palazzo Buonaparte, built by Giovanni dei Rossi in 1660. Here L?titia Buonaparte-"Madame Mère"-the mother of Napoleon I., died February 2nd, 1836. The present head of the family is Cardinal Lucien-Louis Buonaparte, son of Prince Charles (son of Lucien) and of Princess Zéna?de, daughter of King Joseph of Spain. His only surviving brother is Prince Napoleon Buonaparte.

This palace forms one corner of the Piazza di Venezia, which contains the ancient castellated Palace of the Republic of Venice, built in 1468 by Giuliano da Majano (with materials plundered from the Coliseum) for Paul II., who was of Venetian birth. On the ruin of the republic the palace fell into the hands of Austria, and is still the residence of the Austrian ambassador, to whom it was specially reserved on the cession of Venice to Italy.

Opposite this, on a line with the Corso, is the Palazzo Torlonia, built by Fontana in 1650, for the Bolognetti family.

"Nobility is certainly more the fruit of wealth in Italy than in England. Here, where a title and estate are sold together, a man who can buy the one secures the other. From the station of a lacquey, an Italian who can amass riches, may rise to that of duke. Thus Torlonia, the Roman banker, purchased the title and estate of the Duca di Bracciano, fitted up the 'Palazzo Nuovo di Torlonia' with all the magnificence that wealth commands; and a marble gallery, with its polished floors, modern statues, painted ceilings, and gilded furniture, far outshines the faded splendour of the halls of the old Roman nobility."-Eaton's Rome.

"Un ancien domestique de place, devenu spéculateur et banquier, achète un marquisat, puis une principauté. Il crée un majorat pour son fils a?né et une seconde géniture en faveur de l'autre. L'un épouse une Sforza-Cesarini et marie ses deux fils à une Chigi et une Ruspoli; l'autre obtient pour femme une Colonna-Doria. C'est ainsi que la famille Torlonia, par la puissance de l'argent et la faveur du saint-père, s'est élevée presque subitement à la hauteur des plus grands maisons népotiques et féodales."-About.

The most interesting of the antiquities preserved in this palace is a bas-relief, representing a combat between men and animals, brought hither from the Palazzo Orsini, and probably pourtraying the famous dedication of the theatre of Marcellus on that site, celebrated by the slaughter of six hundred animals.

The end of the Corso-narrowed by a projecting wing of the Venetian Palace-is known as the Ripresa dei Barberi, because there the horses, which run in the races during the Carnival, are caught in large folds of drapery let down across the street to prevent their dashing themselves to pieces against the opposite wall.

Close to the end of this street, built into the wall of a house in the Via di Marforio, is one of the few relics of republican times in the city,-a Doric Tomb, bearing an inscription which states that it was erected by order of the people on land granted by the Senate to Caius Publicius Bibulus, the plebeian ?dile, and his posterity. Petrarch mentions in one of his letters that he wrote one of his sonnets leaning against the tomb of Bibulus.

This tomb has a secondary interest as marking the commencement of the Via Flaminia, as it stood just outside the Porta Ratumena from whence that road issued. There are some obscure remains of another tomb on the other side of the street. The Via Flaminia, like the Via Appia, was once fringed with tombs.

From the Ripresa dei Barberi, a street passing under an arch on the right, leads to the back of the Venetian Palace, where is the Church of S. Marco, originally founded in the time of Constantine, but rebuilt in 833, and modernized by Cardinal Quirini in 1744. Its portico, which is lined with early Christian inscriptions, contains a fine fifteenth century doorway, surmounted by a figure of St. Mark. The interior is in the form of a basilica, its naves and aisles separated by twenty columns, and ending in an apse. The best pictures are S. Marco, "a pope enthroned, by Carlo Crivelli, resembling in sharpness of finish and individuality the works of Bartolomeo Viviani,"[18] and a Resurrection by Palma Giovane.

"The mosaics of S. Marco, executed under Pope Gregory IV. (A.D. 827-844), with all their splendour, exhibit the utmost poverty of expression. Above the tribune, in circular compartments, is the portrait of Christ between the symbols of the Evangelists, and further below SS. Peter and Paul (or two prophets) with scrolls; within the tribune, beneath a hand extended with a wreath, is the standing figure of Christ with an open book, and on either side, S. Angelo and Pope Gregory IV. Further on, but still belonging to the dome, are the thirteen lambs, forming a second and quite uneven circle round the figures. The execution is here especially rude, and of true Byzantine rigidity, while, as if the artist knew that his long lean figures were anything but secure upon their feet, he has given them each a separate little pedestal. The lines of the drapery are chiefly straight and parallel, while, with all this rudeness, a certain play of colour has been contrived by the introduction of high lights of another colour."-Kugler.

This church is said to have been originally founded in honour of the Evangelist in 337 by Pope Marco, but this pope, being himself canonized, is also honoured here, and is buried under the high altar. On April 25th, St. Mark's Day, a grand procession of clergy starts from this church. It was for the most part rebuilt under Gregory IV. in 838.

Behind the Palazzo Venezia is the vast Church of Il Gesù, begun in 1568 by the celebrated Vignola, but the cupola and fa?ade completed in 1575 by his scholar Giacomo della Porta. In the interior is the monument of Cardinal Bellarmin, and various pictures representing events in the lives or deaths of the Jesuit saints,-that of the death of St. Francis Xavier is by Carlo Maratta. The high altar, by Giacomo della Porta, has fine columns of giallo-antico. The altar of St. Ignatius at the end of the left transept is of gaudy magnificence. It was designed by Padre Pozzi, the group of the Trinity being by Bernardino Ludovisi; the globe in the hand of the Almighty is said to be the largest piece of lapis-lazuli in existence. Beneath this altar, and his silver statue, lies the body of St. Ignatius Loyola, in an urn of gilt bronze, adorned with precious stones. A great ceremony takes place in this church on July 31st, the feast of St. Ignatius, and on December 31st a Te Deum is sung here for the mercies of the past year, in the presence of the pope, cardinals, and the people of Rome,-a really solemn and impressive service.

The Convent of the Gesù is the residence of the General of the Jesuits ("His Paternity"), and the centre of religious life in their Order. The rooms in which St. Ignatius lived and died are of the deepest historic interest. They consist of four chambers. The first, now a chapel, is that in which he wrote his "Constitutions." The second, also a chapel, is that in which he died. It contains the altar at which he daily celebrated mass, and the autograph engagement to live under the same laws of obedience, poverty, and chastity, signed by Laynez, Francis Xavier, and Ignatius Loyola. On its walls are two portraits of Ignatius Loyola, one as a young knight, the other as a Jesuit father, and portraits of S. Carlo Borromeo and S. Filippo Neri. It was in this chamber also that St. Francis Borgia died. The third room was that of the attendant monk of St. Ignatius; the fourth is now a kind of museum of relics containing portions of his robes and small articles which belonged to him and to other saints of the Order.

Facing the Church of the Gesù is the Palazzo Altieri, built by Cardinal Altieri in 1670, from designs of Giov. Antonio Rossi.

"Quand le palais Altieri fut achevé, les Altieri, neveux de Clément X., invitèrent leur oncle à le venir voir. Il s'y fit porter, et d'aussi loin qu'il aper?ut la magnificence et l'étendue de cette superbe fabrique, il reboussa chemin le c?ur serré, sans dire un seul mot, et mourut peu après."-De Brosses.

"On the staircase of the Palazzo Altieri, is an ancient colossal marble finger, of such extraordinary size, that it is really worth a visit."-Eaton's Rome.

This palace was the residence of the late noble-hearted vicar-general, Cardinal Altieri, who died a martyr to his devotion to his flock (as Bishop of Albano) during the terrible visitation of cholera at Albano in 1867.

The Piazza del Gesù is considered to be the most draughty place in Rome. The legend runs that the devil and the wind were one day taking a walk together. When they came to this square, the devil, who seemed to be very devout, said to the wind, "Just wait a minute, mio caro, while I go into this church." So the wind promised, and the devil went into the Gesù, and has never come out again-and the wind is blowing about in the Piazza del Gesù to this day.

The Story of the Hill-Piazza del Campidoglio-Palace of the Senator-View from the Capitol Tower-The Tabularium-The Museo Capitolino-Gallery of Statues-Palace of the Conservators-Gallery of Pictures-Palazzo Caffarelli-Tarpeian Rock-Convent and Church of Ara-C?li-Mamertine Prisons.

THE Capitoline was the hill of the kings and the republic, as the Palatine was of the empire.

Entirely composed of tufa, its sides, now concealed by buildings or by the accumulated rubbish of ages, were abrupt and precipitous, as are still the sides of the neighbouring citadels of Corneto and Cervetri. It was united to the Quirinal by an isthmus of land cut away by Trajan, but in every other direction was isolated by its perpendicular cliffs:-

"Arduus in valles et fora clivus erat."

Ovid, Fast. i. 264.

Up to the time of the Tarquins, it bore the name of Mons Saturnus,[19] from the mythical king Saturn, who is reported to have come to Italy in the reign of Janus, and to have made a settlement here. His name was derived from sowing, and he was looked upon as the introducer of civilization and social order, both of which are inseparably connected with agriculture. His reign here was thus considered to be the golden age of Italy. His wife was Ops, the representative of plenty.[20]

"C'est la tradition d'un age de paix représenté par le règne paisible de Saturne; avant qu'il y eut une Roma, ville de la force, il y eut une Saturnia, ville de la paix."-Ampère, Hist. Rom. i. 86.

Virgil represents Evander, the mythical king of the Palatine, as exhibiting Saturnia, already in ruins, to ?neas.

"H?c duo pr?terea disjectis oppida muris,

Reliquias veterumque vides monumenta virorum.

Hanc Janus pater, hanc Saturnus condidit arcem:

Janiculum huic, illi fuerat Saturnia nomen."

?n. viii. 356.

When Romulus had fixed his settlement upon the Palatine, he opened an asylum for fugitive slaves upon the then deserted Saturnus, and here, at a sacred oak, he is said to have offered up the spoils of the C?cinenses, and their king Acron, who had made a war of reprisal upon him, after the rape of their women in the Campus Martius; here also he vowed to build a temple to Jupiter Feretrius, where spoils should always be offered. But in the mean time, the Sabines, under Titius Tatus, besieged and took the hill, having a gate of its fortress (said to have been on the ascent above the spot where the arch of Severus now stands) opened to them by Tarpeia, who gazed with longing upon the golden bracelets of the warriors, and, obtaining a promise to receive that which they wore upon their arms, was crushed by their shields as they entered. Some authorities, however, maintain that she asked and obtained the hand of king Tatius. From this time the hill was completely occupied by the Sabines, and its name became partially merged in that of Mons Tarpeia, which its southern side has always retained. Niebuhr states that it is a popular superstition that the beautiful Tarpeia still sits, sparkling with gold and jewels, enchanted and motionless, in a cave in the centre of the hill.

After the death of Tatius, the Capitoline again fell under the government of Romulus, and his successor, Numa Pompilius, founded here a Temple of Fides Publica, in which the flamens were always to sacrifice with a fillet on their right hands, in sign of fidelity. To Numa also is attributed the worship of the god Terminus, who had a temple here in very early ages.

Under Tarquinius Superbus, B.C. 535, the magnificent Temple of Jupiter Capitolinus, which had been vowed by his father, was built with money taken from the Volscians in war. In digging its foundations, the head of a man was found, still bloody, an omen which was interpreted by an Etruscan augur to portend that Rome would become the head of Italy. In consequence of this, the name of the hill was once more changed, and has ever since been Mons Capitolinus, or Capitolium.

The site of this temple has always been one of the vexed questions of history. At the time it was built, as now, the hill consisted of two peaks, with a level space between them. Niebuhr and Gregorovius place the temple on the south-eastern height, but Canina and other authorities, with more probability, incline to the north-eastern eminence, the present site of Ara-C?li, because, among many other reasons, the temple faced the south, and also the Forum, which it could not have done upon the south-eastern summit; and also because the citadel is always represented as having been nearer to the Tiber than the temple: for when Herdonius, and the Gauls, arriving by the river, scaled the heights of the Capitol, it was the citadel which barred their path, and in which, in the latter case, Manlius was awakened by the noise of the sacred geese of Juno.

The temple of Jupiter occupied a lofty platform, the summit of the rock being levelled to receive it. Its fa?ade was decorated with three ranges of columns, and its sides by a single colonnade. It was nearly square, being 200 Roman feet in length, and 185 in width.[21] The interior was divided into three cells; the figure of Jupiter occupied that in the centre, Minerva was on his right, and Juno on his left. The figure of Jupiter was the work of an artist of the Volscian city of Fregell?,[22] and was formed of terra-cotta, painted like the statues which we may still see in the Etruscan museum at the Vatican, and clothed with the tunica palmata, and the toga picta, the costume of victorious generals. In his right hand was a thunder-bolt, and in his left a spear.

"Jupiter angusta vix totus stabat in ?de;

Inque Jovis dextra fictile fulmen erat."

Ovid, Fast. i. 202.

At a later period the statue was formed of gold, but this figure had ceased to exist in the time of Pliny.[23] When Martial wrote, the statues of Jupiter, Juno, and Minerva, were all gilt.

"Scriptus es ?terno nunc primum, Jupiter, auro,

Et soror, et summi filia tota patris."

Martial, xi. Ep. 5.

In the wall adjoining the cella of Minerva, a nail was fastened every year, to mark the lapse of time.[24] In the centre of the temple was the statue of Terminus.

"The sumptuous fane of Jupiter Capitolinus had peculiar claims on the veneration of the Roman citizens; for not only the great lord of the earth was worshipped in it, but the conservative principle of property itself found therein its appropriate symbol. While the statue of Jupiter occupied the usual place of the divinity in the furthest recess of the building, an image of the god Terminus was also placed in the centre of the nave, which was open to the heavens. A venerable legend affirmed, that when, in the time of the kings, it was requisite to clear a space on the Capitoline to erect on it a temple to the great father of the gods, and the shrines of the lesser divinities were to be removed for the purpose, Terminus alone, the patron of boundaries, refused to quit his place, and demanded to be included in the walls of the new edifice. Thus propitiated he was understood to declare that henceforth the bounds of the republic should never be removed; and the pledge was more than fulfilled by the ever increasing circuit of her dominion."-Merivale, Romans Under the Empire.

The gates of the temple were of gilt bronze, and its pavement of mosaic;[25] in a vault beneath were preserved the Sibylline books placed there by Tarquin. The building of Tarquin lasted 400 years, and was burnt down in the civil wars, B.C. 83. It was rebuilt very soon afterwards by Sylla, and adorned with columns of Pentelic marble, which he had brought from the temple of Jupiter Olympus at Athens.[26] Sylla, however, did not live to rededicate it, and it was finished by Q. Lutatius Catulus, B.C. 62. This temple lasted till it was burnt to the ground by the soldiers of Vitellius, who set fire to it by throwing torches upon the portico, A.D. 69, and dragging forth Sabinus, the brother of Vespasian, murdered him at the foot of the Capitol, near the Mamertine Prisons.[27] Domitian, the younger son of Vespasian, was, at that time, in the temple with his uncle, and escaped in the dress of a priest; in commemoration of which, he erected a chapel to Jupiter Conservator, close to the temple, with an altar upon which his adventure was sculptured. The temple was rebuilt by Vespasian, who took so great an interest in the work, that he carried away some of the rubbish on his own shoulders; but his temple was the exact likeness of its predecessor, only higher, as the aruspices said that the gods would not allow it to be altered.[28] In this building Titus and Vespasian celebrated their triumph for the fall of Jerusalem. The ruin of the temple began in A.D. 404, during the short visit of the youthful Emperor Honorius to Rome, when the plates of gold which lined its doors were stripped off by Stilicho.[29] It was finally plundered by the Vandals, in A.D. 455, when its statues were carried off to adorn the African palace of Genseric, and half its roof was stripped of the gilt bronze tiles which covered it; but it is not known precisely when it ceased to exist,-the early fathers of the Christian Church speak of having seen it. The story that the bronze statue of Jupiter, belonging to this temple, was transformed by Leo I. into the famous image of St. Peter, is very doubtful.

Close beside this, the queen of Roman temples, stood the Temple of Fides, said to have been founded by Numa, where the senate were assembled at the time of the murder of Tiberius Gracchus, B.C. 133, who fell in front of the temple of Jupiter, at the foot of the statues of the kings: his blood being the first spilt in Rome in a civil war.[30] Near this, also, were the twin Temples of Mars and Venus Erycina, vowed after the battle of Thrasymene, and consecrated, B.C. 215, by the consuls Q. Fabius Maximus and T. Otacilius Crassus. Near the top of the Clivus was the Temple of Jupiter Tonans, built by Augustus, in consequence of a vow which he made in an expedition against the Cantabri when his litter was struck, and the slave who preceded him was killed by lightning. This temple was so near, that it was considered as a porch to that of Jupiter Capitolinus, and in token of that character, Augustus hung some bells upon its pediment.

On the Arx, or opposite height of the Capitol, was the Temple of Honour and Virtue, built B.C. 103, by Marius, with the spoils taken in the Cimbric wars. This temple was of sufficient size to allow of the senate meeting there, to pass the decree for Cicero's recall.[31] Here Nardini places the ancient Temple of Jupiter Feretrius, in which Romulus dedicated the first spolia opima. Here, on the site of the house of Manlius, was built the Temple of Juno Moneta, B.C. 345, in accordance with a vow of L. Furius Camillus.[32] On this height, also, was the Altar of Jupiter Pistor, which commemorated the stratagem of the Romans, who threw down loaves into the camp of the besieging Gauls, to deceive them as to the state of their supplies.[33]

"Nomine, quam pretio celebratior, arce Tonantis,

Dicam Pistoris quid velit ara Jovis."

Ovid, Fast. vi. 349.

It was probably also on this side of the hill that the gigantic Statue of Jupiter stood, which was formed out of the armour taken from the Samnites, B.C. 293, and which is stated by Pliny to have been of such a size that it was visible from the top of Monte Cavo.

Two cliffs are now rival claimants to be considered as the Tarpeian Rock; but it is most probable that the whole of the hill on this side of the Intermontium was called the Mons Tarpeia, and was celebrated under that name by the poets.

"In summo custos Tarpei? Manlius arcis

Stabat pro templo, et Capitolia celsa tenebat:

Romuleoque recens horrebat regia culmo.

Atque hic auratis volitans argenteus anser

Porticibus, Gallos in limine adesse canebat."

Virgil, ?n. viii. 652.

"Aurea Tarpeia ponet Capitolia rupe,

Et junget nostro templorum culmina c?lo."

Sil. Ital. iii. 623.

... "juvat inter tecta Tonantis,

Cernere Tarpeia pendentes rupe Gigantes."

Claud. vi. Cons. Hon. 44.

Among the buildings upon the Intermontium, or space between the two heights, were the Tabularium, or Record Office, part of which still remains; a portico, built by Scipio Nasica,[34] and an arch which Nero built here to his own honour, the erection of which upon the sacred hill, hitherto devoted to the gods, was regarded even by the subservient senate as an unparalleled act of presumption.[35]

In medi?val times the revolutionary government of Arnold of Brescia established itself on this hill (1144), and Pope Lucius II., in attempting to regain his temporal power, was slain with a stone in attacking it. Here Petrarch received his laurel crown (1341); and here the tribune Rienzi promulgated the laws of the "good estate." At this time nothing existed on the Capitol but the church and convent of Ara-C?li, and a few ruins. Yet the cry of the people at the coronation of Petrarch, "Long life to the Capitol and the poet!" shows that the scene itself was then still more present to their minds than the principal actor upon it. But, when the popes returned from Avignon, the very memory of the Capitol seemed effaced, and the spot was only known as the Goat's Hill,-Monte Caprino. Pope Boniface IX. (1389-94) was the first to erect on the Capitol, on the ruins of the Tabularium, a residence for the senator and his assessors, Paul III. (1544-50) employed Michael Angelo to lay out the Piazza del Campidoglio; when he designed the Capitoline Museum and the Palace of the Conservators. Pius IV., Gregory XIII., and Sixtus V. added the sculptures and other monuments which now adorn the steps and balustrade.[36]

* * *

Just beyond the end of the Corso, the Via della Pedacchia turns to the right, under a quaint archway in the secret passage constructed as a means of escape for the Franciscan Generals of Ara-C?li to the Palazzo Venezia, as that in the Borgo is for the escape of the popes to S. Angelo. In this street is a house decorated with simple but elegant Doric details, and bearing an inscription over the door which shows that it was that of Pietro da Cortona.

The street ends in the sunny open space at the foot of the Capitol, with Ara-C?li on its left, approached by an immense flight of steps, removed hither from the Temple of the Sun, on the Quirinal, but marking the site of the famous staircase to the temple of Jupiter Capitolinus, which Julius C?sar descended on his knees, after his triumph for his Gallic victories.[37]

The grand staircase, "La Cordonnata," was opened in its present form on the occasion of the entry of Charles V., in 1536.[38] At its foot are two lions of Egyptian porphyry, which were removed hither from the Church of S. Stefano in Cacco, by Pius IV. It was down the staircase which originally existed on this site, that Rienzi the tribune fled in his last moments, and close to the spot where the left-hand lion stands, that he fell, covered with wounds, his wife witnessing his death from a window of the burning palace above. A small space between the two staircases has lately been transformed into a garden, through which access may be obtained to four vaulted brick chambers, remnants of the substructions of the temple of Jupiter Capitolinus. A living wolf is kept here in commemoration of the nurse of Romulus and Remus.

At the head of the stairs are colossal statues of the twin heroes, Castor and Pollux (brought hither from the Ghetto), commemorating the victory of the Lake Regillus, after which they rode before the army to Rome, to announce the joyful news, watered their horses at the Aqua Argentina, and then passed away from the gaze of the multitude into celestial spheres. Beyond these, on either side, are two trophies of imperial times discovered in the ruin on the Esquiline, misnamed the Trophies of Marius. Next come statues of Constantine the Great and his son Constantine II., from their baths on the Quirinal. The two ends of the parapet are occupied by ancient Milliaria, being the first and seventh milestones of the Appian Way. The first milestone was found in situ, and showed that the miles counted from the gates of Rome, and not, as was formerly supposed, from the Milliarium Aureum, at the foot of the Capitol.

We now find ourselves in the Piazza del Campidoglio, occupying the Intermontium, where Brutus harangued the people after the murder of Julius C?sar. In the centre of the square is the famous Statue of Marcus Aurelius, the only perfect ancient equestrian statue in existence. It was originally gilt, as may still be seen from marks of gilding upon the figure, and stood in front of the arch of Septimius-Severus. Hence it was removed by Sergius III. to the front of the Lateran, where, not long after, it was put to a singular use by John XIII., who hung a refractory prefect of the city from it by his hair.[39] During the rejoicings consequent upon the elevation of Rienzi to the tribuneship in 1347, one of its nostrils was made to flow with water and the other with wine. From its vicinity to the Lateran, so intimately connected with the history of Constantine, it was supposed during the middle ages to represent that Christian emperor, and this fortunate error alone preserved it from the destruction which befell so many other ancient imperial statues. Michael Angelo, when he designed the buildings of the Capitoline Piazza, wished to remove the statue to its present site, but the canons of the Lateran were unwilling to part with their treasure, and only consented to its removal upon an annual acknowledgment of their proprietorship, for which a bunch of flowers is still presented once a year by the senators to the chapter of the Lateran. Michael Angelo, standing in fixed admiration before this statue, is said to have bidden the horse "Cammina." Even until late years an especial guardian has been appointed to take care of it, with an annual stipend of ten scudi a year, and the title of "Il custode del Cavallo."

"They stood awhile to contemplate the bronze equestrian statue of Marcus Aurelius. The moonlight glistened upon traces of the gilding which had once covered both rider and steed; these were almost gone, but the aspect of dignity was still perfect, clothing the figure as it were with an imperial robe of light. It is the most majestic representation of the kingly character that ever the world has seen. A sight of the old heathen emperor is enough to create an evanescent sentiment of loyalty even in a democratic bosom, so august does he look, so fit to rule, so worthy of man's profoundest homage and obedience, so inevitably attractive of his love. He stretches forth his hand with an air of proud magnificence and unlimited authority, as if uttering a decree from which no appeal was permissible, but in which the obedient subject would find his highest interests consulted: a command that was in itself a benediction."-Hawthorne.

"I often ascend the Capitoline Hill to look at Marcus Aurelius and his horse, and have not been able to refrain from caressing the lions of basalt. You cannot stand on the Aventine or the Palatine without grave thoughts, but standing on the spot brings me very little nearer the image of past ages."-Niebuhr's Letters.

"La statue équestre de Marc-Aurèle a aussi sa légende, et celle-là n'est pas du moyen age, mais elle a été recueillie il y a peu d'années de la bouche d'un jeune Romain. La dorure, en partie détruite, se voit encore en quelques endroits. A en croire le jeune Romain, cependant, la dorure, au lieu d'aller s'effa?ant toujours davantage, était en voie de progrès. 'Voyez, disait-il, la statue de bronze commence à se dorer, et quand elle le sera entièrement, le monde finira.'-C'est toujours, sous une forme absurde, la vieille idée romaine, que les destinées et l'existence de Rome sont liées aux destinées et à l'existence du monde. C'est ce qui faisait dire au septième siècle; ainsi que les pèlerins saxons l'avaient entendu et le répétaient; 'Quand le Colisée tombera, Rome et le monde finiront.'"-Ampère, Emp. ii. 228.

The building at the back of the piazza is The Palace of the Senator, originally built by Boniface IX. (1389), but altered by Michael Angelo to correspond with his buildings on either side. The fountain at the foot of the double staircase was erected by Sixtus V., and is adorned with statues of river gods found in the Colonna Gardens, and a curious porphyry figure of Minerva-adapted as Rome. The body of this statue was found at Cori, but the head and arms are modern additions.

"Rome personnifiée, cette déesse à laquelle on érigea des temples, voulut d'abord être une Amazone, ce qui se con?oit, car elle était guerrière avant tout. C'est sous la forme de Minerve que Rome est assise sur la place du Capitole."-Ampère, Hist. Romaine, iii. 242.

In the interior of this building the Hall of the Senators contains some papal statues, and that of Charles of Anjou, who was made senator of Rome in the thirteenth century.

The Tower of the Capitol contains the great bell of Viterbo, carried off from that town during the wars of the middle ages, which is never rung except to announce the death of a pope, or the opening of the carnival. During the closing years of the temporal power of the popes, it has been difficult to obtain admission to the tower, but the ascent is well repaid by the view from the summit, which embraces not only the seven hills of Rome, but the various towns and villages of the neighbouring plain and mountains which successively fell under its dominion.

"Pour suivre les vicissitudes des luttes extérieures des Romains contre les peuples qui les entourent et les pressent de tous c?tés, nous n'aurons qu'à regarder à l'horizon la sublime campagne romaine et ces montagnes qui l'encadrent si admirablement. Elles sont encore plus belles et l'?il prend encore plus de plaisir à les contempler quand on songe à ce qu'elles ont vu d'efforts et de courage dans les premiers temps de la république. Il n'est presque pas un point de cette campagne qui n'ait été témoin de quelque rencontre glorieuse; il n'est presque un rocher de ces montagnes qui n'est été pris et repris vingt fois.

"Toutes ces nations sabelliques qui dominaient la ville du Tibre et semblaient placées là sur des hauteurs disposées en demi-cercle pour l'envelopper et l'écraser, toutes ces nations sont devant nous et à la portée du regard.

"Voici de c?té de la mer les montagnes des Volsques; plus à l'est sont les Herniques et les ?ques; au nord, les Sabins; à l'ouest, d'autres ennemis, les Etrusques, dont le mont Ciminus est le rempart.

"Au sud, la plaine se prolonge jusqu'à la mer. Ici sont les Latins, qui, n'ayant pas des montagnes pour leur servir de citadelle et de refuge, commenceront par être des alliés.

"Nous pouvons donc embrasser le panorama historique des premiers combats qu'eurent à soutenir et que soutinrent si vaillamment les Romains affranchis."-Ampère, Hist. Rom. ii. 373.

Beneath the Palace of the Senator (entered by a door in the street on the right), are the gigantic remains of the Tabularium, consisting of huge rectangular blocks of peperino supporting a Doric colonnade, which is shown by an inscription still preserved to have been that of the public Record Office, where the Tabul?, engraved plates bearing important decrees of the Senate, were preserved, having been placed there by Q. Lutatius Catulus in B.C. 79. A gallery in the interior of the Tabularium has been fitted up as a museum of architectural antiquities collected from the neighbouring temples. This building is as it were the boundary between inhabited Rome and that Rome which is a city of ruins.

"I came to the Capitol, and looked down on the other side. There before my eyes opened an immense grave, and out of the grave rose a city of monuments in ruins, columns, triumphal arches, temples, and palaces, broken, ruinous, but still beautiful and grand,-with a solemn mournful beauty! It was the giant apparition of ancient Rome."-Frederika Bremer.

The traces of an ancient staircase still exist, which led down from the Tabularium to the Forum. This is believed by many to have been the path by which the besiegers under Vitellius, A.D. 69, attacked the Capitol.

The east side of the piazza-on the left as one stands at the head of the steps-is the Museo Capitolino (open daily from 9 to 4, for a fee; and on Mondays and Thursdays gratis, from 2? to 4?).

Above the fountain in the court, opposite the entrance, reclines the colossal statue of a river-god, called Marforio, removed hither from the end of the Via di Marforio (Forum Martis?) near the arch of Severus. This figure, according to Roman fancy, was the friend and gossip of Pasquin (at the Palazzo Braschi), and lively dialogues, merciless to the follies of the government and the times, used to appear with early morning, placarded on their respective pedestals, as passing between the two. Thus, when Clement XI. mulcted Rome of numerous sums to send to his native Urbino, Marforio asked, "What is Pasquino doing?" The next morning Pasquin answered, "I am taking care of Rome, that it does not go away to Urbino." In the desire of putting an end to such inconvenient remarks, the government ordered the removal of one of the statues to the Capitol, and, since Marforio has been shut up, Pasquino has lost his spirits.

From the corridor on the ground floor open several rooms devoted to ancient inscriptions and sarcophagi with bas-reliefs. The first room on the left has some bronzes-in the centre a mutilated horse, found, 1849, in the Trastevere.

"Calamis, venu un peu avant Phidias, n'eut point de rival pour les chevaux. Calamis, qui fut fondeur en bronze, serait-il l'auteur du cheval de bronze du Capitole, qui, en effet, semble plut?t un peu antérieur que postérieur à Phidias?"-Ampère, Hist. Rom. iii. 234.

At the foot of the staircase is a colossal statue of the Emperor Hadrian, found on the C?lian.

The Staircase is lined with the fragments of the Pianta Capitolina, a series of marble slabs of imperial date (found in the sixteenth century under SS. Cosmo and Damian), inscribed with ground plans of Rome, and exceedingly important from the light they throw upon the ancient topography of the city.

The upper Corridor is lined with statues and busts. Here and elsewhere we will only notice those especially remarkable for beauty or historic interest.[40]

L. 12. Satyr playing on a flute.

R. 13. Cupid bending his bow.

R. 20. Old woman intoxicated.

"Tout le monde a remarqué dans le musée du Capitole une vieille femme serrant des deux mains une bouteille, la bouche entr'ouverte, les yeux mourants tournés vers le ciel, comme si, dans la jubilation de l'ivresse, elle savourait le vin qu'elle vient de boire. Comment ne pas voir dans cette caricature en marbre une reproduction de la Vielle Femme ivre de Myron, qui passait pour une des curiosités de Smyrne."-Ampère, Hist. Rom. iii. 272.

L. 26. The infant Hercules strangling a serpent.

L. 28. Grand Sarcophagus-the Rape of Proserpine.

R. 33. Satyr playing on a flute.

(In the wall on the left inscriptions from the columbarium of Livia.)

R. 43. Head of Ariadne.

L. 48. Sarcophagus-the birth and childhood of Bacchus.

L. 56. Statue, draped.

R. 64. Jupiter, on a cippus with a curious relief of Claudia drawing the boat with the image of the Magna Mater up the Tiber.

L. 69. Bust of Caligula.

R. 70. Marcus Aurelius, as a boy-a very beautiful bust.

R. 70. Statue of Minerva from Velletri. The same as that in the Braccio Nuovo of the Vatican.

R. 72. Trajan.

76. In the window, a magnificent vase, found near the tomb of Cecilia Metella, standing on a puteal adorned with reliefs of the twelve principal gods and goddesses.

From the right of this corridor open two chambers. The first is named the Room of the Doves, from the famous mosaic found in the ruins of Hadrian's villa near Tivoli, and generally called Pliny's Doves, because Pliny, when speaking of the perfection to which the mosaic art had attained, describes a wonderful mosaic of Sosus of Pergamos, in which one dove is seen drinking and casting her shadow on the water, while others are pluming themselves on the edge of the vase. As a pendant to this is another Mosaic, of a Tragic and Comic Mask. In the farther window is the Iliac Tablet, an interesting relief in the soft marble called palombino, relating to the story of the destruction of Troy, and the flight of ?neas, and found at Bovill?.

"L'ensemble de la guerre contre Troie est contenu dans un abrégé figuré qu'on appelle la Table Iliaque, petit bas-relief destiné à offrir un résumé visible de cette guerre aux jeunes Romains, et à servir dans les écoles soit pour l'Iliade, soit pour les po?mes cycliques comme d'un Index parlant.

"La Table Iliaque est un ouvrage romain fait à Rome. Tout ce qui touche aux origines troyennes de cette ville, inconnues à Homère et célébrées surtout par Stésichore avant de l'être par Virgile, tient dans ce bas-relief une place importante et domine dans sa composition."-Ampère, Hist. Rom. iii. 431.

In the centre of the room is a pretty statuette of a girl shielding a dove.

The second chamber, known as The Reserved Cabinet, contains the famous Venus of the Capitol-a Greek statue, found immured in a wall upon the Quirinal.

"La vérité et la complaisance avec lesquelles la nature est rendue dans la Vénus du Capitole faisaient de cette belle statue,-qui pourtant n'a rien d'indécent bien que par une pruderie peu chaste on l'ait reléguée dans un cabinet réservé,-faisaient de cette belle statue un sujet de scandale pour l'austérité des premiers chrétiens. C'était sans doute afin de la soustraire à leurs mutilations qu'on l'avait enfouie avec soin, ce qui l'a conservée dans son intégrité; ainsi son danger l'a sauvée. Comme on l'a trouvée dans le quartier suspect de la Suburra, on peut supposer qu'elle ornait l'atrium élégant de quelque riche courtisane."-Ampère, iii. 318.

The two smaller sculptures of Leda and the Swan, and Cupid and Psyche-two lovely children embracing (most needlessly secluded here), were found on the Aventine.

From the end of the gallery we enter

The Hall of the Emperors. In the centre is the beautiful seated statue of Agrippina (grand-daughter of Augustus-wife of Germanicus-and mother of Caligula).

"On s'arrête avec respect devant la première Agrippine, assise avec une si noble simplicité et dont le visage exprime si bien la fermeté virile."-Ampère, iv.

"Ici nous la contemplons telle que nous pouvons nous la figurer après la mort de Germanicus. Elle semble mise aux fers par le destin, mais sans pouvoir encore renoncer aux pensées superbes dont son ame était remplie aux jours de son bonheur."-Braun.

Round the room are ranged 83 busts of Roman emperors, empresses, and their near relations, forming perhaps the most interesting portrait gallery in the world. Even viewed as works of art, many of them are of the utmost importance. They are-

1. Julius C?sar, nat. B.C. 100; ob. B.C. 44.

2. Augustus, Imp. B.C. 12-A.D. 14.

3. Marcellus, his nephew and son-in-law, son of Octavia, ob. B.C. 23, aged 20.

4, 5. Tiberius, Imp. A.D. 14-37.

6. Drusus, his brother, son of Livia and Claudius Nero, ob. B.C. 10.

7. Drusus, son of Tiberius and Vipsania, ob. A.D. 23.

8. Antonia, daughter of Mark Antony and Octavia, wife of the elder Drusus, mother of Germanicus and Claudius.

9. Germanicus, son of Drusus and Antonia, ob. A.D. 19.

10. Agrippina, daughter of Julia and Agrippa, granddaughter of Augustus, wife of Germanicus. Died of starvation under Tiberius, A.D. 33.

11. Caligula, Imp. A.D. 37-41, son of Germanicus and Agrippina. Murdered by the tribune Cher?a (in basalt).

12. Claudius, Imp. A.D. 41-54, younger son of Drusus and Antonia. Poisoned by Agrippina.

13. Messalina, third wife of Claudius. Put to death by Claudius, A.D. 48.

"Une grosse commère sensuelle, aux traits bouffis, à l'air assez commun, mais qui pouvait plaire à Claude."-Ampère, Emp. ii. 32.

14. Agrippina the younger, sixth wife of Claudius, daughter of Germanicus and Agrippina the elder, great-granddaughter of Augustus. Murdered by her son Nero, A.D. 60.

"Ce buste la montre avec cette beauté plus grande que celle de sa mère, et qui était pour elle un moyen. Agrippine a les yeux levés vers le ciel, on dirait qu'elle craint, et qu'elle attend."-Emp. ii. 34.

15, 16. Nero, Imp. A.D. 54-69, son of Agrippina the younger by her first husband, Ahenobarbus. Died by his own hand.

17. Popp?a Sabina (?), second wife of Nero. Killed by a kick from

her husband, A.D. 62.

"Ce visage a la délicatesse presque enfantine que pouvait offrir celui de cette femme, dont les molles recherches et les soins curieux de toilette étaient célèbres, et dont Diderot a dit avec vérité, bien qu'avec un peu d'emphase, 'C'était une furie sous le visage des graces.'"-Emp. ii. 38.

18. Galba, Imp. A.D. 69. Murdered in the Forum.

19. Otho, Imp. A.D. 69. Died by his own hand.

20. Vitellius (?), Imp. A.D. 69. Murdered at the Scal? Gemoni?.

21. Vespasian, Imp. A.D. 70-79.

22. Titus, Imp. A.D. 79-81. Supposed to have been poisoned by Domitian.

23. Julia, daughter of Titus.

24. Domitian, Imp. A.D. 81-96, son of Vespasian. Murdered in the Palace of the C?sars.

"Domitien est sans comparaison le plus beau des trois Flaviens: mais c'est une beauté formidable, avec un air farouche et faux."-Emp. ii. 12.

25. Longina (?).

26. Nerva (?), Imp. A.D. 96.

27. Trajan, Imp. A.D. 98-118.

28. Plotina, wife of Trajan.

29. Marciana, sister of Trajan.

30. Matidia, daughter of Marciana, niece of Trajan.

31, 32. Hadrian, Imp. A.D. 118-138, adopted son of Trajan.

33. Julia Sabina, wife of Hadrian, daughter of Matidia.

34. Elius Verus, first adopted son of Hadrian.

35. Antoninus Pius, Imp. A.D. 138-161, second adopted son of Hadrian.

36. Faustina the elder, wife of Antoninus Pius and sister of Elius Verus.

37. Marcus Aurelius, Imp. A.D. 161-180, son of Servianus by Paulina, sister of Hadrian, adopted by Antoninus Pius, as a boy.

38. Marcus Aurelius, in later life.

39. Annia Faustina, wife of Marcus Aurelius, daughter of Antoninus Pius and Faustina the elder.

40. Galerius Antoninus, son of Antoninus Pius.

41. Lucius Verus, son-in-law of Marcus Aurelius.

42. Lucilla, wife of Lucius Verus, daughter of Marcus Aurelius and Faustina the younger. Put to death at Capri for a plot against her husband.

43. Commodus, Imp. A.D. 180-193, son of Marcus Aurelius and Faustina. Murdered in the Palace of the C?sars.

44. Crispina, wife of Commodus. Put to death by her husband at Capri.

45. Pertinax, Imp. A.D. 193, successor of Commodus, reigned three months. Murdered in the Palace of the C?sars.

46. Didius Julianus, Imp. A.D. 193, successor of Pertinax. Murdered in the Palace of the C?sars.

47. Manlia Scantilla (?), wife of Didius Julianus.

48. Pescennius Niger,

49. Clodius Albinus, -rival candidates (after murder of Didius

Julianus, A.D. 193) for the Empire, which

they failed to obtain, and were both put to death.

50, 51. Septimius Severus, Imp. A.D. 193-211, successor of Didius Julianus.

52. Julia Pia, wife of Septimius Severus.

53. Caracalla, Imp. A.D. 211-217, son of Sept. Severus and Julia Pia. Murdered.

54. Geta, brother of Caracalla, by whose order he was murdered in the arms of Julia Pia.

55. Macrinus, Imp. A.D. 217, murderer and successor of Caracalla. Murdered.

56. Diadumenianus, son of Macrinus. Murdered with his father.

57. Heliogabalus, Imp. A.D. 218-222, son of Julia Soemis, daughter of Julia M?sa, who was sister of Julia Pia. Murdered.

58. Annia Faustina, third wife of Heliogabalus, great-granddaughter of Marcus Aurelius.

59. Julia M?sa, sister-in-law of Septimius Severus, aunt of Caracalla, and grandmother of Alexander Severus.

60. Alexander Severus, Imp., son of Julia Mammea, second daughter of Julia M?sa. Murdered at the age of 30.

61. Julia Mammea, daughter of Julia M?sa, and mother of Alexander Severus. Murdered with her son.

62. Julius Maximinus, Imp. 235-238; elected by the army. Murdered.

63. Maximus. Murdered with his father, at the age of 18.

64. Gordianus Africanus, Imp. 238; a descendant of Trajan. Died by his own hand.

65. (Antoninus) Gordianus, Junior, Imp. 238, son of Gordianus Africanus and Fabia Orestella, great-granddaughter of Antoninus Pius. Died in battle.

66. Pupienus, Imp. 238,

67. Balbinus, Imp. 238, reigned together for four months and then

were murdered.

68. Gordianus Pius, Imp. 238, grandson, through his mother, of Gordianus Africanus. Murdered.

69. Philip II., Imp. 244, son of, and co-emperor with Philip I. Murdered.

70. Decius(?), Imp. 249-251. Forcibly elected by the army. Killed in battle.

71. Quintus Herennius Etruscus, son of Decius and Herennia Etruscilla. Killed in battle with his father.

72. Hostilianus, son or son-in-law of Decius, Imp. 251, with Treb. Gallus. Murdered.

73. Trebonianus Gallus, Imp. 251-254. Murdered.

74, 75. Volusianus, son of Trebonianus Gallus. Murdered.

76. Gallienus, Imp. 261-268. Murdered.

77. Salonina, wife of Gallienus.

78. Saloninus, son of Gallienus and Salonina. Put to death by Postumus, A.D. 259, at the age of 17.

79. Marcus Aurelius Carinus, Imp. 283, son of the Emperor Carus. Murdered.

80. Diocletian, Imp. 284-305; elected by the army.

81. Constantinus Chlorus, Imp. 305-306, son of Eutropius and Claudia, niece of the Emperor Claudius and Quintilius, father of Constantine the Great.

82. Julian the Apostate, Imp. 361-363, son of Julius Constantius and nephew of Constantine the Great. Died in battle.

83. Magnus Decentius, brother of the Emperor Magnentius. Strangled himself, 353.

"In their busts the lips of the Roman emperors are generally closed, indicating reserve and dignity, free from human passions and emotions."-Winckelmann.

"At Rome the emperors become as familiar as the popes. Who does not know the curly-headed Marcus Aurelius, with his lifted brow and projecting eyes-from the full round beauty of his youth to the more haggard look of his latest years? Are there any modern portraits more familiar than the severe wedge-like head of Augustus, with his sharp cut lips and nose,-or the dull phiz of Hadrian, with his hair combed down over his low forehead,-or the vain, perking face of Lucius Verus, with his thin nose, low brow, and profusion of curls,-or the brutal bull head of Caracalla,-or the bestial, bloated features of Vitellius?

"These men, who were but lay figures to us at school, mere pegs of names to hang historic robes upon, thus interpreted by the living history of their portraits, the incidental illustrations of the places where they lived and moved and died, and the buildings and monuments they erected, become like men of yesterday. Art has made them our contemporaries. They are as near to us as Pius VII. and Napoleon."-Story's Roba di Roma.

"Nerva est le premier des bons, et Trajan le premier des grands empereurs romains; après lui il y en eut deux autres, les deux Antonins. Trois sur soixante-dix, tel est à Rome le bilan des gloires morales de l'empire."-Ampère, Hist. Rom. liii.

Among the reliefs round the upper walls of this room are two,-of Endymion sleeping, and of Perseus delivering Andromeda, which belong to the set in the Palazzo Spada, and are exceedingly beautiful.

The Hall of Illustrious Men contains a seated statue of M. Claudius Marcellus (?), the conqueror of Syracuse, B.C. 212. Round the room are ranged 93 busts of ancient philosophers, statesmen, and warriors. Among the more important are:-

4, 5, 6. Socrates. 48. Cneius Domitius Corbulo, general under Claudius and Nero.

9. Aristides, the orator. 49. Scipio Africanus.

10. Seneca (?). 52. Cato Minor.

16. Marcus Agrippa. 54. Aspasia(?).

19. Theophrastus. 55. Cleopatra (?).

23. Thales. 60. Thucydides (?).

25. Theon. 61. ?schines.

27. Pythagoras. 62, 64. Epicurus.

28. Alexander the Great(?). 63. Epicurus and Metrodorus.

30. Aristophanes. 68, 69. Masinissa.

31. Demosthenes. 71. Antisthenes.

38. Aratus. 72, 73. Julian the Apostate.

39, 40. Democritus of Aldera. 75. Cicero.

42, 43. Euripides. 76. Terence.

44, 45, 46. Homer. 82. ?schylus (?).

47. Eumenides.

Among the interesting bas-reliefs in this room is one of a Roman interior with a lady trying to persuade her cat to dance to a lyre-the cat, meanwhile, snapping, on its hind legs, at two ducks; the detail of the room is given-even to the slippers under the bed.

The Saloon contains, down the centre,

1. Jupiter (in nero-antico), from Porto d'Anzio, on an altar with figures of Mercury, Apollo, and Diana.

2, 4. Centaurs (in bigio-morato), by Aristeas and Papias (their names are on the bases), from Hadrian's villa.

3. The young Hercules, found on the Aventine. It stands on an altar of Jupiter.

"On voit au Capitole une statue d'Hercule très-jeune, en basalte, qui frappe assez désagréablement, d'abord, par le contraste, habilement exprimé toutefois, des formes molles de l'enfance et de la vigueur caractéristique du héros. L'imitation de la Grèce se montre même dans la matière que l'artiste a choisie; c'est un basalt verdatre, de couleur sombre. Tisagoras et Alcon avaient fait un Hercule en fer, pour exprimer la force, et, comme dit Pline, pour signifier l'énergie persévérante de dieu."-Ampère, Hist. Rom. iii. 406.

5. ?sculapius (in nero-antico), on an altar, representing a sacrifice.

Among the statues and busts round the room the more important are:-

9. Marcus Aurelius.

14. A Satyr.

21. Hadrian, as Mars, from Ceprano.

24. Hercules, in gilt bronze, found in the Forum-Boarium (the columns on either side come from the tomb of Cecilia Metella).

"On cite de Myron trois Hercules, dont deux à Rome; l'un de ces derniers a probablement servi de modèle à l'Hercule en bronze doré du Capitole. Cette statue a été trouvée dans le marché aux B?ufs, non loin du grand cirque. L'Hercule de Myron était dans un temple élevé par Pompée et situé près du grand cirque; mais la statue du Capitole, dont le geste est maniéré, quel que soit son mérite, n'est pas assez parfaite qu'on puisse y reconna?tre une ?uvre de Myron. Peut-être Pompée n'avait placé dans son temple qu'une copie de l'un des deux Hercules de Myron et la donnait pour l'original; peut-être aussi Pline y a-t-il été trompé. La vanité que l'un montre dans tous les actes de sa vie et le peu de sentiment vrai que trahit si souvent la vaste composition de l'autre s'accordent également avec cette supposition et la rendent assez vraisemblable."-Ampère, Hist. Rom. iii. 273.

28. Hecuba.

"Nous avons le personnage même d'Hécube dans la Pleureuse du Capitole. Cette prétendué pleureuse est une Hécube furieuse et une Hécube en scène, car elle porte le costume, elle a le geste et la vivacité du théatre, je dirais volontiers de la pantomime.... Son regard est tourné vers le ciel, sa bouche lance des imprécations; on voit qu'elle pourra faire entendre ces hurlements, ces aboiements de la douleur effrénée que l'antiquité voulut exprimer en supposant que la malheureuse Hécube avait été métamorphosée en chienne, une chienne à laquelle on a arraché ses petits."-Ampère, Hist. Rom. iii. 468.

31. Colossal bust of Antoninus Pius.

The Hall of the Faun derives its name from the famous Faun of rosso-antico, holding a bunch of grapes to his mouth, found in Hadrian's Villa. It stands on an altar dedicated to Serapis. Against the right wall is a magnificent sarcophagus, whose reliefs (much studied by Flaxman) represent the battle of Theseus and the Amazons. The opposite sarcophagus has a relief of Diana and Endymion. We should also notice-

15. A boy with a mask.

21. A boy with a goose (found near the Lateran).

Let into the wall is a black tablet-the Lex Regia, or Senatus-Consultum, conferring imperial powers upon Vespasian, being the very table upon which Rienzi declaimed in favour of the rights of the people.

The Hall of the Dying Gladiator contains the three gems of the collection-"the Gladiator," "the Antinous of the Capitol," and the "Faun of Praxiteles." Besides these, we should notice-2. Apollo with the lyre, and 9. a bust of M. Junius Brutus, the assassin of Julius C?sar.

In the centre of the room is the grand statue of the wounded Gaul, generally known as the Dying Gladiator.

"I see before me the gladiator lie:

He leans upon his hand-his manly brow

Consents to death, but conquers agony,

And his drooped head sinks gradually low,-

And through his side the last drops, ebbing slow

From the red gash, fall heavy, one by one,

Like the first of a thunder-shower; and now

The arena swims around him-he is gone,

Ere ceased the inhuman shout which hailed the wretch who won.

"He heard it, but he heeded not-his eyes

Were with his heart, and that was far away;

He reck'd not of the life he lost, nor prize,

But where his rude hut by the Danube lay

There were his young barbarians all at play,

There was their Dacian mother-he, their sire,

Butchered to make a Roman holiday.

All this rushed with his blood-shall he expire,

And unavenged? Arise, ye Goths, and glut your ire!"

Byron, Childe Harold.

It is delightful to read in this room the description in Transformation:-

"It was that room in the centre of which reclines the noble and most pathetic figure of the dying gladiator, just sinking into his death-swoon. Around the walls stand the Antinous, the Amazon, the Lycian Apollo, the Juno; all famous productions of antique sculpture, and still shining in the undiminished majesty and beauty of their ideal life, although the marble that embodies them is yellow with time, and perhaps corroded by the damp earth in which they lay buried for centuries. Here, likewise, is seen a symbol (as apt at this moment as it was two thousand years ago) of the Human Soul, with its choice of Innocence or Evil close at hand, in the pretty figure of a child, clasping a dove to her bosom, but assaulted by a snake.

"From one of the windows of this saloon, we may see a broad flight of stone steps, descending alongside the antique and massive foundation of the Capitol, towards the battered triumphal arch of Septimius Severus, right below. Farther on, the eye skirts along the edge of the desolate Forum (where Roman washerwomen hang out their linen to the sun), passing over a shapeless confusion of modern edifices, piled rudely up with ancient brick and stone, and over the domes of Christian churches, built on the old pavements of heathen temples, and supported by the very pillars that once upheld them. At a distance beyond-yet but a little way, considering how much history is heaped into the intervening space-rises the great sweep of the Coliseum, with the blue sky brightening through its upper tier of arches. Far off, the view is shut in by the Alban mountains, looking just the same, amid all this decay and change, as when Romulus gazed thitherward over his half-finished wall.

"In this chamber is the Faun of Praxiteles. It is the marble image of a young man, leaning his right arm on the trunk or stump of a tree: one hand hangs carelessly by his side, in the other he holds a fragment of a pipe, or some such sylvan instrument of music. His only garment, a lion's skin with the claws upon the shoulder, falls half-way down his back, leaving his limbs and entire front of the figure nude. The form, thus displayed, is marvellously graceful, but has a fuller and more rounded outline, more flesh, and less of heroic muscle, than the old sculptors were wont to assign to their types of masculine beauty. The character of the face corresponds with the figure; it is most agreeable in outline and feature, but rounded and somewhat voluptuously developed, especially about the throat and chin; the nose is almost straight, but very slightly curves inward, thereby acquiring an indescribable charm of geniality and humour. The mouth, with its full yet delicate lips, seems so really to smile outright, that it calls forth a responsive smile. The whole statue-unlike anything else that ever was wrought in the severe material of marble-conveys the idea of an amiable and sensual creature, easy, mirthful, apt for jollity, yet not incapable of being touched by pathos. It is impossible to gaze long at this stone image, without conceiving a kindly sentiment towards it, as if its substance were warm to the touch, and imbued with actual life. It comes very near to some of our pleasantest sympathies."-Hawthorne.

"Praxitèle avait dit à Phryné de choisir entre ses ouvrages celui qu'elle aimerait le mieux. Pour savoir lequel de ses chefs-d'?uvre l'artiste préférait, elle lui fit annoncer que le feu avait pris à son atelier. 'Sauvez, s'écria-t-il, mon Satyre et mon Amour!'"-Ampère, Hist. Rom. iii. 309.

The west or right side of the Capitoline Piazza is occupied by the Palace of the Conservators, which contains the Protomoteca, the Picture Gallery, and various other treasures.

The little court at the entrance is full of historical relics, including remains of two gigantic statues of Apollo; a colossal head of Domitian; and the marble pedestal, which once in the mausoleum of Augustus supported the cinerary urn of Agrippina, wife of Germanicus, with a very perfect inscription. In the opposite loggia are a statue of Rome Triumphant, and a group of a lion attacking a horse, found in the bed of the Almo. In the portico on the right is the only authentic statue of Julius C?sar; on the left, a statue of Augustus, leaning against the rostrum of a galley, in allusion to the battle of Actium.

The Protomoteca, a suite of eight rooms on the ground floor, contains a collection of busts of eminent Italians, with a few foreigners considered as naturalised by a long residence in Rome. Those in the second room, representing artists of the thirteenth, fourteenth, and fifteenth centuries, were entirely executed at the expense of Canova.

At the foot of the staircase is a restoration by Michael Angelo of the column of Caius Duilius. On the upper flight of the staircase is a bas-relief of Curtius leaping into the gulf, here represented as a marsh.

"Un bas-relief d'un travail ancien, dont le style ressemble à celui des figures peintes sur les vases dits archa?ques, représente Curtius engagé dans son marais; le cheval baisse la tête et flaire le marécage, qui est indiqué par des roseaux. Le guerrier penché en avant, presse sa monture. On a vivement, en présence de cette curieuse sculpture, le sentiment d'un incident héro?que probablement réel, et en même temps de l'aspect primitif du lieu qui en fut témoin."-Ampère, Hist. Rom. i. 321.

On the first and second landings are magnificent reliefs, representing events in the life of Marcus Aurelius, Imp., belonging to the arch dedicated to him, which was wantonly destroyed, in order to widen the Corso, by Alexander VII.

"Jusqu'au lègne de Commode Rome est représentée par une Amazone; dans l'escalier du palais des Conservateurs, Rome, en tunique courte d'Amazone et le globe à la main, re?oit Marc Aurèle; le globe dans la main de Rome date de César."-Ampère, iii. 242.

The Halls of the Conservators consist of eight rooms. The 1st, painted in fresco from the history of the Roman kings, by the Cavaliere d'Arpino, contains statues of Urban VIII., by Bernini; Leo X., by the Sicilian Giacomo della Duca;[41] and Innocent X., in bronze, by Algardi. The 2nd room, adorned with subjects from republican history by Lauretti, has statues of modern Roman generals-Marc Antonio Colonna, Tommaso Rospigliosi, Francesco Aldobrandini, Carlo Barberini, brother of Urban VIII., and Alessandro Farnese, Duke of Parma. The 3rd room, painted by Daniele di Volterra, with subjects from the wars with the Cimbri, contains the famous Bronze Wolf of the Capitol, one of the most interesting relics in the city. The figure of the wolf is of unknown antiquity; those of Romulus and Remus are modern. It has been doubted whether this is the wolf described by Dionysius as "an ancient work of brass" standing in the temple of Romulus under the Palatine, or the wolf described by Cicero, who speaks of a little gilt figure of the founder of the city sucking the teats of a wolf. The Ciceronian wolf was struck by lightning in the time of the great orator, and a fracture in the existing figure, attributed to lightning, is adduced in proof of its identity with it.

"Geminos huic ubera circum

Ludere pendentes pueros, et lambere matrem

Impavidos: illam tereti cervice reflexam

Mulcere alternos, et corpora fingere lingua."

Virgil, ?n. viii. 632.

"And thou, the thunder-stricken nurse of Rome!

She-wolf! whose brazen-imaged dugs impart

The milk of conquest yet within the dome

Where, as a monument of antique art,

Thou standest:-mother of the mighty heart,

Which the great founder sucked from thy wild teat,

Scorch'd by the Roman Jove's ethereal dart,

And thy limbs black with lightning-dost thou yet

Guard thy immortal cubs, nor thy fond charge forget?"

Byron, Childe Harold.

Standing near the wolf is the well-known and beautiful figure of a boy extracting a thorn from his foot, called the Shepherd Martius.

"La ressemblance du type si fin de l'Apollon au lézard et du charmant bronze du Capitole le tíreur d'épine est trop frappante pour qu'on puisse se refuser à voir dans celui-ci une inspiration de Praxitèle ou de son école. C'est tout simplement un enfant arrachant de son pied une épine qui l'a blessé, sujet na?f et champêtre analogue au Satyre se faisant rendre ce service par un autre Satyre. On a voulu y voir un athlète blessé par une épine pendant sa course et qui n'en est pas moins arrivé au but; mais la figure est trop jeune et n'a rien d'athlétique. Le moyen age avait donné aussi son explication et inventé sa legende. On raccontait qu'un jeune berger, envoyé à la découverte de l'ennemi, était revenu sans s'arrêter et ne s'était permis qu'alors d'arracher une épine qui lui blessait le pied. Le moyen age avait senti le charme de cette composition qu'il interprétait à sa manière, car elle est sculptée sur un arceau de la cathédrale de Zurich qui date du siècle de Charlemagne."-Ampère, iii. 315.

Forming part of the decorations of this room are two fine pictures, a dead Christ with a monk praying, and Sta. Francesca Romana, by Romanelli. Near the door of exit is a bust said to be that of Junius Brutus.

"Il est permis de voir dans le buste du Capitole un vrai portrait de Brutus; il est difficile d'en douter en le contemplant. Voilà bien le visage farouche, la barbe hirsute, les cheveux roides collés si rudement sur le front, la physiognomie inculte et terrible du prémier consul romain; la bouche serrée respire la détermination et l'énergie; les yeux, formés d'une matière jaunatre, se détachent en clair sur le bronze noirci par les siècles et vous jettent un regard fixe et farouche. Tout près est la louve de bronze. Brutus est de la même famille. On sent qu'il y a du lait de cette louve dans les veines du second fondateur de Rome, comme dans les veines du premier, et que lui aussi, pareil au Romulus de la légende, marchera vers son but à travers le sang des siens.

"Le buste de Brutus est placé sur un piédestal qui le met à la hauteur du regard. Là, dans un coin sombre, j'ai passé bien des moments face à face avec l'impitoyable fondateur de la liberté romaine."-Ampère, Hist. Rom. ii. 270.

The 4th Room contains the Fasti Consulares, tables found near the temple of Minerva Chalcidica, and inscribed with the names of public officers from Romulus to Augustus. The 5th Room contains two bronze ducks (formerly shown as the sacred geese of the Capitol) and a female head-found in the gardens of Sallust, a bust of Medusa, by Bernini, and many others. The 6th, or Throne Room, hung with faded tapestry, has a frieze in fresco, by Annibale Caracci, representing the triumphs of Scipio Africanus. The 7th Room is painted by Daniele da Volterra(?) with the history of the Punic Wars. The 8th Room (now used as a passage) is a chapel, containing a lovely fresco, by Pinturicchio, of the Madonna and Child with Angels.

"The Madonna is seated enthroned, fronting the spectator; her large mantle forms a grand cast of drapery; the child on her lap sleeps in the loveliest attitude; she folds her hands and looks down, quiet, serious, and beautiful: in the clouds are two adoring angels."-Kugler.

The four Evangelists are by Caravaggio; the pictures of Roman saints (Cecilia, Alexis, Eustachio, Francesca-Romana), by Romanelli.

By the same staircase, passing on the left a wonderful relief of the apotheosis of the wicked Faustina, we may arrive at the Picture Gallery of the Capitol (which can also be approached by a separate staircase, entered from an alley at the back of the building), reached by two rooms inscribed with the names of the Roman Conservators from the middle of the sixteenth century. This gallery contains very few first-rate pictures, but has a beautiful St. Sebastian, by Guido, and several fine works of Guercino. The most noticeable pictures are-

1st Room.-

2. Disembodied Spirit (unfinished): Guido Reni.

13. St. John Baptist: Guercino.

16. Mary Magdalene: Guido Reni.

20. The Cum?an Sibyl: Domenichino.

26. Mary Magdalene: Tintoretto.

27. Presentation in the Temple: Fra. Bartolomeo.

30. Holy Family: Garofalo.

52. Madonna and Saints: Botticelli?

61. Portrait of himself: Guido Reni.

78. Madonna and Saints: F. Francia, 1513.

80. Portrait: Velasquez.

87. St. Augustine: Giovanni Bellini.

89. Romulus and Remus: Rubens.

2nd Room.-

100. Two male portraits: Vandyke.

104. Adoration of the Shepherds: Mazzolino.

106. Two Portraits: Vandyke.

116. St. Sebastian: Guido Reni.

117. Cleopatra and Augustus: Guercino.

119. St. Sebastian: Lud. Caracci.

128. Gipsy telling a fortune: Caravaggio.

132. Portrait: Giovanni Bellini.

134. Portrait of Michael Angelo: M. Venusti?

136. Petrarch: Gio. Bellini?

142. Nativity of the Virgin: Albani.

143. Sta. Petronilla: Guercino. An enormous picture, brought hither from St. Peter's, where it has been replaced by a mosaic copy. The composition is divided into two parts. The lower represents the burial of Sta. Petronilla, the upper the ascension of her spirit.

"The Apostle Peter had a daughter, born in lawful wedlock, who accompanied him in his journey from the East. Petronilla was wonderfully fair; and Valerius Flaccus, a young and noble Roman, who was a heathen, became enamoured of her beauty, and sought her for his wife; and he, being very powerful, she feared to refuse him; she therefore desired him to return in three days, and promised that he should then carry her home. But she prayed earnestly to be delivered from this peril; and when Flaccus returned in three days, with great pomp, to celebrate the marriage, he found her dead. The company of nobles who attended him, carried her to the grave, in which they laid her, crowned with roses; and Flaccus lamented greatly."-Mrs. Jameson, from the Perfetto Legendario.

199. Death and Assumption of the Virgin: Cola della Matrice.

"Here the death of the Virgin is treated at once in a mystical and dramatic style. Enveloped in a dark blue mantle, spangled with golden stars, she lies extended on a couch; St. Peter, in a splendid scarlet cope as bishop, reads the service; St. John, holding the palm, weeps bitterly. In front, and kneeling before the couch or bier, appear the three great Dominican saints as witnesses of the religious mystery; in the centre St. Dominic; on the left, St. Catherine of Siena; and on the right, St. Thomas Aquinas. In a compartment above is the Assumption."-Jameson's Legends of the Madonna, p. 315.

123. Virgin and Angels: Paul Veronese.

124. Rape of Europa: Paul Veronese.

At the head of the Capitol steps, to the right of the terrace, is the entrance to the Palazzo Caffarelli, the residence of the Prussian minister. It has a small but beautiful garden, and the view from the windows is magnificent.

"After dinner, Bunsen called for us, and took us first to his house on the Capitol, the different windows of which command the different views of ancient and modern Rome. Never shall I forget the view of the former; we looked down on the Forum, and just opposite were the Palatine and the Aventine, with the ruins of the Palace of the C?sars on the one, and houses intermixed with gardens on the other. The mass of the Coliseum rose beyond the Forum, and beyond all, the wide plain of the Campagna to the sea. On the left rose the Alban hills, bright in the setting sun, which played full upon Frescati and Albano, and the trees which edge the lake, and further away in the distance, it lit up the old town of Labicum."-Arnold's Letters.

From the further end of the courtyard of the Caffarelli Palace one can look down upon part of the bare cliff of the Rupe Tarpeia. Here there existed till 1868 a small court, which is represented as the scene of the murder in Hawthorne's Marble Faun, or "Transformation." The door, the niche in the wall, and all other details mentioned in the novel, were realities. The character of the place is now changed by the removal of the boundary-wall. The part of the rock seen from here is that usually visited from below by the Via Tor de' Specchi.

To reach the principal portion of the south-eastern height of the Capitol, we must ascend the staircase beyond the Palace of the Conservators, on the right. Here we shall find ourselves upon the highest part of

"The Tarpeian rock, the citadel

Of great and glorious Rome, queen of the earth,

So far renown'd, and with the spoils enriched

Of nations."

Paradise Regained.

"The steep

Tarpeian, fittest goal of treason's race,

The promontory whence the traitor's leap

Cured all ambition."

Childe Harold.

The dirty lane, with its shabby houses, and grass-grown spaces, and filthy children, has little to remind one of the appearance of the hill as seen by Virgil and Propertius, who speak of the change in their time from an earlier aspect.

"Hinc ad Tarpeiam sedem, et Capitolia ducit,

Aurea nunc, olim, silvestribus horrida dumis,

Jam tum religio pavidos terrebat agrestes

Dira loci; jam tum silvam saxumque tremebant."

Virgil, ?n. viii. 347.

"Hoc quodcumque vides, hospes, qua maxima Roma est,

Ante Phrygem Aeneam collis et herba fuit."

Propertius, iv. eleg. I.

It was on this side that the different attacks were made upon the Capitol. The first was by the Sabine Herdonius at the head of a band of slaves, who scaled the heights and surprised the garrison, in B.C. 460, and from the heights of the citadel proclaimed freedom to all slaves who should join him, with abolition of debts, and defence of the plebs from their oppressors; but his offers were disregarded, and on the fourth day the Capitol was re-taken, and he was slain with nearly all his followers. The second attack was by the Gauls, who, according to the well-known story, climbed the rock near the Porta Carmentale, and had nearly reached the summit unobserved-for the dogs neglected to bark-when the cries of the sacred geese of Juno aroused an officer named Manlius, who rushed to the defence, and hurled over the precipice the first assailant, who dragged down others in his fall, and thus the Capitol was saved. In remembrance of this incident, a goose was annually carried in triumph, and a dog annually crucified upon the Capitol, between the temple of Summanus and that of Youth.[42] This was the same Manlius, the friend of the people, who was afterwards condemned by the patricians on pretext that he wished to make himself king, and thrown from the Tarpeian rock, on the same spot, in sight of the Forum, where Spurius Cassius, an ex-consul, had been thrown down before. To visit the part of the rock from which these executions must have taken place, it is necessary to enter a little garden near the German Hospital, whence there is a beautiful view of the river and the Aventine.

"Quand on veut visiter la roche Tarpéienne, on sonne à une porte de peu d'apparence, sur laquelle sont écrits ces mots: Rocca Tarpeia. Une pauvre femme arrive et vous mène dans un carré de choux. C'est de là qu'on précipita Manlius. Je serais desolé que le carré de choux manquat."-Ampère, Portraits de Rome.

This side of the Intermontium is now generally known as Monte Caprino, a name which Ampère derives from the fact that Vejovis, the Etruscan ideal of Jupiter, was always represented with a goat.[43] On this side of the hill, the viaduct from the Palatine, built by Caligula (who affected to require it to facilitate communication with his friend Jupiter), joined the Capitoline.

We have still to examine the north-eastern height, the site of the most interesting of pagan temples, now occupied by one of the most interesting of Christian churches. The name of the famous Church of Ara-C?li is generally attributed to an altar erected by Augustus to commemorate the Delphic oracle respecting the coming of our Saviour, which is still recognised in the well-known hymn of the Church:

Teste David cum Sibylla.[44]

The altar bore the inscription "Ara Primogeniti Dei." Those who seek a more humble origin for the church, say that the name merely dates from medi?val times, when it was called "Sta, Maria in Auroc?lio." It originally belonged to the Benedictine Order, but was transferred to the Franciscans by Innocent IV. in 1252, since which time its convent has occupied an important position as the residence of the General of the Minor Franciscans (Grey-friars), and is the centre of religious life in that Order.

The staircase on the left of the Senators' palace, which leads to the side entrance of Ara-C?li, is in itself full of historical associations. It was at its head that Valerius the consul was killed in the conflict with Herdonius for the possession of the Capitol. It was down the ancient steps on this site that Annius, the envoy of the Latins, fell (B.C. 340), and was nearly killed, after his audacious proposition in the temple of Jupiter, that the Latins and Romans should become one nation, and have a common senate and consuls. Here also,[45] in B.C. 133, Tiberius Gracchus was knocked down with the leg of a chair, and killed in front of the temple of Jupiter.

It is at the top of these steps, that the monks of Ara-C?li, who are celebrated as dentists, perform their hideous, but useful and gratuitous operations, which may be witnessed here every morning!

Over the side entrance of Ara-C?li is a beautiful mosaic of the Virgin and Child. This, with the ancient brick arches above, framing fragments of deep blue sky-and the worn steps below-forms a subject dear to Roman artists, and is often introduced as a background to groups of monks and peasants. The interior of the church is vast, solemn, and highly picturesque. It was here, as Gibbon himself tells us, that on the 15th of October, 1764, as he sat musing amidst the ruins of the Capitol, while the bare-footed friars were singing vespers, the idea of writing the "Decline and Fall" of the city first started to his mind.

"As we lift the great curtain and push into the church, a faint perfume of incense salutes the nostrils. The golden sunset bursts in as the curtain of the (west) door sways forward, illuminates the mosaic floor, catches on the rich golden ceiling, and flashes here and there over the crowd (gathered in Epiphany), on some brilliant costume or closely shaven head. All sorts of people are thronging there, some kneeling before the shrine of the Madonna, which gleams with its hundreds of silver votive hearts, legs, and arms, some listening to the preaching, some crowding round the chapel of the Presepio. Old women, haggard and wrinkled, come tottering along with their scaldini of coals, drop down on their knees to pray, and, as you pass, interpolate in their prayers a parenthesis of begging. The church is not architecturally handsome, but it is eminently picturesque, with its relics of centuries, its mosaic pulpits and floors, its frescoes of Pinturicchio and Pesaro, its antique columns, its rich golden ceiling, its gothic mausoleum to the Savelli, and its medi?val tombs. A dim, dingy look is over all-but it is the dimness of faded splendour; and one cannot stand there, knowing the history of the church, its great antiquity, and the varied fortunes it has known, without a peculiar sense of interest and pleasure.

"It was here that Romulus in the grey dawning of Rome built the temple of Jupiter Feretrius. Here the spolia opima were deposited. Here the triumphal processions of the emperors and generals ended. Here the victors paused before making their vows, until, from the Mamertine prisons below, the message came to announce that their noblest prisoner and victim-while the clang of their triumph and his defeat rose ringing in his ears, as the procession ascended the steps-had expiated with death the crime of being the enemy of Rome. On the steps of Ara-C?li, nineteen centuries ago, the first great C?sar climbed on his knees after his first triumph. At their base, Rienzi, the last of the Roman tribunes, fell-and if the tradition of the Church is to be trusted, it was on the site of the present high altar that Augustus erected the 'Ara Primogeniti Dei,' to commemorate the Delphic prophecy of the coming of our Saviour. Standing on a spot so thronged with memories, the dullest imagination takes fire. The forms and scenes of the past rise from their graves and pass before us, and the actual and visionary are mingled together in strange poetic confusion."-Roba di Roma, i. 73.

The floor of the church is of the ancient mosaic known as Opus Alexandrinum. The nave is separated from the aisles by twenty-two ancient columns, of which two are of cipollino, two of white marble, and eighteen of Egyptian granite. They are of very different forms and sizes, and have probably been collected from various pagan edifices. The inscription "A Cubiculo Augustorum" upon the third column on the left of the nave, shows that it was brought from the Palace of the C?sars. The windows in this church are amongst the few in Rome which show traces of gothic. At the end of the nave, on either side, are two ambones, marking the position of the choir before it was extended to its present site in the sixteenth century.

The transepts are full of interesting monuments. That on the right is the burial-place of the great family of Savelli, and contains-on the left, the monument of Luca Savelli, 1266 (father of Pope Honorius IV.) and his son Pandolfo,-an ancient and richly sculptured sarcophagus, to which a gothic canopy was added by Agostino and Agnolo da Siena from designs of Giotto. Opposite, is the tomb of the mother of Honorius, Vana Aldobrandesca, upon which is the statue of the pope himself, removed from his monument in the old St. Peter's by Paul III.

On the left of the high altar is the tomb of Cardinal Gianbattista Savelli, ob. 1498, and near it-in the pavement, the half-effaced gravestone of Sigismondo Conti, whose features are so familiar to us from his portrait introduced into the famous picture of the Madonna di Foligno, which was painted by Raphael at his order, and presented by him to this church, where it remained over the high altar, till 1565, when his great niece Anna became a nun at the convent of the Contesse at Foligno, and was allowed to carry it away with her. In the east transept is another fine gothic tomb, that of Cardinal Matteo di Acquasparta (1302), a General of the Franciscans mentioned by Dante for his wise and moderate rule.[46] The quaint chapel in the middle of this transept, now dedicated to St. Helena, is supposed to occupy the site of the "Ara Primogeniti Dei."

Upon the pier near the ambone of the gospel is the monument of Queen Catherine of Bosnia, who died at Rome in 1478, bequeathing her states to the Roman Church on condition of their reversion to her son, who had embraced Mahommedanism, if he should return to the Catholic faith. Near this, upon the transept wall, is the tomb of Felice de Fredis, ob. 1529, upon which it is recorded that he was the finder of the Laocoon. The Chapel of the Annunciation, opening from the west isle, has a tomb to G. Crivelli, by Donatello, bearing his signature, "Opus Donatelli Florentini." The Chapel of Santa Croce is the burial-place of the Ponziani family, and was the scene of the celebrated ecstasy of the favourite Roman saint Francesca Romana.

"The mortal remains of Vanozza Ponziani (sister-in-law of Francesca) were laid in the church of Ara-C?li, in the chapel of Santa Croce. The Roman people resorted there in crowds to behold once more their loved benefactress-the mother of the poor, the consoler of the afflicted. All strove to carry away some little memorial of one who had gone about among them doing good, and during the three days which preceded the interment, the concourse did not abate. On the day of the funeral Francesca knelt on one side of the coffin, and, in sight of all the crowd, she was wrapped in ecstasy. They saw her body lifted from the ground, and a seraphic expression in her uplifted face. They heard her murmur several times with an indescribable emphasis the word 'Quando? Quando?' When all was over, she still remained immoveable; it seemed as if her soul had risen on the wings of prayer, and followed Vanozza's spirit into the realms of bliss. At last her confessor ordered her to rise and go and attend on the sick. She instantly complied, and walked away to the hospital which she had founded, apparently unconscious of everything about her, and only roused from her trance by the habit of obedience, which, in or out of ecstasy, never forsook her."-Lady Georgiana Fullerton's Life of Sta. Fr. Romana.

There are several good pictures over the altars in the aisles of Ara-C?li. In the Chapel of St Margaret of Cortona are frescoes illustrative of her life by Filippo Evangelisti,-in that of S. Antonio, frescoes by Nicola da Pesaro;-but no one should omit visiting the first chapel on the right of the west door, dedicated to S. Bernardino of Siena, and painted by Bernardino Pinturicchio, who has put forth his best powers to do honour to his patron saint with a series of exquisite frescoes, representing his assuming the monastic habit, his preaching, his vision of the Saviour, his penitence, death, and burial.

Almost opposite this-closed except during Epiphany-is the Chapel of the Presepio, where the famous image of the Santissimo Bambino d'Ara C?li is shown at that season lying in a manger.

"The simple meaning of the term Presepio is a manger; but it is also used in the Church to signify a representation of the birth of Christ. In the Ara-C?li the whole of one of the side-chapels is devoted to this exhibition. In the foreground is a grotto, in which is seated the Virgin Mary, with Joseph at her side and the miraculous Bambino in her lap. Immediately behind are an ass and an ox. On one side kneel the shepherds and kings in adoration; and above, God the Father is seen surrounded by crowds of cherubs and angels playing on instruments, as in the early pictures of Raphael. In the background is a scenic representation of a pastoral landscape, on which all the skill of the scene-painter is expended. Shepherds guard their flocks far away, reposing under palm-trees or standing on green slopes which glow in the sunshine. The distances and perspective are admirable. In the middle ground is a crystal fountain of glass, near which sheep, preternaturally white, and made of real wool and cotton wool, are feeding, tended by figures of shepherds carved in wood. Still nearer come women bearing great baskets of real oranges and other fruits on their heads. All the nearer figures are full-sized, carved in wood, painted, and dressed in appropriate robes. The miraculous Bambino is a painted doll swaddled in a white dress, which is crusted over with magnificent diamonds, emeralds, and rubies. The Virgin also wears in her ears superb diamond pendants. The general effect of the scenic show is admirable, and crowds flock to it and press about it all day long.

"While this is taking place on one side of the church, on the other is a very different and quite as singular an exhibition. Around one of the antique columns a stage is erected, from which little maidens are reciting, with every kind of pretty gesticulation, sermons, dialogues, and little speeches, in explanation of the Presepio opposite. Sometimes two of them are engaged in alternate questions and answers about the mysteries of the Incarnation and the Redemption. Sometimes the recitation is a piteous description of the agony of the Saviour and the sufferings of the Madonna, the greatest stress being, however, always laid upon the latter. All these little speeches have been written for them by their priest or some religious friend, committed to memory, and practised with appropriate gestures over and over again at home. Their little piping voices are sometimes guilty of such comic breaks and changes, that the crowd about them rustles into a murmurous laughter. Sometimes, also, one of the little preachers has a dispetto, pouts, shakes her shoulders, and refuses to go on with her part; another, however, always stands ready on the platform to supply the vacancy, until friends have coaxed, reasoned, or threatened the little pouter into obedience. These children are often very beautiful and graceful, and their comical little gestures and intonations, their clasping of hands and rolling up of eyes, have a very amusing and interesting effect."-Story's Roba di Roma.

At other times the Bambino dwells in the inner Sacristy, where it can be visited by admiring pilgrims. It is a fresh-coloured doll, tightly swathed in gold and silver tissue, crowned, and sparkling with jewels. It has servants of its own, and a carriage in which it drives out with its attendants, and goes to visit the sick. Devout peasants always kneel as the blessed infant passes. Formerly it was taken to sick persons and left on their beds for some hours, in the hope that it would work a miracle. Now it is never left alone. In explanation of this, it is said that an audacious woman formed the design of appropriating to herself the holy image and its benefits. She had another doll prepared of the same size and appearance as the "Santissimo," and having feigned sickness, and obtained permission to have it left with her, she dressed the false image in its clothes, and sent it back to Ara-C?li. The fraud was not discovered till night, when the Franciscan monks were awakened by the most furious ringing of bells and by thundering knocks at the west door of the church, and hastening thither could see nothing but a wee naked pink foot peeping in from under the door; but when they opened the door, without stood the little naked figure of the true Bambino of Ara-C?li, shivering in the wind and the rain,-so the false baby was sent back in disgrace, and the real baby restored to its home, never to be trusted away alone any more.

In the sacristy is the following inscription relating to the Bambino:-

"Ad hoc sacellum Ara C?li a festo nativitatis domini usque ad festum Epiphani? magna populi frequentia invisitur et colitur in presepio Christi nati infantuli simulacrum ex ole? ligno apud montem olivarum Hierosolymis a quodam devoto Minorita sculptum eo animo, ut ad hoc festum celebrandum deportaretur. De quo in primis hoc accidit, quod deficiente colore inter barbaras gentes ad plenam infantuli figurationem et formam, devotus et anxius artifex, professione laicus, precibus et orationibus impetravit, ut sacrum simulacrum divinitus carneo colore perfunctum reperiretur. Cumque navi Italiam veheretur, facto naufragio apud Tusci? oras, simulacri capsa Liburnum appulit. Ex quo, recognita, expectabatur, enim a Fratribus, et jam fama illius a Hierosolymis ad nostras famili? partes advenerat, ad destinatam sibi Capitolii sedem devenit. Fertur etiam, quod aliquando ex nimia devotione à quadam devota f?mina sublatum ad suas ?des miraculosè remeaverit. Quapropter in maxima veneratione semper est habitum a Romanis civibus, et universo populo donatum monilibus, et jocalibus pretiosis, liberalioribusque in dies prosequitur oblationibus."

The outer Sacristy contains a fine picture of the Holy Family by Giulio Romano.

The scene on the long flight of steps which leads to the west door of Ara-C?li is very curious during Epiphany.

"If any one visit the Ara-C?li during an afternoon in Christmas or Epiphany, the scene is very striking. The flight of one hundred and twenty-four steps is then thronged by merchants of Madonna wares, who spread them out over the steps and hang them against the walls and balustrades. Here are to be seen all sorts of curious little coloured prints of the Madonna and Child of the most extraordinary quality, little bags, pewter medals, and crosses stamped with the same figures and to be worn on the neck-all offered at once for the sum of one baiocco. Here also are framed pictures of the saints, of the Nativity, and in a word of all sorts of religious subjects appertaining to the season. Little wax dolls, clad in cotton-wool to represent the Saviour, and sheep made of the same materials, are also sold by the basket-full. Children and Contadini are busy buying them, and there is a deafening roar all up and down the steps, of 'Mezzo baiocco, bello colorito, mezzo baiocco, la Santissima Concezione Incoronata,'-'Diario Romano, Lunario Romano nuovo,'-'Ritratto colorito, medaglia e quadruccio, un baiocco tutti, un baiocco tutti,'-'Bambinella di cera, un baiocco.' None of the prices are higher than one baiocco, except to strangers, and generally several articles are held up together, enumerated, and proffered with a loud voice for this sum. Meanwhile men, women, children, priests, beggars, soldiers, and villani are crowding up and down, and we crowd with them."-Roba di Roma, i. 72.

"On the sixth of January the lofty steps of Ara-C?li looked like an ant-hill, so thronged were they with people. Men and boys who sold little books (legends and prayers), rosaries, pictures of saints, medallions, chestnuts, oranges, and other things, shouted and made a great noise. Little boys and girls were still preaching zealously in the church, and people of all classes were crowding thither. Processions advanced with the thundering cheerful music of the fire-corps. Il Bambino, a painted image of wood, covered with jewels, and with a yellow crown on its head, was carried by a monk in white gloves, and exhibited to the people from a kind of altar-like erection at the top of the Ara-C?li steps. Everybody dropped down upon their knees; Il Bambino was shown on all sides, the music thundered, and the smoking censers were swung."-Frederika Bremer.

The Convent of Ara-C?li contains much that is picturesque and interesting. S. Giovanni Capistrano was abbot here in the reign of Eugenius IV.

Let us now descend from the Capitoline Piazza towards the Forum, by the staircase on the left of the Palace of the Senator. Close to the foot of this staircase is a church, very obscure-looking, with some rude frescoes on the exterior. Yet every one must enter this building, for here are the famous Mamertine Prisons, excavated from the solid rock under the Capitol.

The prisons are entered through the low Church of S. Pietro in Carcere, hung round with votive offerings and blazing with lamps.

"There is an upper chamber in the Mamertine Prisons, over what is said to have been-and very possibly may have been-the dungeon of St. Peter. The chamber is now fitted up as an oratory, dedicated to that saint; and it lives, as a distinct and separate place, in my recollection, too. It is very small and low-roofed; and the dread and gloom of the ponderous, obdurate old prison are on it, as if they had come up in a dark mist through the floor. Hanging on the walls, among the clustered votive offerings, are objects, at once strangely in keeping and strangely at variance with the place-rusty daggers, knives, pistols, clubs, divers instruments of violence and murder, brought here, fresh from use, and hung up to propitiate offended Heaven; as if the blood upon them would drain off in consecrated air, and have no voice to cry with. It is all so silent and so close, and tomblike; and the dungeons below are so black, and stealthy, and stagnant, and naked; that this little dark spot becomes a dream within a dream: and in the vision of great churches which come rolling past me like a sea, it is a small wave by itself, that melts into no other wave, and does not flow on with the rest."-Dickens.

Enclosed in the church, near the entrance, may be observed the outer frieze of the prison wall, with the inscription C. TIBIUS. C. F. RUFINUS. M.. COCCEIUS. NERVA. COS. EX. S. C., recording the names of two consuls of A.D. 22, who are supposed to have repaired the prison. Juvenal's description of the time when one prison was sufficient for all the criminals in Rome naturally refers to this building:

"Felices proavorum atavos, felicia dicas

S?cula, qu? quondam sub regibus atque tribunis

Viderunt uno contentam carcere Romam."

Sat. iii. 312.

A modern staircase leads to the horrible dungeon of Ancus Martius, sixteen feet in height, thirty in length, and twenty-two in breadth. Originally there was no staircase, and the prisoners were let down there, and thence into the lower dungeon, through a hole in the middle of the ceiling. The large door at the side is a modern innovation, having been opened to admit the vast mass of pilgrims during the festa. The whole prison is constructed of huge blocks of tufa without cement. Some remains are shown of the Scal? Gemoni?, so called from the groans of the prisoners-by which the bodies were dragged forth to be exposed to the insults of the populace or to be thrown into the Tiber. It was by this staircase that Cicero came forth and announced the execution of the Catiline conspirators to the people in the Forum, by the single word Vixerunt, "they have ceased to live." Close to the exit of these stairs the Emperor Vitellius was murdered. On the wall by which you descend to the lower dungeon is a mark, kissed by the faithful, as the spot against which St. Peter's head rested. The lower prison, called Robur, is constructed of huge blocks of tufa, fastened together by cramps of iron and approaching horizontally to a common centre in the roof. It has been attributed from early times to Servius Tullius; but Ampère[47] argues against the idea that the lower prison was of later origin than the upper, and suggests that it is Pelasgic, and older than any other building in Rome. It is described by Livy, and by Sallust, who depicts its horrors in his account of the execution of the Catiline conspirators.[48] The spot is shown to which these victims were attached and strangled in turn. In this dungeon, at an earlier period, Appius Claudius and Oppius the decemvirs committed suicide (B.C. 449). Here Jugurtha, king of Mauritania, was starved to death by Marius. Here Julius C?sar, during his triumph for the conquest of Gaul, caused his gallant enemy Vercingetorix to be put to death. Here Sejanus, the friend and minister of Tiberius, disgraced too late, was executed for the murder of Drusus, son of the emperor, and for an intrigue with his daughter-in-law, Livilla. Here, also, Simon Bar-Gioras, the last defender of Jerusalem, suffered during the triumph of Titus.

The spot is more interesting to the Christian world as the prison of SS. Peter and Paul, who are said to have been bound for nine months to a pillar, which is shown here. A fountain of excellent water, beneath the floor of the prison, is attributed to the prayers of St. Peter, that he might have wherewith to baptize his gaolers, Processus and Martinianus; but, unfortunately for this ecclesiastical tradition, the fountain is described by Plutarch as having existed at the time of Jugurtha's imprisonment This fountain probably gave the dungeon the name of Tullianum, by which it was sometimes known, tullius meaning a spring.[49] This name probably gave rise to the idea of its connection with Servius Tullius.

It is hence that the Roman Catholic Church believes that St. Peter and St Paul addressed their farewells to the Christian world.

That of St. Peter:-

"Shortly I must put off this my tabernacle, even as our Lord Jesus Christ hath showed me. Moreover I will endeavour that ye may be able after my decease to have these things always in remembrance. For we have not followed cunningly devised fables, when we made known to you the power and coming of our Lord Jesus Christ.... Nevertheless we, according to his promise, look for new heavens and a new earth, wherein dwelleth righteousness."-2nd St. Peter.

That of St. Paul:-

"God hath not given us a spirit of fear.... Be not thou, therefore, ashamed of the testimony of our Lord, nor of me his prisoner; but be thou partaker of the afflictions of the gospel according to the power of God.... I suffer trouble as an evil doer, even unto bonds; but the word of God is not bound. Therefore I endure all things, for the elect's sake, that they also may obtain the salvation which is in Christ Jesus.... I charge thee by God and by the Lord Jesus Christ, who shall judge the quick and the dead ... preach the word; be instant in season, out of season; reprove, rebuke, exhort with all long-suffering and doctrine; ... watch in all things, endure afflictions, do the work of an evangelist, make full proof of thy ministry. For I am now ready to be offered, and the time of my departure is at hand. I have fought a good fight, I have finished my course, I have kept the faith."-2nd Timothy.

On July 4, the prisons are the scene of a picturesque solemnity, when they are visited at night by the religious confraternities, who first kneel and then prostrate themselves in silent devotion.

Above the Church of S. Pietro in Carcere, is that of S. Giuseppe del Falegnami, St. Joseph of the Carpenters.

"Pourquoi les guides et les antiquaires qui nous ont si souvent montré la voie triomphale qui mène au Capitale et nous en ont tant de fois énuméré les souvenirs; pourquoi aucun d'eux ne nous a-t-il jamais parlé de ce qui survint le jour du triomphe de Titus, là-bas, près des prisons Mamertines? Laisse-moi vous rappeler que ce jour-là le triomphateur, au moment de monter au temple, devant verser le sang d'une victime, s'arrêta à cette place, tandis que l'on détachait de son cortége un captif de plus haute taille et plus richement vêtu que les autres, et qu'on l'emmenait dans cette prison pour y achever son supplice avec le lacet même qu'il portait autour du cou. Ce ne f?t qu'après cette immolation que le cortége reprit sa marche et acheva de monter jusqu'au Capitole! Ce captif dont on ne daigne nous parler, c'était Simon Bar-Gioras; c'était un des trois derniers défenseurs de Jérusalem; c'était un de ceux qui la défendirent jusqu'au bout, mais hélas! qui la défendirent comme des démons ma?tres d'une ame de laquelle ils ne veulent pas se laisser chasser, et non point comme des champions héro?ques d'une cause sacrée et perdue. Aussi cette grandeur que la seule infortune suffit souvent pour donner, elle manque à la calamité la plus grande que le monde ait vue, et les noms attachés à cette immense catastrophe ne demeurèrent pas même fameux! Jean de Giscala, Eléazar, Simon Bar-Gioras; qui pense à eux aujourd'hui? L'univers entier proclame et vénère les noms de deux pauvres juifs qui, quatre ans auparavant, dans cette même prison, avaient eux aussi attendu la supplice; mais le malheur, le courage, la mort tragique des autres, ne leur ont point donné la gloire, et un dédaigneux oubli les a effacés de la mémoire des hommes!"-(Anne Severin) Mrs. Augustus Craven.

"Along the sacred way

Hither the triumph came, and, winding round

With acclamation, and the martial clang

Of instruments, and cars laden with spoil,

Stopped at the sacred stair that then appeared,

Then thro' the darkness broke, ample, star-bright,

As tho' it led to heaven. 'Twas night; but now

A thousand torches, turning night to day,

Blazed, and the victor, springing from his seat,

Went up, and, kneeling as in fervent prayer,

Entered the Capitol. But what are they

Who at the foot withdraw, a mournful train

In fetters? And who, yet incredulous,

Now gazing wildly round, now on his sons,

On those so young, well pleased with all they see,

Staggers along, the last? They are the fallen,

Those who were spared to grace the chariot-wheels;

And there they parted, where the road divides,

The victor and the vanquished-there withdrew;

He to the festal board, and they to die.

"Well might the great, the mighty of the world,

They who were wont to fare deliciously

And war but for a kingdom more or less,

Shrink back, nor from their thrones endure to look,

To think that way! Well might they in their pomp

Humble themselves, and kneel and supplicate

To be delivered from a dream like this!"

Rogers' Italy.